How to run a paid makeup masterclass

You've booked a makeup artist with a beautiful portfolio. The room has mirrors, the gift bags are taking shape, and somebody suggests calling the event a masterclass. Then you start writing the ticket page. Will people watch the artist work, practise on themselves, or leave with their makeup professionally applied?

Those are different things to sell. They need different rooms, different amounts of personal attention and different budgets. If you leave the distinction vague, someone will arrive expecting a makeover while your artist is preparing to teach a roomful of beginners.

To run a paid makeup masterclass, choose the learning format first. Agree exactly what attendees will watch or practise, how products and tools will be provided, and how much individual help the team can actually deliver. Test that arrangement before setting the ticket limit and price.

For a first hands-on date, I'd choose a focused session using participants' own familiar products over a broad promise to transform everyone's entire routine. You can offer supplied products instead, but that becomes a different purchasing, suitability and hygiene job. A gift bag doesn't resolve it.

We'll work through an adult beginner class where people practise a simple everyday base on themselves. Here, base means the foundation or similar complexion makeup used for the finish they want. The class uses their own products and brushes, with a separate demonstration kit and a teaching assistant. It's an illustrative operating plan, not a recommended staffing ratio or cosmetic procedure. Your artist, venue, insurer and relevant local authorities need to assess your actual activities.

Decide what the ticket buys before choosing the room

Start with the action. In a demonstration, the artist applies makeup to an agreed model while explaining their decisions. Attendees watch, take notes and ask questions. You need a clear view, good sound and a model arrangement, but you haven't promised individual application time.

In a hands-on class, attendees practise. That means work surfaces, mirrors, suitable lighting, products, tools and time for mistakes. You also need a credible answer to the person who puts their hand up while the artist is already helping somebody else.

A personal makeup service is different again. The artist applies makeup for the customer. If your event combines teaching and application appointments, describe both and provide the staff and equipment they need. Don't let the phrase "personal guidance" quietly become a promise that everybody gets a finished professional look.

Choose the format that supports your main reason for charging. A specialist artist explaining an unusual technique might make an excellent demonstration. Someone who keeps buying foundation they cannot apply comfortably may value supervised practice with the products they already own. Neither format automatically needs to become the other.

For our example, the offer is a three-hour adult beginner session about applying and adjusting an everyday base. Participants work on their own faces, using their own familiar products. The lead artist demonstrates on a consenting model. A suitably experienced assistant gives verbal guidance during practice. The event doesn't include professional makeup application for attendees.

That last sentence belongs on the sales page. It prevents a much bigger conversation at check-in, when someone has booked dinner afterwards and assumes they'll leave ready for a formal event.

Also decide who this class doesn't suit. A professional wanting advanced editorial techniques needs another offer. Someone seeking advice about treating a skin condition needs an appropriately qualified healthcare professional. A beginner class can be useful without claiming to answer every beauty question.

Write the offer with your artist, then ask an unfamiliar reader to explain what they think happens. If they describe a different experience, revise the wording before producing promotional material. The room and ticket categories should follow the agreed offer.

Choose one result people can practise in the time

"Learn professional makeup" is a difficult promise to defend in an afternoon. A smaller result gives you something to design around. For our example, the aim is that attendees can apply their familiar base product, recognise where they want a lighter or fuller finish, and repeat the approach at home.

The artist chooses the exact teaching content after assessing the proposed audience and materials. You don't need to prescribe their technique. You do need to ask what the learner will actually do, when they will practise and how the teacher will check whether the explanation made sense.

Have the artist teach a trial learner with the same starting ability you advertise. Pay for this development work. Watch where the learner stops, what they ask and how much time the artist spends correcting something that looked effortless in the demonstration.

Keep the trial close to the promised conditions. If the learner has a professional lighting setup and a carefully selected kit during rehearsal, the result tells you little about a class using ordinary personal makeup bags. Test the materials arrangement as well as the lesson.

Ask the artist to distinguish the essential exercise from optional content. Our example doesn't need brows, a dramatic eye, lashes, a complete skincare consultation and an evening transformation. Each addition takes teaching time and may introduce another product or activity to assess.

You can still answer a relevant question without adding a new practical exercise. The artist might explain that a topic needs a separate session, or point someone towards an appropriate source. An honest boundary usually makes more sense than rushing through something you never planned to teach.

The class should also allow different personal preferences. Someone may want visible coverage; someone else may prefer a very light finish. The teacher can help each person work towards their stated aim without treating one look as the correct face everyone ought to have.

Review the trial against the ticket wording. If your advertised result depends on the artist taking over and doing the work, you've learned that the lesson needs changing. Reduce the task, improve the explanation or allow more support before you charge for that result.

Appoint someone who can teach this audience

A strong portfolio shows what the artist can produce. Ask for evidence of teaching people like the customers you're targeting. Helping beginners understand their own products differs from working quickly on an experienced model who already knows the routine.

During the trial, listen to the explanation. Does the artist name what they're doing and why? Can they describe a small movement without assuming everyone can see it? When the learner is confused, do they explain it another way or repeat the same words more loudly?

Discuss how they respond to different skin tones, ages, facial features and comfort levels within the advertised audience. Ask for relevant examples of their teaching or work. Avoid a sweeping "suitable for everyone" claim when the planned content, products or experience don't support it.

Agree the assistant's role just as carefully. An event host who checks names and directs people to the toilets isn't automatically qualified to advise on application. If you count the assistant as teaching support, verify the experience needed for that role and rehearse their part.

Our guide to checking workshop instructor qualifications separates practical and teaching ability from local legal requirements, insurance conditions and venue rules. Use those checks for the exact activity you're planning. Don't assume that calling something education removes requirements that would otherwise apply.

Give the venue and insurer the actual description. Explain whether staff touch attendees, who handles products, whether a model is involved and which activities are excluded. In our working example, participants apply their own makeup and staff give verbal guidance. Any proposed change to hands-on application needs another review.

Put the commercial scope in writing too. Include preparation, the trial, teaching, travel, the model arrangement, resources, setup, packing and promised follow-up. Agree who owns the lesson materials and what you may use to promote the event. A teaching fee that covers only the public hours isn't the complete cost.

Choose a substitute process before you need it. A different artist may be talented but teach another style or use a different product arrangement. If the replacement cannot deliver what buyers purchased, follow the applicable change or cancellation process rather than treating the name swap as a minor administrative detail.

Make product provision explicit

There are several workable product arrangements. The mistake is advertising "everything provided" before you've priced and tested one.

For our example, attendees bring the familiar base products and clean personal brushes listed in advance. Each person's makeup stays with that person. The artist uses a separate kit on the demonstration model. Nothing from that kit circulates around the class as a communal tester.

This arrangement lets people practise with what they expect to use at home. It also has a limitation. Someone may bring a product that doesn't suit the exercise, forget an item or arrive with something the artist cannot identify. Plan those conversations before the doors open.

Send a short, specific packing list early enough for questions. "Bring your makeup" could mean a handbag containing one lipstick or a suitcase of products. State the categories needed for the agreed exercise and explain what isn't necessary. Don't require an undisclosed shopping trip after someone has paid.

Offer a private pre-event contact for people who aren't sure they own the required items. The artist can clarify suitability for the lesson without diagnosing skin concerns or promising that a product will agree with someone. Publish any required purchases and likely additional costs before booking.

If you supply products, define what each ticket includes. Is each person receiving unopened personal items to keep? Are particular products excluded? Can you provide the required range for the audience? What happens if a promised item becomes unavailable? These questions belong in purchasing and sales planning.

The FDA's US guidance on using cosmetics safely advises following labels, washing hands and avoiding shared makeup. It also warns that "hypoallergenic" doesn't guarantee freedom from allergic reactions. Use the product's actual instructions and get competent advice for your class arrangements; don't turn a marketing label into a promise of suitability.

Keep original product information available where it applies. A decorative pot with no identifying information makes later questions harder to answer. If the planned supply method requires specialist handling, ask the appropriate professional to approve it. You don't need to invent a communal product system to make the room look generous.

Plan hygiene as part of delivery

Ask your artist to describe the proposed handling process in ordinary language. Follow a product through arrival, storage, demonstration, use and packing. Identify who handles it and what happens if the planned arrangement is interrupted. That discussion should happen before purchasing quantities or booking consecutive sessions.

The FDA's eye cosmetic safety guidance warns against sharing eye makeup and describes contamination concerns with communal testers. Although our example doesn't teach eye makeup, the distinction matters if you expand the programme. A table of products people can try isn't a harmless extra you can add without reviewing the activity.

For this class, give each attendee a clearly identified personal work area. Staff can explain which items are supplied, which belong to the participant and where used disposable materials go. Keep the model's materials at the demonstration station. Those arrangements make the agreed no-sharing approach easier to follow.

Brief the team on forgotten items. If someone has no brush, their neighbour's brush isn't your fallback. Decide beforehand whether you have suitable unopened individual replacements, whether an activity can be adapted, or whether the person needs another option under your published terms. Cost the replacement approach you choose.

Our example doesn't promise a loan kit or hold replacement cosmetics for every participant. The host checks readiness through the advance message and directs kit questions to the artist before the event. If a missing item still prevents someone taking part, the host discusses the options already explained in the booking terms. Watching instead may be an option the person accepts, but it doesn't automatically fulfil a ticket sold for practical participation. Don't let staff quietly rewrite the offer at the door.

The American Academy of Dermatology's guidance on cleaning makeup brushes advises against sharing brushes and explains washing and drying for personal care. It isn't a protocol approving rapid reuse between customers. Ask your professional adviser what your particular equipment and activities require, especially if you plan multiple dates or loan equipment.

Make time for the work around the lesson. Somebody must prepare surfaces, manage waste and complete the venue's agreed cleaning arrangements. They need the right supplies, access and paid hours. A room booking ending at the same moment as the public session leaves no time to finish those duties.

Keep the response to a product concern clear. FDA's eye cosmetic safety questions and answers says to stop using an irritating eye cosmetic and seek a doctor if irritation persists, and to avoid eye cosmetics during infection or surrounding inflammation. Your staff should know the event's agreed first-aid and escalation arrangements. They shouldn't improvise a diagnosis or substitute another product to keep someone participating.

Give attendees a private way to raise concerns. A public round of questions about everybody's skin or medical history is unnecessary for welcoming a class. Work out with suitable advisers what information the activity genuinely needs, how it will be handled and what action follows an answer. A form nobody reviews won't help you deliver the session.

Check the view at every place you plan to sell

Mirrors don't establish that a room works for teaching. The learner needs to see their own work and the artist's demonstration, often at different moments. Test both views with the furniture, lighting and equipment you intend to use.

Start from the least convenient seat. Ask a trial attendee to watch the model while the artist stands in their working position. The teacher's shoulder may cover the exact movement being explained. A front-row photograph of the empty room won't reveal that problem.

If you use a camera and screen, test the actual live picture. Check focus, framing, delay and whether the lighting makes the relevant detail visible. Ask the artist to move naturally rather than holding still for a flattering test image. Put someone in charge of the camera so the teacher can keep teaching.

A larger screen can help people see detail, but it adds another job. Budget for the equipment and operator, agree permissions with the model, and decide whether the camera only provides a live view or also records. Don't accidentally create a recording promise or promotional asset arrangement nobody discussed.

For the working example, assume a direct-view demonstration that has passed the sightline trial, without a camera or recording. If the twelve-place layout fails that trial, reduce or rearrange the group and recalculate the budget, or add a properly costed screen setup before selling. That equipment and operator would add costs to the example below.

At each practice place, check the mirror position, usable table space and lighting. Let a trial learner open their normal makeup bag and follow the exercise. If they need to move everything into the aisle each time they reach for something, reduce the furniture or change the layout.

Our illustrative class has twelve participant workstations. That is a teaching plan to test, not a safe occupancy calculation. The model, artist, assistant, host and any support people also need space. Confirm the whole arrangement with the venue, including access routes, electrical equipment and emergency arrangements.

W3C's accessible events checklist recommends accessible materials, advance communication about requirements and descriptions of relevant visual information. Apply that to the lesson. The artist should explain what changes and where, rather than saying "do this" while making an unseen movement. Assess physical access and individual adjustments separately with the venue and attendees.

Ask whether the agreed layout still works when someone needs an adjustment. A movable mirror or different table arrangement may help, but confirm the actual response instead of promising every adjustment in advance. Make the access contact easy to find before purchase and keep the conversation respectful and specific.

Count the help people need before setting capacity

You can fit more chairs into a demonstration than you can usually fit fully equipped practice places into the same room. Even so, furniture is only part of your limit. Count the teaching work promised to each attendee.

In our example, each of the twelve participants is offered one short individual review during practice, plus opportunities to ask questions. If you plan four minutes for each review, that alone requires forty-eight minutes of direct attention. The figure is invented for this plan; your trial needs to establish what your exercise actually takes.

Suppose the assistant has sixty minutes specifically available for those reviews across the practice periods. Forty-eight minutes leaves twelve minutes for moving between people and overruns. That isn't generous, particularly if one person needs the instruction repeated. The lead artist also circulates, but you shouldn't count their entire teaching time as spare personal appointment time.

Use that calculation to question the offer. Could you simplify the review? Does the assistant need longer? Should the group be smaller? If you increase capacity, revise the support plan before increasing ticket quantities. The room doesn't produce extra teaching time when another booking arrives.

Include complimentary participants. They use a workstation, ask questions and need the same promised support. If you have twelve participant places and one is complimentary, you have eleven paid places to sell. The model isn't a spare participant place; their role and schedule are different.

Also account for the host's responsibilities. In this example, the host handles arrivals, booking problems and room logistics. The assistant remains available to teach during the planned review periods. Using the assistant as the only check-in person would change the teaching plan whenever someone arrives late.

Explain the support level plainly on the ticket page. "Individual review during practice" describes something you can schedule. "Unlimited one-to-one coaching" creates a different expectation, even if you intended it as enthusiastic wording.

Rehearse a small queue for help. A learner waiting needs a useful next action that doesn't depend on borrowing someone else's equipment or attempting an unbriefed technique. The teacher might ask them to repeat an agreed step, make notes or pause. Work that out as part of the lesson, then observe whether it actually keeps beginners comfortable.

Build a programme that protects practice time

Write the public running order around the work attendees are buying. If the main value is guided application, it needs a substantial part of the afternoon. A long artist introduction followed by a hurried attempt at the end won't deliver the same offer.

Here's an illustrative programme for our adult everyday-base class. These are planning allocations to test in rehearsal, not recommended cosmetic processing times.

• 14:00 to 14:15: welcome, explain the format, personal materials arrangements and how to ask for help.

• 14:15 to 14:35: the artist demonstrates the first part of the agreed routine on the model.

• 14:35 to 15:00: participants try the first exercise, with teaching support circulating.

• 15:00 to 15:15: break and an agreed workstation reset.

• 15:15 to 15:40: the artist demonstrates adjustments, explaining how they relate to different preferences.

• 15:40 to 16:15: second practice block and individual reviews.

• 16:15 to 16:40: further practice, corrections and completion of any outstanding reviews.

• 16:40 to 17:00: questions, personal notes and the explanation of promised follow-up resources.

That totals 180 minutes, including the break. The three practice periods total eighty-five minutes. The assistant's sixty-minute review availability is reserved within those periods, with the remaining practice time and the lead artist's role planned separately. Don't add the review minutes again as if they extend the afternoon.

Keep setup and clearing outside the public programme. Confirm when equipment can enter the venue, when the model and team arrive, and when the room must be handed back. The trial tells you how much access to book. A three-hour class can require a much longer paid working day.

Prepare the questions segment so it supports learning. Ask the artist to distinguish a question relevant to the whole room from one requiring a private conversation or advice outside their role. A long discussion of one person's complete skincare routine shouldn't consume everyone else's final practice time.

Agree what can be shortened if the demonstration overruns. Remove optional examples before cutting the only opportunity for the last participants to receive their review. Tell people early if the schedule changes and preserve the published finish time wherever you can. Their onward plans matter too.

The model needs an agreed programme as well. Confirm preparation, breaks, comfort, payment and permission for the demonstration. Ask before any physical adjustment or new use of their image. Being the model doesn't mean agreeing to every attendee's close-up photograph.

Price the complete session, including your own time

A masterclass can look profitable when you subtract the artist's public teaching fee from ticket sales. Then the venue invoice, development hours, model fee and extra host time arrive. Build the whole delivery budget before choosing a price.

Use the following fictional USD example to see the calculation. These amounts are invented, not market rates or a recommended class price. They assume twelve participant places, including one complimentary participant. The demonstration model and paid team are additional people, with their costs included separately.

Fixed costs are $560 for the lead artist and model arrangement, $260 for the teaching assistant, $220 for venue access, $100 for the host and organiser's administration, $80 for equipment and first-session development, $40 for promotion and $40 for insurance and other agreed administration. The total is $1,300.

Those allowances must cover the full agreed work, including preparation, trial, setup, public delivery, clearing and promised follow-up. Purchase taxes and delivery are included. This example charges the date's equipment purchases to this session in full and doesn't rely on later classes to repay development. Replace each allowance with a complete confirmed cost before using the calculation.

Allow another $10 for every booked participant, paid or complimentary, for the agreed personal consumables and printed resources. Attendees bring the required makeup and brushes, so the example doesn't include supplying them with a full cosmetics kit. Demonstration materials are included in the fixed artist allowance.

Assume each full-price ticket leaves $150 with the organiser after ticket-related taxes, selling fees and payment deductions. That is retained income, not necessarily the price displayed to the buyer. Income tax and borrowing costs are excluded, and this first calculation assumes no refunds or other income.

With nine paid attendees and one complimentary attendee, retained income is $1,350. Participant supplies cost $100. After the $1,300 fixed cost, you lose $50. Ten paid attendees and one complimentary attendee leave $90. Eleven paid attendees and one complimentary attendee leave $230.

Each additional full-price paid participant adds $140 after their $10 supplies. Because the complimentary person's supplies also need funding, ten full-price paid bookings are needed to cover the included costs under these assumptions. Our paid workshop pricing guide explains how to test the price and minimum sales against the full offer.

Now test the decisions you'll be tempted to make while promoting. If four buyers each leave $20 less retained income because of a discount, the eleven-paid result falls to $150. An extra $180 cost instead reduces it to $50. Make both changes and the result becomes a $30 loss.

A second complimentary place also has a cost. At the twelve-participant limit, it replaces a paid booking. Ten paid attendees and two complimentary attendees leave $80, a $150 reduction from the original full-class result. You haven't created another place by calling it a guest invitation.

Cash timing needs its own check. If $800 of the included costs falls due before ticket money is available and you have $500 available, you need another $300. A venue deposit is part of the venue charge, not an extra expense to count twice. Keep any unspent contingency funding separate from the expected cost total.

Choose a booking review date before the next difficult commitment. At that point, decide whether to proceed, make a change you can genuinely deliver or use the cancellation arrangements. A full class is worthwhile only if the amount left justifies the work and uncertainty you have agreed to take on.

Write a ticket page that answers the awkward questions

You know the class is hands-on because you've spent days discussing it. The buyer doesn't. Put the format near the beginning, together with the specific learning aim and who the class suits.

A description for our example could read: "Practise an everyday makeup base with the products you already use. In this three-hour beginner class, you'll watch our artist demonstrate on a model, then work on your own face with verbal guidance from the teaching team. Bring the familiar products and clean personal brushes on the published list. Each participant receives a short individual review during practice. The ticket includes teaching, a workstation and the listed resources. It doesn't include a professional makeup application or a full cosmetics kit."

That description still needs the practical information. Show the actual date, public hours, arrival time, location, age requirements, access details, full buying cost and cancellation terms. Explain any preparation instructions and give people a contact for questions before purchase.

Set out separate responses for an organiser cancellation, an attendee cancellation and a participant who cannot undertake the planned activity. Our event refund policy guide helps you make the terms understandable. Check the legal requirements for your market as well. A blanket non-refundable label doesn't answer what happens when you cannot supply the advertised teaching, and a signed form doesn't remove your responsibilities.

For a product concern raised before the date, the host needs an agreed decision process with the artist. Establish whether the existing offer can accommodate the person, whether an alternative is appropriate, or whether the booking needs another resolution. Don't pressure someone to use an unfamiliar product to protect your attendance number. If your response changes expected refunds or costs, update the financial plan too.

Make the kit list available before booking. A person who owns none of the required items needs to understand that cost before deciding. If you later offer an optional kit, state its contents, price, suitability limits and purchase deadline. Don't make an advertised teaching place dependent on a surprise purchase.

Be precise about personal advice. The class teaches application within an agreed scope. It doesn't provide medical assessment or a guarantee that every product will suit every person. If your artist is also qualified for another service, that still doesn't make the service part of this ticket.

Our ticket-selling tools let you set ticket releases with their own price and quantity, and confirmation emails link buyers to their QR tickets. Use quantities that match the tested delivery plan. The booking record helps you manage entry; the team still needs to establish the class's suitable capacity and product arrangements.

Keep ticket choices simple. For this example, everyone receives the same teaching and workstation. A cheaper observer ticket would change the layout and experience, so don't add one merely to catch hesitant buyers. If you want observers, design that offer before selling it.

Explain photography separately. Tell people whether the organiser plans to photograph the room, the model or participants, and agree the appropriate permissions and alternatives. Somebody should be able to concentrate on learning without assuming that buying a ticket requires appearing in your next campaign.

Finally, check the page against the team brief. The artist, assistant and host should give the same answer about what to bring, how reviews work and what happens if somebody cannot participate. Resolve a mismatch before it becomes a buyer's problem.

Promote the teaching, and make brand relationships clear

Show potential buyers how the artist explains a decision. A short approved demonstration can help someone judge the teaching style. Use clear lighting and an honest description of what they're seeing. If an image shows the artist's professional work, say so instead of presenting it as the likely result of a beginner's first attempt.

Build the message around the learner's problem. For our example, that might be owning a base product but struggling to achieve the finish they want. Explain why bringing their own familiar products makes this particular session useful. You don't need to tell them they look wrong to sell help with a technique.

Choose promotion partners who reach the intended customers. An artist's professional audience may include many people who are too experienced for your beginner class. Give partners the audience description and exclusions, as well as the booking link. A large following isn't a substitute for a suitable offer.

If a brand supplies products, pays the artist or rewards purchases, agree how that relationship will be explained. The US FTC's endorsement guidance says unexpected connections that could affect how people evaluate an endorsement should be clearly disclosed. Apply the rules relevant to your market and material. Don't describe commercially influenced recommendations as independent advice.

Separate signed support from hoped-for sales. Donated products may reduce a purchase you would otherwise make, but they don't pay the venue invoice. Commission is uncertain until the relevant sales and payment terms are satisfied. Keep an event budget that works with the support actually confirmed.

Review promotion costs against remaining places. In our fictional budget, selling the final place adds $140 after supplies. Spending another $200 solely to acquire that booking makes the event result $60 worse. It would turn the ten-paid result of $90 into $30 after the last sale and extra spend. A sold-out announcement doesn't improve that arithmetic.

You may deliberately invest in learning about a new audience, but record that as an investment decision with a spending limit. Don't justify unlimited acquisition costs by assuming every first-time learner will buy another class. Follow-on sales need evidence of their own.

Prepare arrivals and finish the promises afterwards

Send the preparation message early enough for people to check their kit. Repeat the learning format, exact bring list, arrival arrangements and contact route. If the artist wants attendees to arrive with particular preparation, agree and disclose that before purchase, then remind people. Avoid a last-minute instruction that changes what they need to buy or do.

Loopyah's attendee email tools distinguish event updates for ticket holders from promotions for people who agreed to hear from you. Use the relevant event-update audience for practical instructions, and keep later offers separate. Check the message content and send yourself a test before sending the class instructions.

Before arrivals, the host walks the route, checks names and confirms the room is ready. The teaching team checks the demonstration and personal workstations. Keep the replacement-item plan and any agreed adjustments available to the people responsible. Don't put private participant details into a document the whole room can see.

Welcome people without inspecting their appearance as a problem to fix. Explain how the afternoon works, when help is available and that they can pause or decline an activity. The first conversation should make the format easy to understand, especially for someone who has never attended a beauty class.

During practice, track the promised individual reviews. A simple place list can show which reviews are complete without recording personal judgments. Check the quiet people as well as those who ask quickly. At the final questions block, identify anyone still waiting while there is time to respond.

Give participants a way to record what they learned in their own words. For our example, that might be the product they used, the finish they preferred and the adjustment they want to try again. The useful outcome is something they can repeat, even if their final look differs from the model's.

Send the promised resources when you said you would. Define any personal follow-up before selling it, including who answers and for how long. An unlimited message invitation can create days of unbudgeted work and questions beyond the teaching scope. A clear resource and a defined contact process are easier to deliver consistently.

Review the date with the team. Compare actual costs and paid hours with the budget, then look at whether people could see, practise and receive the support they bought. Record forgotten items, delays and adjustments that worked. Use those observations to change the next offer before increasing the group.

Before opening another date, read the ticket description aloud with your artist. If you're promising guided practice, you should be able to point to the workstations, personal materials, teaching time and individual reviews that make it possible. Change any part you cannot yet deliver before you take bookings for it.