Art DVDs are presumed to be instructional. The reality is that the DVD as an instructional format has yet to be fully embraced. Most fall somewhere between two categories. There is the basic demonstration captured on film. The other category more or less concentrates on lessons. Within the demonstration category many include a live audience varying in size and there can be a segment for addressing questions. These are typically general questions answered in the broadest sense. Addressing important topics with the depth that is often necessary cannot be expected during most Q&A segments of presentations. Both of these categories can be approached casually or with formal structure. There is also a third category emerging that adds a level of polish to the production. These are a hybrid of the documentary format and include elements from both of the previous categories. They also have the potential for capturing the interest of the general public. They may or may not have a narrow focus yet the presentation can be universally appealing and include non-practicing artist types.
There is an inherent need to produce something that is entertaining while satisfying an obligation to be informative. The pressure is to create a product that sells so the endeavor pays for itself, if it does not generate profit. In at least one case the endeavor has persisted as a labor of love. If not for that commitment it would have been abandoned early on. When your potential market consists of recreational painters and students you are vulnerable to unqualified opinion. People get upset when their expectations are not met, however, many within this market do not have the background to understand what constitutes a product that meets the appropriate objectives. Reading through consumer reviews they are typically driven by emotion. Frequently, those applauding a DVD are as vague about all that they claim to have learned as those criticizing are certain the product is flawed because the artist did not do enough for them. This brings up a question. How many people buy an art DVD expecting to exert some effort to gain from it?
There is a split amongst practitioners of the arts regardless of whether you are self-taught or formally schooled. The validity of the DVD as a source of instruction is still debatable while people have relied on books for the dissemination of information for years. Recreational painters and casual students seem to have a different objective with regards to a DVD. It has been my observation that casual painters and students have a tendency to expect to be entertained and have things handed to them while serious students are interested and willing to participate even when they find the presentation dry, when they have to complete assignments, when they have to work out ideas or when they have to think on their own. Generally, the serious student proactively engages knowledge from a wide range of potential sources. It is important to note that we are all students for life and the words
casual, recreational and
serious are used here to indicate a frame of mind.
If you are involved in the business of art DVDs it would behoove you to omit an open consumer review or comment section where your product is sold. Some DVDs have enough going for them that everyone says good things about them. That may only be as little as a nice demonstration painting or an entertaining personality. The potential buyer might be cautious or a bit skeptical yet the typical consumer is more inclined to eat this up. On the other hand, criticism is just as likely to be invalid when the source is frequently unqualified or too subjective to judge. These open comments include everything ranging from the complaint that the artist did not address their specific question to the person complaining that the DVD was defective and would not play on their equipment. The DVD receives an equally low rating in either case. The praises include the common, “I learned so much from this DVD.” What exactly did they learn? Rarely is it described in specific words. Whether actually voiced or not I suspect the most consistent truth about a favorable view of a DVD is that the content was enjoyable to watch. Did the person learn anything? Maybe. Without the need to live up to the expectations that they ought to learn something when being instructed, they might have simply enjoyed watching someone paint. The flip side to this coin is that the complainer might have been disappointed they did not improve by simply watching someone paint. I liken the basic demonstration art DVD to a concert video. We would not expect to learn how to play an instrument or even a song by watching a concert video yet we could enjoy the presentation, we might pick up a few things and we might be inspired to play a musical instrument or to sing.
Setting aside expectations and myths about “instructional art DVDs” look at the DVD as a potential tool for instruction. One of the great assets of a DVD is the ability to see things demonstrated in real time. You are not restricted to still images or illustrations. You can actually witness an activity taking place showing how it should be done using various angles and distances of view.
You have the option of using synchronized audio. This can include overdubbing in addition to the live feed while the activity is filmed. You can use captions, split screens and transparent graphics to enhance a message. You have the ability to provide these as an option so the message can be viewed in varying ways at different times. One might turn on a commentary track for added insight. A graphic might be turned off so the screen concentrates on an activity. At another time you may only wish to have something on audio playing so whatever is on screen takes less precedence.
You could even offer an accompanying book or workbook.
There is also a whole dimension of interactivity that can be employed. This can include online connectivity.
For the most part people producing art DVDs are not interested in committing the time, money and energy that the interactive aspect demands so this is a topic that may be addressed in the future.
That still leaves a lot of potential when producing an art DVD.
As of this writing, there are many people that have done well with the format i.e. Robert Liberace and Jeff Hein among others. Robert Liberace has managed to capture his mastery as both an artist and a teacher. He is a true Master and due in part to his comfort with his position, using only the bare essentials he achieves a level of rapport with the viewer that I have not seen elsewhere. Taking a different approach is Anthony Waichulis and The Waichulis Studio releasing short and focused single lessons. In a similar vein is Craig Nelson through Creative Catalyst. Hats off to Liliedahl Publications for offering lengthy gallery painting DVDs. Liliedahl has been a pioneer with the medium and continues to refine their product. They offer a large catalog of subjects in addition to their “In the Studio with...” series featuring guest artists.
There is a market for a full range of art DVD presentations including everything from the performance demonstration to the academically structured format. Appropriately describing each as what they are would be of great service to producers and consumers. If everyone could get on the same page each could excel with their niche. There are people making dramatic strides that redefine and clarify the art DVD format’s potential. Notable players in this process are David Jon Kassan, Rob Liberace and Michael Klein.
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Images are the property of Jeff Hein, Robert Liberace, Creative Catalyst Productions, David Leffel, The Waichulis Studio, Liliedahl Publications, David Jon Kassan and Sherrie McGraw respectively.
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