每間機構都有自己嘅規則，喺Michael Andrew Law's Nature Art Workshop，可以填寫這個查詢表格; 亦可以你要Click入我哋嘅WhatsApp或者Facebook Messenger，發個訊息畀我哋，然後我哋會開始一個文字形式嘅面試（如果你唔太驚，我哋可以打電話傾，直接打我哋嘅電話號碼）。

面試會由你講你嘅名開始（你會好驚訝，大部分人都唔知道向未來老師自我介紹係一種正式禮貌嘅行為）。然後話我哋知你想學啲乜，

你可以喺以下選擇一個或者多個：

1. 解決畫畫上的困難（即：學畫畫）

2. 解決藝術理論，學藝術歷史和學藝術市場資訊方面學習的問題

3. 解決備考的問題（例如備考DSE VA，升學海外學校）

4. 解決籌備畫展的問題

5. 解決藝術事業方面的的問題（建立名氣，提高作品賣價等等困難）

6. 解決需要改善經營畫室+招生+培訓導師的難題

7. 解決動漫，畫冊或繪本創作和出版發表遇到的難題

8. 商議你名下擁有的藝術品投資或洽購或出售事項

9. 商議投資你名下的藝術類生意（例如畫廊，興趣班，製作公司等）

10. 其他藝術上的問題或者困難

若果純粹學畫畫(畫班)，有下面兩個配搭：

A. 首先請問你希望學習哪一個繪畫題材？

A1. 古典人像畫 Classical portraits

A2. 人體畫 Figures

A3. 風景畫 Landscapes or cityscape Art

A4. 抽象畫 Abstracts or expressive art

A5. 動漫繪畫 Comics and Mangas

A6. 當代繪畫 Contemporary Art

A7. 其他（請註明）

B.第二,

希望學什麼的繪畫種類:

B1. 顏料繪畫類  (油畫|塑膠彩)

B2.素描繪畫類 (鉛筆|炭筆|墨水筆)

對於唔需要畫畫或者繪畫課程嘅人（你可能覺得自己畫畫已經好叻），話我哋知你想諮詢啲乜，首先讓我知道你而家喺邊個階段。坦白講，你嚟到呢度係因為你清楚知道有「改進嘅空間」(講得客氣啲)。

就好似你諮詢醫生咁，你要承認有啲嘢出咗問題，而且你可能做錯咗啲嘢，而你想變得更好，咁醫生先可以幫到你。如果你唔承認自己有問題，又唔想變得更好，你就係自欺欺人，如果你唔承認你需要幫助，又唔肯坦白講出問題所在，我就幫唔到你。

之後我哋會繼續為你制定計劃，然後如果我哋雙方都同意你嘅計劃、時間表、時間線、目標同要求，我哋就會討論你嘅課程價錢。呢個唔係秘密價錢，會係你負擔得起嘅嘢，如果你有經濟問題，我哋有Value Exchange系統幫助你，所以唔使擔心價錢，只要話我哋知你想要啲乜幫助。

呢個就係我哋嘅申請規則，簡單明瞭。如果你已經睇完呢個，就而家立即發訊息畀我哋，因為時間唔等人。眨眼間你就老咗。

English:

Every institution has their rules. At Michael Andrew Law's Nature Art Workshop, you first need to click into our WhatsApp or Facebook Messenger, send us a message, and then we will start a text-format interview (if you are less fearful, we can have a phone call - just call our number).

The interview starts with telling us YOUR Name (you'd be surprised how many people don't know that introducing themselves is formal politeness when meeting their future teacher and asking for information). Then tell us what you want to learn. You can pick either one or multiple from:

1. Solving difficulties in drawing/painting (i.e., learning to draw/paint)

2. Solving art theory, art history, and art market information learning problems

3. Solving exam preparation issues (e.g., preparing for DSE VA, applying to overseas schools)

4. Solving exhibition preparation problems

5. Solving art career issues (building reputation, increasing artwork prices, etc.)

6. Solving difficulties in improving art studio operations + student recruitment + instructor training

7. Solving difficulties in animation, art book, or illustrated book creation and publication

8. Discussing investment, acquisition, or sale of artwork you own

9. Discussing investment in your art-related business (e.g., galleries, hobby classes, production companies)

10. Other art-related problems or difficulties

And then, for those purely interested in painting classes, we have the following combinations:

A. First, which painting subject do you hope to learn?

A1. Classical portraits

A2. Figures

A3. Landscapes or cityscape Art

A4. Abstracts or expressive art

A5. Comics and Mangas

A6. Contemporary Art

A7. Others (please specify)

For those who do not need drawing or painting classes (you probably think you're already great at it), tell us what you want to consult about, starting by letting us know where you're at. Be honest - you're here because you clearly know there's "space for improvement," to put it politely.

Think of it like consulting a doctor - you have to admit there's something wrong, and you're probably doing something incorrectly and want to improve. Then the doctor can help you. If you don't admit there's something wrong with you and you don't want to get better, you're lying to yourself. I cannot help if you don't admit that you need help and aren't honest about what the problem is.

After that, we will move on to make a plan for you. If we both agree on the plan, schedule, timeline, goals, and your requirements, then we will discuss a price for your class. It's not a secret price - it will be something you can afford, and if you have financial problems, we have a system to assist you. So don't worry about the PRICE, just let us know what help you want.

This is our application process - simple and clear. If you've already read this, message us right now, because time waits for no one. In the blink of an eye, you'll be old and useless.

Nature Art Workshop專注提供以下嘅專業藝術服務同教學：

*A 基礎藝術教學

1. 解決畫畫上的困難（即：學畫畫）

我哋專注喺繪畫同一切同創作藝術品相關嘅技巧訓練，不論係油畫、水彩、素描、數碼藝術等等。我哋嘅目標係幫助hobbyist提升到專業水平，同時幫助Artist成為業界明星。唔單止教授技巧，仲會教授如何培養個人風格同創作理念。

*B. 進階藝術發展及專業支援

2. 解決藝術理論、藝術歷史和藝術市場資訊方面學習的問題

為藝術教育工作者、策展人、藝評人及收藏家提供專業知識。我哋深入講解從古典到當代嘅藝術史發展脈絡、重要藝術流派同運動，以及當前藝術市場嘅運作機制、估值系統同拍賣趨勢。適合想喺藝術領域有深度見解同專業判斷力嘅人士。

3. 解決備考的問題

專為應考DSE視覺藝術科、IB藝術科、A-Level藝術科嘅學生，以及準備申請海外藝術學院嘅人士而設。我哋提供針對性嘅作品集指導、考試策略、面試技巧訓練，同埋專業嘅評估同改進建議，確保你喺競爭激烈嘅考試同申請中脫穎而出。

4. 解決籌備畫展的問題

為新晉藝術家到資深創作者提供專業畫展籌備服務。我哋指導從主題策劃、作品策展、場地選擇、空間布置、燈光設計，到媒體宣傳、開幕策劃、藏家邀請等全方位嘅展覽製作流程，幫助你嘅作品以最佳方式呈現畀觀眾。

5. 解決藝術事業方面的的問題

為專業藝術工作者同Artist藝術家提供PR + 事業發展策略。我哋協助你建立獨特藝術品牌、提升市場知名度、擴大收藏家網絡、制定定價策略、管理藝術經紀關係，同埋開拓國際市場機會，從而提高你嘅藝術作品價值同市場地位。

6. 解決需要改善經營畫室+招生+培訓導師的難題

為畫室經營者同藝術教育機構提供商業顧問服務。我哋分享成功嘅課程設計、師資培訓、招生策略、品牌建設、空間規劃、收費模式同客戶服務體系，幫助你建立高效運營同可持續發展嘅藝術教育業務。

7. 解決動漫、畫冊或繪本創作和出版發表遇到的難題

為插畫家、漫畫家、繪本作者提供專業指導。我哋協助你喺故事結構、人物設計、場景構建、風格塑造方面提升水平，同時提供出版流程指導、出版社對接、合約談判、版權管理同市場推廣等專業建議，幫助你嘅作品成功出版並獲得市場認可。

*C. 藝術投資及商業顧問

8. 商議你名下擁有的藝術品投資或洽購或出售事項

為藝術收藏家同投資者提供專業顧問服務。我哋分析藝術品市場走勢、評估藝術品真實價值、建議最佳買賣時機、協助拍賣策略規劃、提供保險同保存建議，以及協助跨國藝術品交易嘅法律同物流安排，確保你嘅藝術投資獲得最大回報。

9. 商議投資你名下的藝術類生意

為藝術相關企業嘅投資者同經營者提供商業顧問。我哋分析市場機會、評估商業計劃、制定營運策略、建立品牌定位、優化盈利模式，針對畫廊、藝術中心、創意工作室、藝術培訓機構等不同類型嘅藝術業務，提供專業嘅投資同經營建議。

1

0. 其他藝術上的問題或者困難

我哋嘅專業團隊具備藝術創作、教育、管理、市場、法律等多方面嘅經驗同知識，能夠針對藝術領域中各種特殊難題提供個性化解決方案，確保你喺藝術路上遇到嘅任何挑戰都能獲得專業支援。

In English:

At Nature Art Workshop, we focus on providing the following professional art services and education:

### Basic Art Education

1. Solving drawing and painting challenges (i.e., learning to create art)

We focus on painting and all techniques related to creating artwork, whether it's oil painting, watercolor, sketching, digital art, etc. Our goal is to help hobbyists reach a professional level, while helping professionals become stars in the industry. We teach not only techniques but also how to develop a personal style and creative vision.

### Advanced Art Development and Professional Support

For those looking to further enhance their artistic professional level or develop art-related careers, we offer:

2. Solutions for art theory, art history, and art market information learning

In-depth explanation of art history, contemporary art trends, and professional knowledge of art market operations.

3. Solutions for exam preparation

Such as preparing for DSE Visual Arts, or preparing portfolios and interviews for overseas art schools.

4. Solutions for exhibition preparation

Comprehensive assistance in organizing successful exhibitions, from concept development to artwork selection, venue arrangements, and promotional strategies.

5. Solutions for art career challenges

Helping you build your personal art brand and reputation, with strategies to increase artwork value and professional development.

6. Solutions for improving art studio operations, student recruitment, and instructor training

Professional consulting services for art education management and operations.

7. Solutions for challenges in creating and publishing comics, art books, or illustrated books

Providing creative guidance, publishing process and market positioning professional advice.

### Art Investment and Business Consulting

8. Consultation on art investment, acquisition, or sales of artworks you own

Art investment strategies, collection advice, artwork valuation, and transaction consulting services.

9. Consultation on investing in your art-related businesses

Investment and operational strategies for art-related businesses such as galleries, hobby classes, production companies, etc.

10. Other art-related issues or difficulties

We are happy to listen to and solve various challenges you encounter on your artistic journey.

Whether you're a beginner or a professional artist, Nature Art Workshop can provide tailored professional services based on your needs.

Michael Andrew Law的Nature Art Workshop 之所以比本地 99.999% 嘅藝術班好，根本原因在於我們做到了其他廉價本地藝術工作室因為「收得太平」導致「資源限制」而做不到、不願做或者無法做到的事情。以下是這種差距的真實寫照以及選擇廉價藝術班的真正隱藏成本：

1. 充滿熱情的藝術導師Michael Andrew Law vs. 倦怠的打工導師

Michael Andrew Law將藝術視為終身使命，而不僅僅是謀生工具(按此看證據)。相比之下，大多數本地藝術班導師：

- 每天機械性地重複同樣的教學內容，導師眼神空洞無神

- 面對學生問題時導師表現煩躁和不耐煩

- 導師私下抱怨教學任務繁重和報酬低廉

- 課堂上導師頻繁查看手機，心不在焉

- 導師對藝術的熱情早已被每週40-60小時的重複教學消磨殆盡

- 更嚴重的是： 把挫折感直接發洩在學生身上，對學生的提問嗤之以鼻，甚至公開羞辱學生，造成心理陰影

真正的隱藏成本： 學生不僅無法獲得有價值的藝術指導，還可能因教師的負面態度而失去對藝術的熱情和自信心。許多孩子在這種環境下徹底放棄藝術創作，浪費了幾年的學費和寶貴的童年時光，更糟的是心理受創。

2. 有能力解決問題 vs. 敷衍了事

Michael Andrew Law 能夠針對每位學生的獨特挑戰提供專業解決方案(按此看證據)。然而，典型的本地藝術導師：

- 面對複雜問題時常說「這個太難了」或「你自己回家多練習吧」

- 對不同風格或技術的問題避而不談，僅教授自己熟悉的基礎內容

- 用含糊的讚美替代具體的技術指導（「畫得不錯」而非解釋為什麼好或如何改進）

- 對創新嘗試和實驗性作品露出不屑或困惑的表情

- 經常使用「這就是我教的方法」來掩蓋自身知識限制

- 更深層次的問題： 導師故意維持學生的技術困境，製造長期依賴，確保學生不斷報名新課程

真正的隱藏成本： 學生在同一問題上反復卡住數月甚至數年，進步極為有限，最終需要花費大量時間和金錢去糾正已養成的錯誤習慣和思維方式。很多家長發現孩子學了兩三年後技巧仍然停滯不前，最終不得不轉到更專業的機構重新學習，等於學費和時間雙重浪費。

3. 專業藝術標準 vs. 廉價"打卡"文化

我們堅持專業藝術標準和深度教學。相反，許多本地藝術班已淪為：

- 「打卡」式消費娛樂，學生只為帶走一幅像樣的作品拍照發社交媒體

- 教師預先繪製輪廓，學生只需填色，創造虛假的成就感

- 所有學生畢業作品幾乎完全相同，缺乏個人創意

- 教授「速成」技巧而非紮實基礎，製造表面進步的假象

- 課程設計以「討好」學生為目標，而非真正提高其藝術水平

- 更荒謬的延伸： 導師直接在學生作品上大幅「代筆」，讓家長誤以為孩子進步神速

真正的隱藏成本： 學生誤以為自己已掌握技能，但實際上完全無法獨立創作。當需要為學校作業、比賽或申請藝術學校製作作品集時，才發現自己根本不具備基本技能，此時再尋求補救往往為時已晚，錯過重要機會。

4. 持續學習 vs. 知識僵化

我們的導師Michael Andrew Law不斷更新知識體系(請看看證據)。相比之下，大多數本地藝術導師：

- 使用20 - 40年前大學學到的過時知識和方法

- 對當代藝術發展一無所知，仍在教授早已被藝術界拋棄的概念

- 拒絕學習新技術和媒材，固守在自己的舒適區

- 對學生提出的新藝術趨勢問題顯得困惑或不屑

- 年復一年使用完全相同的教學大綱和範例，甚至連笑話和軼事都一成不變

- 更令人擔憂的現象： 傳授明顯錯誤的技術和概念，如過時的解剖結構或不符合物理規律的透視法則

真正的隱藏成本： 學生被灌輸錯誤或過時的知識，在專業環境中顯得格格不入。特別是準備藝術院校申請的學生，作品因使用過時技法而被直接拒絕，浪費了申請費用和機會，更需支付額外費用重新學習正確知識。

5. 量身定制的教學 vs. 工廠流水線

我們為每位學生提供個性化關注(按此看證據)。然而，低價藝術班的現實是：

- 教師在90-180分鐘的課堂中要同時管理15-30位學生

- 每位學生平均只能獲得2-3分鐘的個人指導

- 教師無法記住所有學生的名字，更別說他們的藝術風格和需求

- 使用一刀切的標準化教材，完全忽視學生的個體差異

- 高頻率的「複製粘貼」反饋：「多練習」、「繼續加油」、「畫得不錯」

- 更可怕的真相： 許多課堂實際上由缺乏經驗的助教代課，而非宣傳中的「專業教師」

真正的隱藏成本： 學生的特殊才能和興趣被完全忽視，潛力得不到發掘和培養。許多具有藝術天賦的孩子在這種環境中被錯誤引導，最終放棄藝術道路。家長付費購買的是專業指導，實際獲得的卻是批量生產的通用課程和經驗不足的助教指導。

### 6. 誠實的藝術評價 vs. 虛假讚美

我們提供真誠而有建設性的反饋。相反，低價藝術班的教師：

- 過度讚美明顯有問題的作品，製造虛假進步感

- 避免指出嚴重錯誤，擔心失去學生（客戶）

- 將批評模糊化，不提供具體改進建議

- 讓學生感覺他們比實際水平高得多，阻礙真正進步

- 創造「舒適」而非「成長」的環境，優先考慮學生滿意度而非藝術發展

- 情況更甚： 向家長誇大孩子的天賦，推銷更多課程，製造「明星學生」的幻象

真正的隱藏成本： 學生和家長被誤導，對實際水平形成錯誤認知。當參加比賽或面對專業評審時遭遇慘痛失敗，打擊自信心並造成心理困擾。家長基於這種虛假進步而投入更多金錢購買進階課程，實際上只是浪費資源。

7. 專業工作環境 vs. 擁擠簡陋場所

我們提供專業的藝術創作環境。相比之下，典型的本地藝術班：

- 學生擠在狹小的桌子旁，肘部碰撞，無法自由運動

- 光線昏暗不足，導致色彩判斷錯誤和眼睛疲勞

- 通風不良，充斥顏料氣味和灰塵，造成健康隱患

- 噪音干擾嚴重，來自相鄰教室或商場環境

- 設備陳舊，顏料乾涸，畫筆變形，畫布質量低劣

- 更嚴重的健康隱憂： 使用含有有害物質的廉價材料paint thinner，忽視學生安全，缺乏適當的防護措施

真正的隱藏成本： 學生在惡劣環境中學習導致眼睛疲勞、頭痛和呼吸問題，需要額外的醫療費用。長期接觸劣質材料可能引發過敏和皮膚問題。錯誤的姿勢和擁擠環境導致頸背痛和肌肉問題，需要理療費用。

8. 全心投入的教學 vs. 兼職倉促應付

我們的導師Michael Andrew LAW將教學視為首要專業使命(按此看證據)。然而，許多本地藝術班教師：

- 視教學僅為無奈的副業或過渡性工作

- 在課堂上心不在焉，思考著其他工作或個人問題

- 頻繁取消或改期課程，優先處理「更重要」的事務

- 對學生作品缺乏真正的關注和記憶

- 將最少的精力投入備課和教學反思

- 更常見的問題： 經常遲到早退，縮短實際教學時間；課堂中頻繁接聽電話處理其他工作

真正的隱藏成本： 學生實際獲得的教學時間遠低於支付的課時。家長經常需請假配合突然改期的課程，造成工作干擾和額外時間成本。課程進度拖延導致需要額外購買課時，增加不必要的經濟負擔。

### 9. 專業藝術教育背景 vs. 業餘自學者

我們的導師Michael Andrew LAW擁有專業且全面的藝術教育背景。相反，許多本地藝術班的教師：

- 缺乏正規藝術背景或僅有不相關大學(例如香港大部份大學或者海外但並不是藝術專科的大學)或者學校所發出的學位

- 從未接受過教學法培訓，只是「懂一點畫畫」就開始教學

- 無法解釋藝術原理，只能展示「怎麼做」而非「為什麼這樣做」

- 在自己不擅長的領域避重就輕或乾脆誤導學生

- 學習資源僅限於YouTube視頻和基礎教科書

- 最令人擔憂的是： 不少「老師」實際上是在校學生或其他行業轉行者，完全沒有藝術專業資格

真正的隱藏成本： 學生獲得的是業餘知識而非專業教育，形成錯誤的藝術概念和技巧。日後需要花費數倍的時間和金錢去糾正這些錯誤，特別是那些希望進入藝術專業的學生，必須重新學習正確的基礎知識。

10. 清晰系統的課程規劃 vs. 漫無目的的教學

我們提供有明確目標和進階路徑的系統化課程。相比之下，低價藝術班往往：

- 缺乏連貫的課程體系和明確的學習目標

- 隨機選擇教學內容，沒有邏輯進階關係

- 不考慮學生已有的知識和技能基礎

- 反復教授相同內容以充課時

- 沒有明確的評估標準和進步指標

- 更為刻意的手段： 故意拖慢教學進度，將本可在一學期完成的內容拆分成多個學期，延長收費時間

真正的隱藏成本： 學生在沒有明確方向的學習中浪費時間和金錢，進步緩慢且混亂。家長不知道孩子是否真正學到了什麼，卻要持續支付學費。許多學生學習數年後發現自己只掌握了零散的技巧，而非系統化的知識體系。

### 11. 誠信經營 vs. 隱藏費用陷阱

我們提供透明的收費(在面試確認你的學習目標和你現在的水平之後)和誠實的服務描述。相反，許多廉價藝術班：

- 以低價吸引學生，但隱藏各種額外費用

- 不包含基本材料費，要求另外購買指定材料

- 設置複雜的「會員制度」和「等級制度」以增加費用

- 經常以「評級考試」為名收取額外費用

- 強制購買過度定價的教材和工具

- 更離譜的做法： 以「評級考試作品集評審費」、「評級考試指導費」等名目不斷創造新的收費項目

真正的隱藏成本： 看似便宜的學費最終因為各種額外費用而總成本飆升。家長往往發現實際支付的金額比預期高出30-50%。劣質材料導致的浪費和重複購買也大大增加了總體支出。

### 12. 相關實用技能教育 vs. 過時技法鑽研

Michael Andrew Law教授當代藝術市場和教育體系中真正有用的技能。相反，低價藝術班常常：

- 過分專注於脫離實際應用的古老技法

- 忽視數字藝術等當代藝術家必備的現代技能

- 不教授作品集準備、藝術家陳述等專業技能

- 完全不考慮學生未來的藝術教育或職業需求

- 無法提供與當代藝術世界的連結

- 更無視現實的是： 告訴學生和家長一些早已被藝術行業淘汰的「技巧」對未來有用

真正的隱藏成本： 學生花費數年時間學習在當代藝術環境中毫無價值的技能。當申請藝術學校或尋找工作時，發現自己的技能組合完全不符合要求，必須額外投資時間和金錢學習真正需要的技能。

### 13. 積極培養獨立創作能力 vs. 製造學習依賴

Michael Andrew Law著重培養學生的藝術獨立性。相比之下，低價藝術班：

- 故意製造學生對教師的持續依賴

- 不教授自我評估和問題解決的能力

- 避免分享「秘訣」，保持知識壟斷以確保學生持續報名

- 對離開或想轉學的學生表現出明顯的冷淡或敵意

- 告訴家長孩子「還沒準備好獨立創作」需要更多指導

- 更直接的控制手段： 暗示或明確表示學生如果離開將無法繼續進步，甚至會失去已有的技能

真正的隱藏成本： 學生形成長期依賴，無法獨立創作和思考，需要無限期地支付學費。沒有培養批判性思維和自我指導能力，學生最終在專業環境中無法適應和成長。這種依賴性可能持續數年，導致大量不必要的持續支出。

### 14. 合理班級規模 vs. 過度擁擠

我們維持合理的師生比例。相反，廉價藝術班為了提高利潤：

- 在小空間內塞入過多學生，遠超合理容量

- 混合不同年齡段和水平的學生，無法提供適合的指導

- 一名教師同時負責多個班級，在教室間奔波

- 僅依靠未受訓的助教監督大部分課堂時間

- 在高峰時段進一步增加班級人數，完全犧牲教學質量

- 更為惡劣的管理： 超額招生後，讓學生長時間等待或被迫接受時間更不便的課程安排

真正的隱藏成本： 實際獲得的個人指導時間微乎其微，進步緩慢。家長實際上為「群體旁觀」而非「個人指導」付費。學生在擁擠環境中容易分心，學習效率大幅降低，導致需要額外的課時來達到本可更快實現的進步。

### 15. 尊重知識產權 vs. 侵權行為常態化

我們尊重並教導知識產權的重要性。然而，許多低價藝術班：

- 使用盜版教材和未經授權的圖像資源

- 複製其他藝術家和機構的課程設計

- 鼓勵學生直接抄襲他人作品而非參考學習

- 使用侵權軟件和材料

- 未經許可使用他人作品作為宣傳材料

- 更嚴重的法律隱患： 教導學生侵權行為是「行業常態」，在作品集中使用侵權內容

真正的隱藏成本： 學生養成不尊重知識產權的習慣，可能面臨未來的法律風險和專業信譽損失。在正規藝術機構或比賽中，侵權作品會被直接取消資格，浪費之前的所有投入。某些情況下甚至可能面臨法律訴訟，造成嚴重經濟損失。

### 16. 真實技能建立 vs. 表面成果欺騙

Michael Andrew Law專注於建立真實、可遷移的藝術技能。相比之下，低價藝術班經常：

- 教授只適用於特定場景的「技巧」(例如行貨油畫技術，流體畫等等並非藝術學術上面的技術研究)而非真正的基礎能力

- 重度依賴「跟我畫」的方法，學生只能複製老師本身的風格和方法而無法創造

- 避免挑戰性任務，只選擇容易出成果的項目

- 更深層的欺騙： 教師暗中「修飾」學生作品後再展示給家長，製造虛假進步的印象

真正的隱藏成本： 當學生需要獨立應用所學技能時完全無法上手，發現自己實際上一無所獲。家長為孩子的「進步」支付了大量學費，卻換來的是毫無實用性的表面技巧。當需要參加比賽或考試時，這種虛假能力立即暴露，導致挫敗感和信心喪失。

### 17. 健康的學習態度 vs. 有害的完美主義

Michael Andrew Law培養積極健康的藝術心態。然而，許多廉價藝術班：

- 過分強調「天賦」而非努力和學習過程

- 製造有害的競爭環境，公開比較學生作品

- 灌輸「不完美就是失敗」的錯誤觀念

- 忽視藝術創作的情感和表達層面

- 對「不聽話」的創意嘗試表示不屑

- 最具傷害性的做法： 在其他學生面前貶低特定學生的作品，造成持久的心理創傷

真正的隱藏成本： 學生發展出對藝術的焦慮和恐懼，失去創造的勇氣和樂趣。許多孩子因此完全放棄藝術，浪費之前的所有投入。一些學生發展出完美主義傾向，需要額外的心理輔導來恢復健康的創作態度，增加家庭負擔。

### 18. 誠實的學生評估 vs. 家長信息壟斷

Michael Andrew Law提供真實、直接的學生進步評估。相反，許多廉價藝術班：

- 對家長誇大學生進步，推銷更多課程

- 隱瞞學生在課堂上的真實表現和困難

- 只展示精心挑選的「最佳」作品，隱藏大量失敗嘗試

- 拒絕讓家長觀察實際教學過程

- 使用模糊專業術語混淆家長判斷

- 更為刻意的欺騙： 向不同家長展示相同的「優秀學生作品」，聲稱是各自孩子的潛力所在

真正的隱藏成本： 家長基於虛假信息做出繼續投資的決定，無法及時發現教學問題和孩子的真實需求。到問題嚴重到無法掩蓋時，已經浪費了大量時間和金錢。更嚴重的是，錯失了孩子藝術發展的關鍵時期。

### 19. 全方位發展 vs. 單一技能反复練習

Michael Andrew Law致力於學生的全面藝術發展。相比之下，低價藝術班通常：

- 只專注於單一技能的機械重複(如素描或特定題材)

- 忽視藝術鑒賞、藝術歷史和藝術理論

- 不教授創意思維和概念發展能力

- 避開複雜技巧和綜合應用能力的培養

- 將藝術教育簡化為「手把手教畫畫」

- 更為局限的是： 只教一種風格或媒介，拒絕或貶低其他藝術形式的價值

真正的隱藏成本： 學生發展成為「單一技能機器」而非全面的藝術創作者。這種狹窄的培養方式在申請藝術學校或尋找工作時極為不利，通常需要額外的全面培訓來彌補這些缺陷，增加了時間和金錢成本。

### 20. 持續教育支持 vs. 突然終止關係

Michael Andrew Law提供Course後的持續支持和指導。然而，低價藝術班通常：

- 完成課程後立即切斷與學生的所有聯繫

- 不提供未來發展建議或後續指導

- 拒絕為申請學校或工作提供專業推薦信

- 不分享進階學習或展覽機會

- 對前學生的求助置之不理

- 最無情的做法： 在學生完成付費課程後，聲稱之前的「天賦表現」只是「基礎層面」，需要購買更多課程

真正的隱藏成本： 學生在藝術發展的關鍵時刻失去指導，不得不重新尋找導師和支持系統，浪費時間和資源。在申請藝術學校或工作機會時缺乏專業推薦，降低成功率。這種突然切斷的關係導致許多學生完全放棄繼續藝術發展的計劃。

選擇低價藝術班的表面節省最終變成了更大的經濟負擔和時間浪費。Nature Art Workshop 之所以收費較高，正是因為我們拒絕妥協於這種低質量模式，而是願意且能夠投入必要的資源和熱情，提供真正有價值的藝術教育。選擇我們，意味著你獲得的不僅是藝術課，而是一個真正的藝術轉變機會，避免那些看似便宜實則昂貴的藝術教育陷阱。

In English:

Nature Art Workshop stands out because we do what other local art studios cannot, will not, or are unable to do due to the "lack of resources" stemming from their cheap tuition fee structure. Here's the stark reality of this disparity and the true hidden costs of choosing cheap art classes:

### 1. Passionate Art Mentors vs. Burned-Out Workers

Our instructors view art as a lifelong mission, not merely a tool for making a living. In contrast, most local art class teachers:

- Mechanically repeat the same teaching content day after day, with vacant expressions

- Show irritation and impatience when faced with student questions

- Privately complain about heavy teaching loads and poor compensation

- Frequently check their phones during class, mentally absent

- Have had their passion for art completely eroded by 40-60 hours of repetitive teaching weekly

- Even worse: Vent frustrations directly on students, scoff at student questions, or even publicly humiliate students, causing psychological trauma

True hidden cost: Students not only fail to receive valuable art guidance but may lose their passion and confidence in art due to teachers' negative attitudes. Many children completely abandon artistic creation in such environments, wasting years of tuition and precious childhood time, and worse, suffering psychological damage.

### 2. Problem-Solving Capability vs. Going Through the Motions

Our instructors can provide professional solutions for each student's unique challenges. However, typical local art teachers:

- Often say "this is too difficult" or "just practice more at home" when faced with complex questions

- Avoid addressing questions about different styles or techniques, teaching only basic content they're familiar with

- Use vague praise instead of specific technical guidance ("nice drawing" rather than explaining why it's good or how to improve)

- Show disdain or confusion when faced with innovative attempts and experimental works

- Frequently use "this is how I teach it" to mask their own knowledge limitations

- Deeper problem: Deliberately maintain students' technical difficulties to create long-term dependency, ensuring continuous enrollment in new courses

True hidden cost: Students remain stuck on the same problems for months or even years, making extremely limited progress, ultimately requiring substantial time and money to correct ingrained incorrect habits and thinking patterns. Many parents discover their children's techniques remain stagnant after two or three years of study, eventually forcing them to switch to more professional institutions to relearn, effectively wasting both tuition and time.

### 3. Professional Art Standards vs. Cheap "Check-in" Culture

We insist on professional art standards and depth in teaching. In contrast, many local art classes have degenerated into:

- "Check-in" style consumer entertainment, where students only want a decent-looking piece to photograph for social media

- Teachers pre-drawing outlines for students to merely fill in, creating a false sense of achievement

- All students' graduation works looking almost identical, lacking personal creativity

- Teaching "quick" techniques rather than solid foundations, creating an illusion of surface progress

- Course designs aimed at "pleasing" students rather than truly improving their artistic level

- More absurd extension: Teachers directly making major "ghost" contributions to student works, misleading parents into thinking their children are progressing rapidly

True hidden cost: Students mistakenly believe they've mastered skills but actually cannot create independently at all. When needing to produce work for school assignments, competitions, or art school applications, they discover they lack even basic skills, and seeking remedies is often too late, missing important opportunities.

### 4. Continuous Learning vs. Knowledge Ossification

Our instructors constantly update their knowledge systems. In comparison, most local art teachers:

- Use outdated knowledge and methods learned in university 20 years ago

- Know nothing about contemporary art developments, still teaching concepts long abandoned by the art world

- Refuse to learn new techniques and media, staying firmly in their comfort zones

- Appear confused or dismissive when students raise questions about new art trends

- Use exactly the same teaching syllabi and examples year after year, even recycling the same jokes and anecdotes

- More concerning phenomenon: Teaching obviously incorrect techniques and concepts, such as outdated anatomy or perspective principles that violate physical laws

True hidden cost: Students are indoctrinated with incorrect or outdated knowledge, appearing out of place in professional environments. Especially for students preparing art school applications, works using outdated techniques are directly rejected, wasting application fees and opportunities, and requiring additional fees to relearn correct knowledge.

### 5. Tailored Teaching vs. Factory Assembly Line

We provide personalized attention for each student. However, the reality of low-priced art classes is:

- Teachers managing 12-20 students simultaneously in 45-60 minute classes

- Each student receiving only 2-3 minutes of individual guidance on average

- Teachers unable to remember all students' names, let alone their artistic styles and needs

- Using one-size-fits-all standardized materials, completely ignoring students' individual differences

- High-frequency "copy-paste" feedback: "practice more," "keep it up," "nice drawing"

- More frightening truth: Many classes are actually taught by inexperienced teaching assistants, not the "professional teachers" advertised

True hidden cost: Students' special talents and interests are completely ignored, with potential undiscovered and uncultivated. Many artistically gifted children are misguided in such environments, ultimately abandoning artistic paths. Parents pay for professional guidance but actually receive mass-produced generic courses and guidance from inexperienced assistants.

### 6. Honest Art Evaluation vs. False Praise

We provide sincere and constructive feedback. In contrast, teachers at low-priced art classes:

- Excessively praise obviously problematic works, manufacturing a false sense of progress

- Avoid pointing out serious mistakes for fear of losing students (customers)

- Make criticisms vague, providing no specific improvement suggestions

- Make students feel they are much better than their actual level, hindering real progress

- Create "comfortable" rather than "growth" environments, prioritizing student satisfaction over artistic development

- Even worse: Exaggerate children's talents to parents, selling more courses, creating an illusion of "star students"

True hidden cost: Students and parents are misled, forming incorrect perceptions of actual levels. When facing competitions or professional evaluations, they experience devastating failures, damaging confidence and causing psychological distress. Parents invest more money in advanced courses based on this false progress, effectively wasting resources.

### 7. Professional Work Environment vs. Crowded Makeshift Spaces

We provide professional art creation environments. In comparison, typical local art classes:

- Crowd students around narrow tables with elbows bumping, restricting free movement

- Have insufficient lighting, causing color judgment errors and eye fatigue

- Have poor ventilation, filled with paint fumes and dust, creating health hazards

- Suffer from noise interference from adjacent classrooms or mall environments

- Have outdated equipment, dried-out paints, deformed brushes, and low-quality canvases

- More serious health concerns: Using cheap materials containing harmful substances, ignoring student safety, lacking proper protective measures

True hidden cost: Students learning in poor environments suffer eye fatigue, headaches, and respiratory issues, requiring additional medical expenses. Long-term exposure to inferior materials may cause allergies and skin problems. Incorrect postures and crowded environments lead to neck/back pain and muscle problems, requiring physiotherapy expenses.

### 8. Fully Committed Teaching vs. Part-time Rushed Approach

Our instructors view teaching as their primary professional mission. However, many local art class teachers:

- View teaching merely as a reluctant side job or transitional work

- Are mentally absent during class, thinking about other jobs or personal issues

- Frequently cancel or reschedule classes, prioritizing "more important" matters

- Lack genuine attention to and memory of students' works

- Invest minimal energy in lesson preparation and teaching reflection

- More common issue: Frequently arriving late and leaving early, shortening actual teaching time; taking phone calls during class to handle other work

True hidden cost: Students receive far less actual teaching time than paid for. Parents often need to take time off work to accommodate suddenly rescheduled classes, causing work disruptions and additional time costs. Delayed course progress leads to purchasing additional class time, increasing unnecessary financial burdens.

### 9. Professional Art Education Background vs. Amateur Self-taught Individuals

Our instructors have professional and comprehensive art education backgrounds. In contrast, many local art class teachers:

- Lack formal art education backgrounds or have only basic degrees

- Have never received pedagogy training, starting to teach simply because they "know a bit about painting"

- Cannot explain artistic principles, only demonstrating "how to do it" rather than "why to do it this way"

- Gloss over or even mislead students in areas they're not proficient in

- Have learning resources limited to YouTube videos and basic textbooks

- Most concerning: Many "teachers" are actually current students or career changers from other industries, completely lacking art professional qualifications

True hidden cost: Students receive amateur knowledge rather than professional education, forming incorrect artistic concepts and techniques. They later need to spend many times more time and money to correct these errors, especially those hoping to enter art professions, who must relearn correct foundational knowledge.

### 10. Clear Systematic Curriculum Planning vs. Aimless Teaching

We provide systematized courses with clear goals and advancement paths. In contrast, low-priced art classes often:

- Lack coherent curriculum systems and clear learning objectives

- Randomly select teaching content without logical progression relationships

- Fail to consider students' existing knowledge and skill foundations

- Repeatedly teach the same content to fill class hours

- Have no clear assessment standards or progress indicators

- More deliberate tactic: Intentionally slowing teaching progress, splitting content that could be completed in one semester into multiple semesters to extend fee collection periods

True hidden cost: Students waste time and money in learning without clear direction, progressing slowly and chaotically. Parents don't know if their children have truly learned anything yet continue paying tuition. Many students discover after years of study that they've only mastered scattered techniques rather than systematic knowledge bodies.

### 11. Honest Operations vs. Hidden Fee Traps

We provide transparent fees and honest service descriptions. In contrast, many cheap art classes:

- Attract students with low prices but hide various additional fees

- Don't include basic material fees, requiring separate purchases of specified materials

- Set up complex "membership systems" and "level systems" to increase fees

- Frequently charge additional fees for "grading exams"

- Force purchases of overpriced textbooks and tools

- More outrageous practice: Continuously creating new fee items under names like "portfolio review fee," "special technique guidance fee," etc.

True hidden cost: Seemingly cheap tuition ultimately skyrockets in total cost due to various extra fees. Parents often find the actual amount paid is 30-50% higher than expected. Waste and repeated purchases due to poor materials also greatly increase overall expenditure.

### 12. Relevant Practical Skill Education vs. Outdated Technique Drilling

We teach skills truly useful in contemporary art markets and educational systems. In contrast, low-priced art classes often:

- Overly focus on ancient techniques disconnected from practical applications

- Ignore modern skills like digital art that are essential for contemporary artists

- Fail to teach professional skills like portfolio preparation and artist statements

- Completely disregard students' future art education or career needs

- Cannot provide connections to the contemporary art world

- More reality-ignoring: Tell students and parents that techniques long abandoned by the art industry will be useful for their future

True hidden cost: Students spend years learning skills with no value in contemporary art environments. When applying to art schools or seeking jobs, they discover their skill sets completely fail to meet requirements, necessitating additional investments of time and money to learn truly needed skills.

### 13. Actively Cultivating Independent Creation Ability vs. Manufacturing Learning Dependency

We emphasize developing students' artistic independence. In comparison, low-priced art classes:

- Deliberately create student dependency on teachers

- Don't teach self-assessment and problem-solving abilities

- Avoid sharing "secrets," maintaining knowledge monopolies to ensure continued enrollment

- Display obvious coldness or hostility toward departing or transferring students

- Tell parents their children "aren't ready for independent creation" and need more guidance

- More direct control measure: Imply or explicitly state that students who leave will be unable to continue progressing or may even lose existing skills

True hidden cost: Students form long-term dependencies, unable to create and think independently, needing to pay tuition indefinitely. Without cultivating critical thinking and self-guidance abilities, students ultimately cannot adapt and grow in professional environments. This dependency may continue for years, leading to large amounts of unnecessary continued expenditure.

### 14. Reasonable Class Sizes vs. Excessive Crowding

We maintain reasonable teacher-student ratios. In contrast, cheap art classes, to increase profits:

- Cram too many students into small spaces, far exceeding reasonable capacity

- Mix students of different age groups and levels, unable to provide appropriate guidance

- Have one teacher simultaneously responsible for multiple classes, rushing between classrooms

- Rely solely on untrained assistants to supervise most class time

- Further increase class sizes during peak periods, completely sacrificing teaching quality

- More egregious management: After over-enrollment, make students wait long periods or force them to accept more inconvenient class schedule arrangements

True hidden cost: The actual personal guidance time received is minimal, with progress slow. Parents effectively pay for "group observation" rather than "personal instruction." Students easily lose focus in crowded environments, with learning efficiency greatly reduced, leading to needing additional class hours to achieve progress that could have been realized more quickly.

### 15. Respecting Intellectual Property vs. Normalized Copyright Infringement

We respect and teach the importance of intellectual property. However, many low-priced art classes:

- Use pirated teaching materials and unauthorized image resources

- Copy course designs from other artists and institutions

- Encourage students to directly copy others' works rather than reference and learn

- Use infringing software and materials

- Use others' works as promotional materials without permission

- More serious legal hazard: Teach students that copyright infringement is "industry normal" and use infringing content in portfolios

True hidden cost: Students develop habits of disrespecting intellectual property, potentially facing future legal risks and professional reputation damage. In formal art institutions or competitions, infringing works are directly disqualified, wasting all previous investment. In some cases, they may even face legal lawsuits, causing serious economic losses.

### 16. Real Skill Building vs. Surface Result Deception

We focus on building real, transferable artistic skills. In comparison, low-priced art classes often:

- Use "skill-bypassing" shortcuts to manufacture immediate results

- Teach "tricks" applicable only to specific scenarios rather than true foundational abilities

- Rely on templates, tracing, and pre-drawn outlines to mask students' lack of basic skills

- Heavily depend on "follow me" methods where students can only copy but not create

- Avoid challenging tasks, selecting only projects that easily yield results

- Deeper deception: Teachers secretly "touch up" student works before showing parents, creating impressions of false progress

True hidden cost: When students need to independently apply learned skills, they completely fail, discovering they've actually gained nothing. Parents pay substantial tuition for their children's "progress" but receive only superficial tricks with no practical utility. When needing to participate in competitions or exams, this false ability is immediately exposed, leading to frustration and loss of confidence.

### 17. Healthy Learning Attitudes vs. Harmful Perfectionism

We cultivate positive, healthy artistic mindsets. However, many cheap art classes:

- Overemphasize "talent" rather than effort and learning processes

- Create harmful competitive environments, publicly comparing student works

- Instill incorrect notions that "imperfection equals failure"

- Neglect emotional and expressive dimensions of artistic creation

- Show disdain for creative attempts that don't "follow instructions"

- Most damaging practice: Belittling specific students' works in front of other students, causing lasting psychological trauma

True hidden cost: Students develop anxiety and fear toward art, losing courage and joy in creation. Many children completely abandon art as a result, wasting all previous investment. Some students develop perfectionist tendencies, requiring additional psychological counseling to restore healthy creative attitudes, increasing family burdens.

### 18. Honest Student Assessment vs. Parent Information Monopoly

We provide real, direct assessments of student progress. In contrast, many cheap art classes:

- Exaggerate student progress to parents, selling more courses

- Conceal students' true classroom performance and difficulties

- Only display carefully selected "best" works, hiding numerous failed attempts

- Refuse to let parents observe actual teaching processes

- Use vague professional terminology to confuse parental judgment

- More deliberate deception: Showing the same "excellent student works" to different parents, claiming they represent each child's potential

True hidden cost: Parents make decisions to continue investing based on false information, unable to timely discover teaching problems and children's real needs. By the time problems become too serious to conceal, vast amounts of time and money have been wasted. More seriously, critical periods of children's artistic development are missed.

### 19. Comprehensive Development vs. Single Skill Repetitive Practice

We are committed to students' comprehensive artistic development. In comparison, low-priced art classes typically:

- Focus only on mechanical repetition of single skills (like sketching or specific subjects)

- Neglect art appreciation, art history, and art theory

- Don't teach creative thinking and concept development abilities

- Avoid complex techniques and integrated application ability cultivation

- Simplify art education to "hand-holding drawing instruction"

- More limiting: Teach only one style or medium, refusing or devaluing other art forms

True hidden cost: Students develop into "single-skill machines" rather than comprehensive artistic creators. This narrow cultivation approach is extremely disadvantageous when applying to art schools or seeking jobs, usually requiring additional comprehensive training to remedy these deficiencies, increasing time and money costs.

### 20. Continued Educational Support vs. Sudden Termination of Relationships

We provide ongoing support and guidance after graduation. However, low-priced art classes typically:

- Immediately cut all connections with students after course completion

- Provide no future development advice or follow-up guidance

- Refuse to provide professional recommendation letters for school or job applications

- Don't share advanced learning or exhibition opportunities

- Ignore former students' requests for assistance

- Most heartless practice: After students complete paid courses, claim that previous "talent performance" was only at a "basic level," requiring purchase of more courses

True hidden cost: Students lose guidance at critical moments of artistic development, forcing them to find new mentors and support systems, wasting time and resources. They lack professional recommendations when applying to art schools or job opportunities, reducing success rates. This suddenly cut relationship causes many students to completely abandon plans for continued artistic development.

The surface savings from choosing low-priced art classes ultimately become greater economic burdens and time waste. Nature Art Workshop charges more precisely because we refuse to compromise on this low-quality model, instead being willing and able to invest the necessary resources and passion to provide truly valuable art education. Choosing us means getting not just art lessons but an opportunity for genuine artistic transformation, avoiding those seemingly cheap but actually expensive art education traps.

A: 我哋Nature Art Workshop唔單止有試堂，我哋仲將每一堂都當做係試堂添！

等我解釋下：香港好多平價嘅畫室會提供免費試堂，製造一個「試一啖無害」嘅假象。佢哋嘅心態係想吸引啲慳錢嘅家長或學生，買佢哋平嘅課程。正所謂「一分錢一分貨」，你會得到免費試堂，但之後就要長期忍受劣質教學，全因為佢哋嘅導師收費太低。

至於Michael Andrew Law，我哋唔做平價課程。當然可以試堂，實際上，我哋嘅收費模式係「上堂先付費」，呢個比試堂更好 - 你會得到真正嘅教學，但唔需要承諾任何將來嘅付款。

每一堂都係咁，Michael會憑實力贏得你嘅忠誠同持續出席，一日一堂咁計。你隨時可以取消，如果因為任何原因想延遲上堂，病假或者任何原因要跳過一日，我哋絕對唔會過問。喺我哋25年嘅經驗入面，我哋有信心Michael Andrew Law嘅教學係頂級嘅。如果你想向最好嘅老師學習，Michael就係你嘅不二之選。如果你只係想要平嘅課程，咁就唔好浪費大家時間啦。

English:

Not only do we offer trial lessons, we treat EVERY lesson you have with us as a trial! Let me explain: Many cheap local Hong Kong art studios offer free trial lessons to create an illusion of "no harm in trying one bite." Their mindset is to lure budget-conscious parents or students into buying their cheap art classes. As the saying goes, "you get what you pay for" - you'll get that free trial, but then endure subpar teaching long-term due to their low tutor fee structure. As for Michael Andrew Law, we don't do cheap classes. You can absolutely have a trial - in fact, our payment system is "pay as you attend," which is better than a trial lesson. You get genuine teaching without committing to any future payments. Every lesson works this way. Michael earns your loyalty and continued attendance one day at a time. You can cancel anytime, and if for any reason you need to postpone a lesson - sickness or any other reason to skip a day - we ask no questions.With our 25 years of experience, we're confident that Michael Andrew Law's teaching is top-tier. If you aim to learn from the best, Michael is your person. If you're just looking for cheap classes, let's not waste each other's time.

喺Michael Andrew Law Nature Art Workshop，我哋明白生活就係咁嘅 - 有時會病，有時會撞期。

唔使擔心！我哋嘅「上堂果一日先付費」模式meaning你可以隨時取消或者延期，完全冇壓力。

0係Nature Art Workshop 唔使諗點樣安排補堂，因為你根本冇需要預先付款畀我哋。

相比之下，香港大多數畫室都會要求你一次過預先買4堂或者12堂嘅「套餐」，目的係想將你鎖死喺佢哋度。然後，當你因為任何原因想跳過一堂( 取消或者延期 )，佢哋就會好似隻狗咁向你狂吠 - 「呢個係你嘅問題！」「你唔返老師都要出人工！」「唔返？都要計返嗰日錢！」Michael唔靠呢啲收費嘅花招嚟留住學生。佢靠嘅係佢嘅教學熱誠同技巧，而唔係靠啲收費條款嚟困住你。我哋相信，如果每一堂都值回票價，你自然會想繼續返嚟。我哋要贏得你嘅信任，而唔係困住你嘅銀包。

English:

At Michael Andrew Law Nature Art Workshop, we understand that life happens - sometimes you get sick, sometimes schedules conflict.Don't worry! Our "pay only on the day of your lesson" model means you can cancel or postpone anytime, completely stress-free. At Nature Art Workshop, you never need to think about arranging make-up lessons because you don't need to pre-pay us anything. In contrast, most Hong Kong art studios require you to pre-purchase "packages" of 4 or 12 lessons at once, aiming to lock you into their system. Then, when you want to skip a lesson (cancel or postpone) for any reason, they bark at you like dogs - "That's your problem!" "We still have to pay the teacher even if you don't show up!" "Not attending? We're still charging you for that day!" Michael doesn't rely on such payment tricks to retain students. He relies on his teaching passion and skills, not restrictive payment terms to trap you. We believe that if each lesson delivers value, you'll naturally want to come back. We want to earn your trust, not capture your wallet.

關於「幾錢」這個自古以來最多人問的問題，讓我解釋一下我們的做法，響你未提供任何自我介紹同埋Whatsapp對談面試之前，根本冇辦法講俾你聽「幾錢」，呢個唔係關乎海鮮價與否或者係咪秘密定價 ;

讓我解釋一下: 點解同埋響邊一方面我哋嘅做法同其他市面鬥平學費畫室唔同:

舉個例，我唔知你係想非常認真地返1年至到2年時間整一個藝術作品集去申請倫敦嘅大學，定係純粹想即興畫個靚靚嘅卡通花朵嚟輕鬆玩下，呢兩樣嘢之間嘅差別好大，對於老師方面需要準備同埋付出嘅資源亦都唔同。

舉另一個例：我都唔知你係零經驗但目標係你想辦展覽賣畫做專業藝術家，定係你已經畫咗畫幾十年有好多畫作但想我幫你提升事業，因為呢兩個項目都完全對老師嘅要求都唔同，呢啲都會造成好大嘅差異。

舉另另一個例：如果你想畫一幅超寫實嘅人像畫，我就要問你估計需要幾耐時間去達成呢個目標。我唔知你係咪癲到以為零經驗都可以喺兩日之內學識，定係你已經有20年畫畫經驗，淨係需要我幫你提升少少，呢啲情況都會造成好大嘅差異。

我知道有啲人會諗：「有咩所謂啫，你唔係按上堂時間收費咩？」...

好啊，我可以話你知上堂時間收費，就當係港幣3蚊一分鐘 (Only for example)

但係等等，最重要的重點係：

-呢個上堂時間收費係唔係計埋我需要喺你堂前準備額外嘢?

-定係我唔需要喺你堂前準備額外嘢？

-我係淨係全部時間專注教你一個?

-定係放響三-四個同學一齊?

-還是將你放起七-八個同學一齊?

-係咪每個學習緊唔同嘅題目咁樣教?

我希望你終於明白我嘅意思。

如果你想我教你畫一個難嘅題材或者藝術風格，或者大型作品，甚至其他嘅知識教學或者諮詢; 呢啲都需要我事前做額外嘅準備工作，專門針對你特定嘅學習需求，咁就唔單止係你上堂嗰陣嘅上堂時間費啦，明白未？

所以，我哋需要傾一傾，了解你嘅目標同要求，然後我先可以評估呢啲係咪喺Michael Andrew Law可以幫到你嘅範圍之內。之後我會同你討論一個計劃，最後我哋先至傾價錢。呢個就係我哋嘅做法。相反，香港其他平價畫室嘅定價方式就係用低價吸引你，然後綁你最少一個月或者三個月，直到你發現自己乜都冇學到為止。睇你有冇智慧啦。

試諗吓，你會唔會喺踏入高級律師樓嗰一刻就大聲問：「喂，你哋打官司幾錢呀？」梗係唔會啦！因為專業服務嘅價值唔係一個簡單嘅數字就能概括到㗎。就好似你需要搬屋服務 Lalamove Gogo Van，直接Chat問司機：「幾錢呀？」司機會一頭霧水噉答：「小姐/先生，'幾錢'係咩意思？你想搬咩嘢？幾時搬？你淨係要貨車? 定仲要幾個大隻佬幫手？我哋需要過收費隧道咩？係唔係塞車時段？」

喺 Nature Art Workshop，我哋提供嘅係頂級專業藝術教育，而唔係賣一碗固定價錢嘅雲吞麵或者一罐可樂。我哋冇藝術課程嘅「藍皮書價目表」，因為我哋需要了解： 你嘅學習目標係咩？ 你係短期學習定係長期規劃？ 你而家嘅藝術知識水平係點？ 你係初學者定係職業生涯中期嘅藝術家？ 喺唔了解你具體需求嘅情況下提供固定價格，對你嚟講冇意思。我哋 Nature Art Workshop 嘅課程係度身訂造嘅，所以首先需要了解你嘅需求，先至能夠提供有意義嘅價格資訊。

English:

"What's the price?"I can't tell you how much before I know what your goals or requirements are.

For example, I don't know if you want to build an art portfolio to apply to a university in London, or if you just want to paint a beautiful little cartoon flower for fun - it makes a lot of difference between these scenarios.

I also don't know if you are zero experience but your goal is to make an exhibition selling art as a professional artist, or if you already have a lot of paintings but you want me to help you upgrade your career a little because you need help - that also makes a big difference.

And say if you want to paint a very realistic photoreal portrait painting, then I've got to ask you how long you imagine you want to achieve that.

I don't know if you're crazy and want to achieve that in 2 days with absolutely zero experience, or if you already have 20 years of experience in painting and just need me to push you up a little - that also makes large differences.

I know some of you might think, "Who cares what the difference is, you just work for an hourly rate, right?"

Well, sure, why not - I can tell you the hourly rate, Say I charge 3 dollars HKD per minute, but wait, that's still missing the point.

Does the hourly rate account for whether I need to prepare extra things before your lesson, or if I don't need to prepare anything extra?

I hope you see what I mean .

If you want me to teach you to paint a difficult subject or art style or a large work, it requires me to do extra preparation beforehand just to deal with your specific learning needs.

Then, it's not just the hourly rate for when you're attending the lesson, got it?Therefore, we've got to have a small chat to understand your goals, your requirements, and then I have to estimate if it's even within the range that I, Michael Andrew Law, can help with or not. Then I will discuss a plan with you, and only then can we discuss a price.

That's how we work.Otherwise, another pricing method out there in cheap local HK art studios is just trying to lure you with a low number and try to bundle you into 1 or 3 months minimum commitment until the time you realize you didn't learn anything at all. It depends on your wisdom.Imagine walking into a top law firm and immediately shouting: "Hey, how much to handle my case?" You wouldn't do that, right? Because the value of professional services can't be reduced to a simple number.

It's like needing moving services from Lalamove or GoGoVan and simply messaging the driver: "How much?" The driver would be confused: "Sir/Madam, what does 'how much' mean? What are you moving? When? Do you just need a truck or several strong helpers too? Will we need to use toll tunnels? Is it during rush hour?"At Nature Art Workshop, we provide premium professional art education, not a bowl of wonton noodles or a can of soda with fixed pricing.We don't have a "blue book price list" for our art courses because we need to understand: What are your learning goals? Are you looking for short-term learning or long-term development? What's your current art knowledge level? Are you a beginner or a mid-career artist? Providing a fixed price without understanding your specific needs would be meaningless for you. Our courses at Nature Art Workshop are tailor-made, so we first need to understand your needs before we can provide meaningful pricing information.

有，Nature Art Workshop 確實有一個系統性計劃，專為真心想接受我哋優質教學但可能需要一啲財政支援嘅人士而設。

我哋提供一個「價值交換計劃」(Value Exchange Plan) 畀有需要嘅人士。如果你有興趣申請，你可以依照以下步驟： 首先Whatsapp 聯絡我哋，詳細講解你嘅情況 如果我哋覺得呢個計劃啱你同埋啱我哋，我哋會俾一份申請表畀你填寫 我哋會根據你嘅具體情況同埋申請表內容嚟評估 請注意，呢個價值交換計劃係為真正需要財政支援但又非常渴望學習嘅學生而設計嘅，唔係一般嘅折扣優惠。我哋希望透過呢個計劃，令有才華同埋熱誠嘅藝術學生都有機會接受到高水準嘅藝術教育。

In English:

Yes, at Nature Art Workshop we do have a system plan for people who really want our premium level teaching but might need some financial assistance. We offer a "Value Exchange Plan" for those who need it. If you're interested in applying, you can follow these steps: First, contact us and tell us about your situation If we think this plan is suitable for both you and us, we will provide you with a form to fill out We will evaluate based on your specific circumstances and the information provided in the form Please note that this Value Exchange Plan is designed for students who genuinely need financial support but are passionate about learning, and is not a standard discount offer. Through this program, we hope to make high-quality art education accessible to talented and dedicated art students who might need some assistance.