| Author | Message | ||
  Grizrev Senior Member Username: Grizrev Post Number: 427 Registered: 8-2006 |
Marie, I agree so much with the last paragraph in your last post: "Every person has an individual style. Some people are all about color and pattern, others gravitate toward value instead of line. Some people do better with a brush, others better with a pencil. Some people do better working for a long time with a small brush, others work better quickly with a large brush. Some people are very patient and methodical, others want everything to come together immediately. The trick is not to change someone's style but to try to figure out what the style is and work with them within those parameters." When are you going to offer a national workshop? | ||
Marie Senior Member Username: Marie Post Number: 417 Registered: 8-2006 |
Sorry for the delay in posting. I have had a lot going on. First, I take back what I said about not getting much out of workshops. I took a marvelous workshop from John Salminen about a month ago, and I would highly recommend his class. He (and his wife Kathy, who helps out) are delightfully pleasant and sane. Even though the workshop is about abstraction, he shares a lot of information that is useful regardless of your painting style. Lots of demos; lots of individual feedback and encouragement. Wow! Now, on to Scw's question of what I have learned from teaching. The big takeaway from teaching for me is that it forces me to organize and articulate my ideas. Sometimes the process of explaining how to do something helps to firm up my ideas. Other things that I have helped: * There seem to be some universal things about drawing and design that everyone seems to get wrong. There are about half a dozen things about drawing people -- heads too big, legs too short, heads with big features and no cranium, heads and other body parts parallel to the side of the page -- that without exception everyone does unless they have been trained not to. On the design side, very few people think about shapes and overall design. If they want to emphasize something, they just draw a harder outline around it. * Every person has an individual style. Some people are all about color and pattern, others gravitate toward value instead of line. Some people do better with a brush, others better with a pencil. Some people do better working for a long time with a small brush, others work better quickly with a large brush. Some people are very patient and methodical, others want everything to come together immediately. The trick is not to change someone's style but to try to figure out what the style is and work with them within those parameters. | ||
Scw New member Username: Scw Post Number: 1 Registered: 1-2007 |
This is also my first time posting, and I appreciate so much the experiences you all have shared. Here's a question for those of you who teach either workshops or classes--How has teaching impacted your personal growth as an artist? | ||
Unkyjack New member Username: Unkyjack Post Number: 1 Registered: 7-2007 |
This is my first post to the community, but the workshop topic caught my attention and I couldn't resist. I've been painting with watercolor for quite some time and have taken a few workshops and art-association classes over the years. Last week, our local artist's group sponsored a Don Andrews landscape workshop, which I was unable to attend for a number of work-related reasons. But, I did go to his painting demo at our monthly meeting and was impressed with his teaching style, personality and good sense of humor. Fellow club members who attended the workshop, some of whom have studied with a number of top watercolor instructors, rated Andrews workshop very highly. By the way, if you are a Robert E. Wood fan, as I am, it's worth noting that Andrews is a former Wood student and Wood's influence is evident in Don's work and teaching. Based on what I saw from just one night of watching Don Andrews paint and teach, I'd definitely take a workshop with him if I had the chance. Jack | ||
Joanna Member Username: Joanna Post Number: 35 Registered: 10-2006 |
Hi Marie! Glad to hear you are giving workshops also and that you are considering what makes a good one and...not so good. I'm involved with an art center new here in our tiny burgeoning town in Delaware, a very pleasant old "peach railroad" town in Central DE. They took an old Hudson dealership and turned it into a gallery/studio/class center. Unfortunately they spent a lot on renovating it (it's a nice old building but cash is hard to come by here.) I'm teaching some art classes and hope to do a few more in watercolor, though right now they "have" a watercolor teacher. So I plan to teach ACEO card and other things until they can deal with 2 watercolorists with different techniques and outlooks. If you plan to be in the Philadelphia area, contact us because they may be up for hosting a workshop here. Our space is very nice and amenable to classes. http://thegibby.com/  | ||
Grizrev Senior Member Username: Grizrev Post Number: 290 Registered: 8-2006 |
Marie, I'm so glad you're holding workshops! Having some negative workshop experience will make you a much more sensitive teacher -- and your paintings and painting advice (at least from what I have read on this board) are terrific. Please think about going national as soon as you're able. It might take some energy away from your own painting, but you have a lot to share! I can understand why Eugene, at his age, doesn't want to invest the energy he has left in that venue -- but you're young! Your problem with a lack of individual attention in the workshop with Alex Powers was the same as my workshop experiences. Keep your workshop as small as financially feasible so you'll have time for all your students! Sounds like you'd enjoy some one on one time with artists you admire -- is that kind of thing possible? | ||
Eugene Senior Member Username: Eugene Post Number: 317 Registered: 8-2006 |
Marie. You were unfortunate in your choices of workshop instructors. I have taken their workshops too, and had the same experience as you. You hit the nail on the head with your review. I've taken loads of workshops and those two are at the bottom of the list. I took Skip's because I liked the way he used to paint. I didn't like the way he picked on certain students. He should be a stand up comic instead of a teacher. Alex gave me poor advice too. Told me to stop painting the Amish because I was exploiting them. I've had my greatest success with them because I believe that you should paint the things you know best. His painting is really drawing, OK if that's what you want, but it's not for me. He actually had some of the girls in tears. and I think that's a terrble thing to do to someone who has paid hundreds for instruction. I enoyed most of the other teachers I've had. If I had to name one that I liked best,it would probably be Frank Webb. But there were many other good ones too. The best ones try to bring out the best in you not try to make you paint their way. | ||
Marie Senior Member Username: Marie Post Number: 349 Registered: 8-2006 |
It's not that I see flaws in workshops so much as I figure that I usually pay close to $100 a day for a workshop -- $500 for a 5-day workshop. I pay roughly $25 for a book. I'm not sure that I get 20 times more value for my money in a workshop. So, I have taken two workshops. The first was with Alex Powers last fall. I like his work a lot, and think his book is one of the best in my collection. He liked my drawings a lot and told me in the initial group critique to throw away my paint just draw. I do love to draw, but I don't want to throw away my paint. The other thing was that I didn't get any individual instruction until about the last 10 minutes on the last day of the workshop. Other folks were hovered over several times a day. I took another workshop from Skip Lawrence. He's very good and very entertaining, but also somewhat dogmatic. He likes color -- and that's fine -- I learned some things about color in the workshop. But he was also pretty dogmatic about disliking anything that wasn't all about color and flat space. It kind of reminded me of someone who has just found religion and rejected anyone who didn't believe in his religion. The attitude was: "Homer and Sargent are dead and meaningless; Matisse and Bonnard are fresh and wonderful." I pointed out the Matisse and Bonnard are just as dead as Sargent and Homer. He didn't like that. I guess what I was looking for was some advice on where I am now and what might be some next steps in the context of my natural tendencies. In that respect, I think Powers was probably better. I think I would have really liked the Powers workshop if I had gotten a little more individual attention. Actually, I learned from both workshops, and so I don't want to sound negative. And, by the way, yes I do teach workshops. So far, most of them have been within 100 miles or so of Atlanta. I haven't ventured out too much to other places yet. | ||
Grizrev Senior Member Username: Grizrev Post Number: 272 Registered: 8-2006 |
Marie, What do you think are the greatest "flaws" in workshops you have observed or taken? For example, Tom Lynch worked very hard in preparing and conducting the workshop I took, but I felt there was an overemphasis on the sale of materials he brought with him. He is a great marketer, which is understandable, since workshops certainly have a bottom line. On the other hand, unless you are aware of that aspect of the workshop, it can be "off-putting." The workshop I took with Tony Couch was quite enjoyable. I admire his painting style, even though it is quite different from another of my favorites, Edward Seago. However, his strength is his commentary as he paints a demonstration. He has little patience for being a wandering personal tutor or mentor in the afternoon time devoted to student painting. He tends to sit alone and to answer questions only when approached. What have you observed or heard about other workshop leaders? | ||
Eugene Senior Member Username: Eugene Post Number: 311 Registered: 8-2006 |
MARIE,”Do I get much out of workshops?” Hard to answer. I’ve been to twenty or maybe more. Nearly all of them at the Springmaid workshops at Myrtle Beach. It’s a wonderful facility with top rate instructors. All inclusive in a beach front resort. All meals, ocean view rooms, nightly social hour with free cocktails, spacious studios. There are usually 6 workshops of 25 students going each week. That means you are spending a week or more ( I usually take two weeks) with other painters and living and talking art. For me, it’s an incredible experience and vacation. A lot of professionals attend as well as the less experienced and so I’ve met some wonderful folks and made many friends who come back year after year. People come from all over the world. A few years ago the English painter, Arnold Lowery, was in my class, and we’ve been corresponding ever since. He’ll be in the USA again this year, but this time he’s teaching some workshops in TX. And the best news is you get all this for about $1000. a week,and you can take a non-participating spouse or guest, sharing the same room, for about $250 more. They’re held every spring and fall and are so popular that the instructor are selected by lottery (you give 1st, 2nd and 3rd choices) It’s hard to say how much I learn, but I come home stimulated, all fired up and HAPPY! GRIZREV I have given workshops (locally) in the past. But I’m too old and lazy to do them now. They require a lot of preparation And I’m tired as well as retired. I'm going for two weeks in November. One with Judy Betts and one with Barbara Nechis. I always try to get someone who paints in a style different from mine | ||
Grizrev Senior Member Username: Grizrev Post Number: 268 Registered: 8-2006 |
Some workshops are }disappointing, their only value being focusing your time on painting. However, if you believe in the value of mentors, the need for inspiring examples, and the benefit of the classical teaching method of copying the "masters," a workshop in the hands of a good teacher-mentor is valuable. One on one instruction is obviously best. Marie, from what I have read and seen in your posts, you would make a wonderful teacher-mentor! Do you offer workshops? I think the same would be true of gentle Eugene. | ||
Marie Senior Member Username: Marie Post Number: 343 Registered: 8-2006 |
Do you get much out of workshops? I have only taken two from non-local folks, and have been a little disappointed both times. | ||
Eugene Senior Member Username: Eugene Post Number: 310 Registered: 8-2006 |
The Watercolor Magazine list of 20 great teachers (Fall, 2006) Mary Alice Braukman Gerald Brommer Jeanne Carbonetti Betty Carr Roberta Carter Clark Timothy Clark Jeanne Dobie Tom Fong Jean Grasdorf Robbie Laird Katherine Chang Lui Tom Lynch Dean Mitchell Barbara Nechis Alex Powers Stephen Quiller Chris Van Winkle Janet Walsh Frank Webb ------------and some of their advice, Use the best materials you can afford. “Learn the properties of the paints you use” Quiller “Practice, Practice,Practice” Roberta Carter Clark “Don’t expect instant success” Gerald Brommer “Select a teacher who encourages individuality, not formulas” Jeanne Dobie “Don’t be afraid to unlearn what you’ve learned--- be willing to break the rules” Tom Fong “Focus on WHY, not HOW. Always challenge yourself” “Creativity depends on discipline” “Go beyond your reference, give the viewer something to think about” Tom Lynch “Don't work in isolation” Barbara Nechis “ Keep Painting and Enjoy Yourself” I’ve been fortunate enough to have studied with 6 of them | ||
patinsc |
Glysette, I have taken Pat Dews workshop twice and thoroughly enjoyed it. She is a human dynamo, so much energy I felt like I really got my moneys worth. Learned quite a bit that I could use in my abstract art. I reccomend her highly. | ||
Eugene |
I met both of these instructors at Springmaiid Beach workshops but have never taken thier courses. Both are well thought of if you like experimental watercolor. Was especially impressed with Marilyn, and would like to take her workshop to "shake me up a little". Suggest you read her book to see the kind of work she does. A very friendly teacher. | ||
glyssette |
Hello, Does anyone have any information or thoughts to share on workshop instructors... Marilyn H Phillis and/or Pat Dews ? Thank you! | ||
EUGENE |
Eric, I agree. When i take a workshop, I try to follow the instructors style, even if I know I not going to continue to paint that way. I've seen too many that just paint in their own way, without any regard for the lessons. Guess they're there for the fellowship or sometimes to show the others how good they are. I've always learned something in a workshop-- even those that I didn't especially like. | ||
sarita |
Since we are talking about workshops, has anyone taken a workshop with Karen Vernon? I'm very interested in learning her techniques for painting on textured Claybord. Thanks. | ||
Eric |
Another note on workshops: I'm amazed at how many participants don't pay much attention or at least don't try to incorporate in their own paintings what the instructor is teaching. Sometimes I think, "why are they even here?" (the participants) Someone on this board, maybe it was Suzy, said she uses the same pallet as the teacher and knows she's not going to paint that masterpiece but tries to use what the teacher is teaching for a learning opportunity. Later on, the things you learn can be incorporated in your own work, if you wish. I'd say that's good advice. | ||
Eric |
Eugene- Thank you for the information. That's quite a list. It's helpful to have some kind of knowledge before paying $ to attend these workshops. Here's a report on my limited workshop experience (I don't have much to compare to) TONY COUCH- If you want to learn what Ed Whitney taught, he might be the guy to learn from. Right at the beginning of the class, he tells you that you're going to hear Whitney's name a LOT. Big emphasis on "Principles of Design" and value patterns. I learned a lot during the demos; he talks and explains the whole time he paints. All landscapes using a big brush for most of the painting. I think some of the ladies thought his personality wasn't as outgoing as they would like, but the guys thought he was a good guy. I was just there to learn, which I did. TOM LYNCH- I only attended a one day workshop, but take note that his emphasis now is painting on canvas. He's a friendly guy with a strong personality and a very good teacher. Has a good way of hammering home a point. If you're interested in painting on canvas, he's the guy. Even if you're not, you'll learn from him. | ||
Eugene |
Over the years I have taken many, many workshops. Our local art asso. ask me to make a list and evaluate them. Here are a few. I thought you might like to see it too. WARNING. These are my observations. Others may not agree. I have never taken a workshop where I did not learn something helpful. Some more than others. Remember, I am a traditional, transparent, representational watercolorist! CARLTON PLUMMER. New England painter. Pleasant personality. Mostly landscape and seascape. Uses some opaque white, but mostly transparent colors. Good teacher for all levels. Demos. TOM NICHoLAS. Friendly instructor. Landscapes and still life in gauache. Tom uses transparent watercolors mixed with white to paint in a wonderfully unique style. If you want to try gouache, he’s the instructor for you. Demos. AL STINE. Pleasant personality. Paints a lot of barns and shrimp boats. Many demos. Teaches a lot of basics-- a good instructor for beginners. Demos. CARL DALIO. Nice Guy, friendly, helpful personality. Uses lots of bright transparent colors. Forces color. Mostly Landscape. Al levels. Demos. DON ANDREWS. Outgoing friendly personality. Landscapes, and female nudes. Uses lots of bright colors in both figures and landscapes. Almost too colorful for my taste. A lot of demos. Live models if it is a figure workshop. Seems to prefer pretty young girls with ample breasts. (who doesn’t). Good instructor. JANET WALSH. Specializes in florals, In which she is excellent.. Didn’t care for her landscapes. Works from fresh live flowers. A little different in her approach in that she seems to work on one section at a time, rather than the painting as a whole. Good teacher if you wat to paint flowers only. Personality?, just OK. Demos. All levels GUY LIBSCOLM. Personality, friendly. Taught a mostly experimental workshop, in which you splashed color into a wet background, and then painted a scene over it, incorporating the under painting. A fun approach which makes unusual and interesting works, but I never used it after the workshop. Demos. SERGE HOLLERBACH. A wonderful, friendly, outgoing instructor. Noted for his character figures in real life situations. To get the most out of his workshop you should be a good draftsman. Works are both transparent and opaque. Many demos. At the end of the workshop he gave each of us one of them. Live clothed models. SKIP LAWRENCE. Was disappointed because I have his book and expected a transparent workshop. But he has changed technique completely since publishing the book. Now relies on color rather than values. If you like his style of humor, he can be very funny. He’s a better entertainer than instructor. It’s his way or no way. Students either love him or hate him.. Some demos. Enough said. JOE BOHLER. Nice personality. Mostly western landscape with some figures and portraits. Mostly transparent. Demo every day which is helpful but take away some of your painting time. An excellent landscape teacher. GLEN BRADSHAW. Wonderful, friendly helpful personality. My class was a open master class where you painted what you wanted in any watermeadia. Glen did not instruct but gave encouragement and advice if you ask for it. Helpful critiques. No demos. An inspiring class, but not for beginners. ALEX POWERS. Wonderful draftsman. Not a transparent watercolorist. Palette is mostly grays, black, reddish browns. Definitely not a colorist. Uses a lot of charcoal and black drawing materials. Likes to have the work contain a message. Many political. He is a very opinionated man, and can upset some of his students. Personality varies from friendly to moody. Impressed me as a troubled man. Another teacher that students either love or hate. KATHERINE LUI. Renowned national juror. Katherine conducts an open class with individual advice and critiques. This class is probably best for the attract or experimental advanced painter. She seems, to me, to concentrate on painting that will be accepted into national shows, rather than traditional watercolor. Probably because of her career as a juror. If you’re a “show” person, she may be right for you. Personality? Varies. JEAN GRASTORF. Nice lady with a great personality. A master in pouring techniques. A fun class, but don’t take this workshop unless you are really into pouring. Demos. Wear old clothes. FRANK WEBB. One of my favorite instructors. Great friendly personality. Teaches free no nonsense big brush painting. Transparent. Emphasizes shapes and composition. Begins each day with a demo. All levels will feel comfortable and benefit. . | ||
Kukana |
Anyone taken any great workshops they'd highly recommend. I have learned through limited experience that great artist don't always make great teachers. Workshshops can be spendy especially if travel is involved. I took one last year by Barbara Nechis that was exceptional. I had a major breakthrough in my work. I'm headed to Taos, NM to take one from Frank Webb the end of September. I hope it's good. Any feed back on any good classes?? Also does anyone know of any other good listing of workshops besides cheap joes workshopper. Finding them on the web and in magazines seems to be hit and miss. | ||
Geeky2 |
WetCanvas online lists workshops, and I wish I could afford to take the Catherine Anderson class on the East coast, coming up. Also Penny Soto sent me an email, and will have a class in the East Coat area (no date yet) that I'd like to take. She also has a book coming out soon. | ||
mermaid |
I have taken two weekend workshops from Alexis Levine in Cumberland, MD. She is a wonderful artist, a skilled teacher, and gentle but effective in her critiques. I would attend a workshop with her any day. | ||
Geeky2 |
If you look online for Penny Soto, she has articles and her work. She explains, so well, the color & value relationship. I've read online of others saying they really liked her classes. Everything I have read about C. Anderson has been good. She takes time with her classes, demos a lot, and really wants to help. Unfortunately, I have not taken classes with either. I buy their books. | ||
serendip |
Ken Hosmer is a self-sustaining artist in several galleries and used to be a highschool art teacher. His art clinics are phenomenal for a great learning experience! | ||
dazey |
I have a question. I just started painting a couple of months ago. I have taken several drawing classes and am currently painting a lot and taking 2 watercolor classes. Nevertheless, I am still NEW at this. I have an opportunity to take a workshop locally in late Sept. with a nationally known WC artist whose work I admire. My question is this? Am I too new at this to benefit from a workshop? And, even more important, will I only be among experienced people who can REALLY PAINT? Should I go ahead and do it or should I get another year of experience before I even attempt a workshop? | ||
Carrie Stuart Parks |
Do it. There are people of all levels at these workshops. Life is short and you may never get another chance to study with this artist. Don't ever feel badly if you are just starting--we all just started at some point. There will ALWAYS be better artists than you and lesser artists than you. Only compare yourself with where you want to be. Good luck!! -Carrie | ||
dazey |
Thanks for your input, Carrie. I am going to do it. I called yesterday and am having the info sent to me. Your response helped me muster up the courage to make the decision. | ||
carol |
Re: workshop... Tomorrow I'm leaving for Tuscany, 2 week workshop of my dreams. Instructor Gerrald Brommer in W/C. Fear is over taking me. Worry if I can even put a stroke of paint on my paper. At the last minute my painting partner is unable to go due to health problem. also I will be going through withdrawal, not being able to keep up with the discusions on the forum.Does anyone out there know how to get on line at a cyber cafe? I've packed light with modified tripod, 9x12 paper and blocks. some paper is larger 11x15. Goal is to do mainly sketches and W/C wash and ink. I will develop larger works from the sketches when I get home.I'll keep the palette simple. 14 colors, tops, with some extra earth tones and markers for value studies. I'll talk to you all in 3 weeks and let you know how it was.Bye Geeky2 and Ruth, [I know your there]Carol P.S. Has anyone painted in Italy? Any last minute pointers? | ||
Kukana |
Carol, I can't wait to hear about your trip to Italy. I have looked at the brochures for those trips so many times but never knew any of the artists. Id hated to spend all that money and not relate to the artists work. What group or tour are you going with? Tell us details when you get hime. Have a wonderful time.!! | ||
carol |
Kukana I'm going with AWTA [artist workshop tours agency] This is my first time i've been to europe on a painting workshop. I'll keep you posted. One thing that happened already is that they said it was going to be a class of 20. On our final correspondence, they raised the class to 30 due to large waiting list. Some say this is common, i don't know.It seems to be layed out well. Painting every day except 1, when we tour Florence. Paint days in Spello, Assisi, Cortona,Arezzo,Gubbio, Spoleto,Perugia, Lake Trasimeno. Castellina, Radda in Chianti[ think we paint with wine there. and paintings turn abstract. Ha-Ha].San Gimignano Volterra,Siena Pienza,Montepulciano,Montalcino and Sant'Antimo. Whew! I better go and put some more supplies in my suitcase. | ||
Geeky2 |
I already miss Carol! Hope she has a great time! | ||
kburns |
Has anyone taken a workshop with Skip Lawrence? I am scheduled for one in November (my first workshop ever--I;ve only been painting about a year) and was wondering what to expect.. | ||
Geeky2 |
Re: Skip Lawrence: Wish I had taken a workshop with Skip. I have his book, and have ordered the tape. Although I don't paint as loose and free and with heavy paint, as he does, I like his ideas about light and shadow, and painting the big shapes. Good luck, and let us know how it was. | ||
Larry |
Maine Coast Art Workshops - I got introduced to Maine when I took a workshop in Port Clyde Maine. The teacher was Ron Ranson. I took another one from Judi Wagner. Ron is great for beginners and Judi is also good for beginners but advanced can learn from her also. The town was gorgeous, the scenery was not to be believed and the food was great and I made some life long friends. Oh...and I did learn a lot about painting. | ||
mmiller |
I have never taken a class with Skip Lawrence, but I have been to the Springmade Beach Workshops twice and the students of his there like him very much. As others have mentioned there are a great variety of levels of students. You will love it. | ||
donna c. |
Does anyone have any info or thoughts to share on workshop instructor...Joan Rudman. She is leading a workshop in Manchester, Vermont from Sept 19 to 23. Thanks for sharing. | ||
Kukana |
I leave Thursday for Taos New Mexico to take a class from Frank Webb through AIM..Art in Motion. Its a 5 day deal..I let you know how it goes. Suppose to do 3 days outdorrs and two in studio. Im so excited. I've heard he's good! | ||
jmaxwell |
My favourite instructors so far are: Jim Kosvanec, Ken Hosmer, Brian Atyeo and Arleta Pech. Hope some of the others don't see this, as I did appreciate all of them, but had to choose. | ||
Kukana |
Just finished my workshop with Frank Webb. It was abosolutly wonderful. I can't imagine a man with more insight, knowledge,personality and talent. I don't impress easily and boy, was I impressed.I can't believe how much I learned about composition,design, and color values. Also, Taos is a great, funky town tospend a week. What a blast. I was also very pleased with the Art in Motion people. They are based out of Jacksonville Oregon. They take workshops like this all over the country as well as Europe. | ||
carol |
Kukana, sound like you hade a good time and had a good instructor. I've been waiting for your news on Frank Webb. Others have said the same thing about him. Did you paint on location?[ I assume you did} How many were in your class? I'm asking because I just got back from a workshop in Tuscany with Gerald Brommer. He was also a good instructor with design and composition. We were to have 20 in the class, but the workshop coordinator added 10 more at the last minute. It made for a large class and spread the instructor out very thin, which he was not to thrilled about. | ||
Carrie Stuart Parks |
Kukana, you brazen hussy, you are home and didn't call!! How's the cold? How's the art? | ||
Kukana |
Hey Carol, the frank Webb class had 19 people in it...a great number. Frank Webb is very approchable and so easy to talk to. He has a wonderful abilitly to explain things and critique work with out making you feel stupid. He must have the worlds greatest memory as he has a quote, antidote or story for everything. By using his little stories, etc when he critiques and explains things it make it so easy to rememebr. Some of the sayings I will NEVER forget while I paint. The techniques taught were totoally different than anything I have every done. Way out of my comfort zone but I forced myself to do each exercise and learn from it. My goal was not to bring home 10 sellable paintings but ot have a learning experience that I could incorporate when I got home and I did just that. Everyome in the workshop seemed to echo my feelings about Webb although many just did their own thing and had him advise them on their own projects. He was very accomadating. Sounds like yourworkshop co-ordinator got greedy. At 20 he most likey had a perfect profit margin and the last 10 he added as pure gravy. This is a bad thing. If there was one negitive side to my workshop it was most likely the location/ subject matter. I was excited to go to Taos because I had heard so much about it . It was a wonderful , funky, fun town with lots to do. (Great Shopping too!) I loved it but what I didn't like was that all the demos we're done of local pueblos, southwest design, etc. Obviously that was why we were in the southwest!!, I don't know what I was thinking. Although I like the southwest I really didn't want to paint it. I wanted more typical Frank Webb subject matter..ie boats, barns, wharfs etc. Lots of location days. Three to be exact. The day at Ghost Ranch was the best (Georgia O'Keefe home.) What a glorious day. Carol, what was your group coordinator? And Carrie, Im not a brazen hussy, just a very tired, sick painter. Got home just last night at 11:00. My previous email was from Sant Fe! Can't wait to show you my stuff from the trip! I'll call soon! -Kukana- | ||
Carrie Stuart Parks |
Love ya, girl. I know your not a brazen hussy. World in general, KNOW that Kukana is NOT a brazen hussy. | ||
carol |
Kukana, tried sending you an email but didn't get the address right. could you send me your email via my email. thanks, carol | ||
Kukana |
Hey Carol, Your Email won't come up either. I am at toronto@nidlink.com | ||
leslee |
hi, I took a class in florida with Terry Madden, the guy from t.v. It was my very first class and I had an absolute ball. He was a great teacher and I enjoyed his style of painting. He and his wife work together and have fun personalities. They are traveling around the country doing workshops as I speak. If you hear of his workshop coming to your town, don't miss it! | ||
Kukana |
Hey Leslee..Its interesting to hear about your experience with Terri Madden. I've alway liked his personality on TV but thought his techniques on TV were fairly Beginner. What level was his class taught at? You mentioned it was your first class. IS that because you are a beginner too or just your first workshop? He does have a fun, uncomplicated style and a great TV Personna. ITs nice to hear that the workshop was such fun. I really think thats important in a creative learning enviroment. I did take one workshop that I didn't think was a particularlly fun teacher although I learned a lot. But the fun came from the friends I went with. We made our own fun! Where in FL does he teach? Isn't he homebased from there, somewhere? Did you take the workshop by signing up through him personally or with some organizer? I'd love details!!!! Kukana | ||
Kukana |
I'm starting a workshop on Monday with Zoltan Szabo. He is teaching here in my neck of the woods and so I thought I'd try it out. He has written so many books and seems quite successful in the workshop arena that I thought "What the Heck"! I'll let you all know what I thought of it. Its a 5 day deal in a town called Bonners Ferry Idaho about 70 miles from my house! | ||
Ken Austin |
kburns: Skip Lawrence is one of the two greatest workshop instructors I have had. He will open you to color and light.He is the funniest instructor I have ever had, and is very student oriented. He is lively and thoughtful, but very supportive. He is HIGHLY skilled in technique, so get ready for a new experience in w/c. | ||
Kukana |
Ken, You said two. Who is the other??? My Zolton Zsabo workshop was very disappointing. I don't want to say too much negitive but I really wish I hadn't spent the time or the money. The class was slow, un-inspiring and very overcrowded. The up side was that they were a nice group of artists. Zsabo is past his prime as an educator. I would never recommend it. | ||
hollyh |
Lets talk about Tony Couch. I am signed up for a workshop in march 2001 . I love his style and his videos. Who has taken a calss with him? I am a beginner and need guidence. Thanks for the input. Has any one gone to the scottsdale school to take workshops. | ||
pherman |
hollyh: I haave been to scottsdale artists school the past two winters, taking a course from eric weigardt. wasn't sure after finishing the first workshop if i'd actually learned anything--many in the class were disappointed. after getting home found things creeping into my work that i finally realized were a result of what i'd learned in the workshop and went back for a 2nd last winter and really found it very helpful--i love his style of painting. am going back again this winter and also to a judi betts workshop there. I really enjoy the school, it's in "old town" of scottsdale, not far from the galleries, there's a homestead village jujst a block away if you need accommodations. the classes are not too large, the atmosphere is great. if we keep spending winters out there, i will continue to go to classes there. they have an 800 # in any of the art mags, a complete catalog. i will submit slides next month to try for the "best and brightest show" in feb. Also, I have friends who have taken classes other than in watercolor and they also have had very positive experiences. hope this is helpful. p... | ||
Carrie Stuart Parks |
I took a Judi Betts workshop a number of years ago. Though I love her work, I found the workshop to be very disappointing. She had us doing watercolor 101--I mean REALLY intro stuff--painting our names and making lines in watercolor. She never demonstrated. Maybe it was a bad time of her life, but it sure was a turnoff. I drove nine hours over two mountain passes, paid a lot of money, stayed in a motel....well, anyway.... | ||
Kukana |
Im taking a class next month based on Jeanne Dobie's book, "Making Colors Sing" The class has a very limited pallette. I'll let you know when I get back! Its in Orlando Florida. I found it on CJ Workshopper. | ||
carol |
hi kukana, who is the instructor for that class? sorry about time you had with the last workshop as mentioned above. do workshop artist or organizers give out references of people that have taken classes with these instructors so you can ask them questions? this workshop sounds like fun. her book is interesting. p.s. did you get your commissions done on time? happy holidays! | ||
Kukana |
Carol, The class is being taught by Beverlee Ahlin, a protege of Jeanne Dobie. Jeanne is no longer teaching. I called this gal on the phone and she sounds fun and knowledgable. I'll let you know. All my commissions are done..Yeah. Everytime I take one I swear I won't take another. I get so sick of painting to match someones couch. OH well..Mele Kalikimaka...KUKANA | ||
Laura36 |
To Carrie Stuart Parks- I also took a workshop from Judi Betts several years ago- in 1989 to be exact. I had a great time- it was here in New York at the Hudson River Valley Artist Workshops in Greenville. She did start out very simple, the first day was working with one color, then the second day was two colors, the next was working with a basic triad. She was helpful and came around to each student where we were working outside to give instuction and direction. She also did demos, but not as many as I would have liked. Maybe it was just a bad time or she wasn't feeling well. I also took a workshop with Don Getz here in Glens Falls where I live. The watercolor society that I belong to invited him to come and we had about twenty sign up for the class- all levels of painting. Don primarily works on a gessoed surface with watercolor. It was so much fun, and Don is a wonderful teacher. He really took time with each person and his critiques were very insightful and yet perceptive. He lives in Ohio and teaches there at a community college/art school. I would highly recommend him as a teacher to anyone at any level. | ||
Carrie Stuart Parks |
Thank you, Laura. It is very promising to hear of a talented artist (Judi) who has improved her teaching. She did no demos for us and had us doing such basic levels of painting that it was a waste of time and money. Thank you also for the comments on Don Getz. -Carrie | ||
carol |
Laura. I have taken workshops with Don Getz also and agree that he is a good teacher.I especially like his critiques,his discussions on composition,design and working on gessoed surfaces. | ||
Laura36 |
To Carol and Carrie. Wow, it's a new year and I am excited to see the workshops scheduled for 2001. I am saving my pennies to possibly go with my high school art teacher Karen Rosasco on a trip to southern Spain and Morocco in 2002. Karen is retired now and teaches watercolor workshops, taking two to three trips abroad each year to a different place. In 2000 she went to China and The Netherlands and Belgium. This year in June she is going to Switzerland. If anyone is interested in traveling with Karen, you can write her at Karen Rosasco, Box 5, School Drive, Delanson, NY 12053. I would also like to go to Arizona again and paint the southwest. So much to do, so little time. | ||
Kukana |
Just Back from a workshop in Orlando FL with Beverlee Ahlin(AWS). It was a color theory class based on Jeanne Dobies book "Making Colors Sing" It was a 3 hour class, 5 days at Ahlin's Studio. The class was insightful and I learned some new stuff as well as some old stuff from a new perspective. Down side was that the class moved a little slow for me. There were students in class who never held a paint brush on up. That makes it hard when the class has to move at the speed of the slowest student. Did I like it? Yes. Did I learn? Yes. Was it financally worth it? Kinda of... Would I reccomend it to someone else...Only if you already lived in the area or were planning on being in town anyway as I was...not worth travelling too. Beverlee Ahlin knew her stuff and was a delightfully fun person and a beautiful artist although she couldn't always communicate her ideas as a teacher as well as I have experienced. | ||
Kukana |
Has anyone ever taken a workshop with Christopher Schink? I don't know if I spelled the name right. He's the one who co-writes the Watercolor Focus magazine with, I think its, Skip Lawerence?? | ||
Gail/Mn |
Hi, I have taken a few workshops and always come out with good ideas and end up using info I didn't think was so significant! Surprise! Our small water color club has about 25 members and we have, twice a yr., a workshop with someone from near our area. They have all been wonderful. The fun is also painting with everyone else. Our group ages from 91 to 45yrs. old. What fun. I was going to mention attending Zoltan Szabo workshop last summer in our area. I had read a couple of his books and loved it all. I had read that he was going to be near by and put my $$$$ together to attend, with a friend. I learned, as you always learn something, but I came home disappointed and near tears for having spent so much for the week. My friend that attended, love it all. She bought one of his demo's. I did have fun but felt maybe I was out of my league. Most workshops I have been to encourage all levels of the painters to attend. I don't know the reason but have been to other workshops, with not so impressive a name, and have turned out paintings that I feel showed what I learned. I never said much about the workshop but saw that Kukana mentioned it and felt a little relief that I was not the only one with mixed feelings. | ||
Geeky2-VA |
Gail: I've had that happen in so-called beginner art classes, and in mixed-experience classes. I finally went back to books and tapes, and maybe someday will not feel so intimidated. This doesn't bother some people, but if you are shy, or stressed as I am, it does make a difference. I think small classes, such as a local art group are better in some cases. Different people handle things differently,,, just my opinion. | ||
patinsc |
May I add something to this discussion about workshops? The first time I attended a workshop I was terrified.I knew very little only what I had gleaned from books but felt I needed the atmosphere of a workshop because the friends I painted with all had attended springmaid workshops in Myrtle Beach. I could not afford that workshop and discovered Kanuga Watercolor workshops in HENDERSONVILLe,nC. I found the friendliest group in the world. Everyone goes out of his way to help from instructors to attendees. This is a smaller group than springmaid and only meets for one week each year in March. If anyone is interested contact the director at Ebrauk@aol.com.Is the best thing you will ever do for yourself and your art! | ||
Geeky2-VA |
patinsc: Thank you! I'll sure check them out! I'm in VA, so that sounds good. Jean | ||
Gail/Mn |
Thanks Geeky2 and patinsc, I didn't mean to sound like I didn't learn anything or that I didn't enjoy the class... just stressful. The class is run different than others I have attended. Most of the workshops have been in my own town, that I have attended. I probably need to expand my experiences! | ||
Geeky2-VA |
I do understand....for some of us the experience is stressful, regardless of the class or teacher. It takes a certain mix, I guess, to really feel at ease so that you can forget everything except the learning. I think it helps if you have someone you know in the class, too. I, personally, sometimes am not comfortable in a large group, but probably need to get used to that again. |
