Workshop Woes
 

Here's another question for you pro's and used-to-be-newbies. How does one feel comfortable signing up for workshops by professional (and in my eyes exhalted) artists? At what point do you attend one of these events and actually admit you think you know enough to take up air space with other artists in such workshops? It may take me 4 hours to do somethig it takes someone else with the proper training 20 minutes, and yet I might actually be pretty good, but until I attend I'll never know. At what point is it appropriate to show yourself in the daylight?

My real fear is that now that I'm actually getting paid to paint portraits, I'll have some instructor who really knows what art is, tell me I'd be a better pancake flipper at IHOP!

If you're not sure, contact the instructor and ask him or her to review some of your work to see if you're ready.

Thanks Michele. Is this what is meant by jurying the students?

Mixed
 

Most classes contain a mix of students. The "intermediate" ones tend to gain the most knowledge. There's simply less for the pros to take in. It's indeed the harder type of info to get from books etc. but still it is the minor things those artists gain. The ones who have never painted struggle with the very basics throughout the week.

Julianne, I was having a cyber dialogue with William Whitaker and he mentioned that he was teaching and I should sign up. I know I am miles behind the other "students" attending since I read their books, but Bill has been very good to me and so helpful.

I had to start working in oils to prepare for his class, since I just used pastel, but I really respect his work and more importantly, his "teaching" nature. This was major for me because it is so far from my home and leaving 3 kids behind with a working husband, but that was one of my incentives! ;)

Tim is teaching near my home so I will be attending his workshop, too, with a lady I met on this site. It will not only be educational and great practice it will be lots of fun.

I think it is intimidating, especially because of the caliber of students in Bill

Julianne,

You wrote: It doesn't matter. The only thing that matters is that your teacher knows more than you do.

And I agree with the posts above. If you feel you may not be ready for a class, check with the instructor. I have been in portrait classes over the years where some students just didn't have good drawing skills, and they ended up frustrated, unhappy, and feeling they had wasted a lot of time and money, which they had, in fact, done.

Don't worry about the other students. Serious painters are there to learn. There will always be someone who thinks they know better than the teacher, and can't resist letting everyone else know. Just ignore them.

Julianne and Chris, this is certainly not what I was implying when referencing the other students above. I was just trying to make the point that I know I am not a Chris Saper, and she will be a student, so why should I think I could take this class? I certainly didn

Bettina
 

I think Bettina's last workshop in Scottsdale was attended by some pretty well established artists (one I believe posts here, humm humm) along with some other pros like Wilson Hurley. They wanted her personal hints.

Julianne,

I think workshops are a tremendous resource. I am quite proud of the fact that I give credit to workshops for 100% of my training as an artist. I started on this path at the age of 33, with three children 3 to 7, and a husband, living in the middle of middle America. I would take two workshops a year, one every six months, and paint like crazy in between.

I still take workshops. I have recently studied with Richard Whitney, and will be in Sarasota this weekend studying with Allan Banks. I think we must always be students.

On your question of feeling ready to be in certain workshops, if the teacher feels he wants to teach only advanced students, he will state this in the informational class packet, or will jury...ask to see students' work before acceptance. If the teacher is willing to take all levels of students, and you think you want to learn from him/her, pack your paints and go!

When I set up my workshops, I pointedly did not want to limit the ability level of the student. When I was starting out, I found that the top teachers did tend to teach to the artist that was already accomplished. I was also fortunate to be accepted into workshops given by exceptional teachers when I was just a novice.

I determined that I would welcome all levels into my workshops. This is what I have found. The beginners/novices have the easiest time. They do what I say. They get along famously. The pros have the hardest time, usually because they have developed some bad habits and have to undo prior thinking.

Finally, my best teachers taught me how to perceive, how to think, how to see. Not just how to paint. They gave me the tools to go back to my studio and make every painting that I did after the workshop better than those done previously. I hope I can give as much to my students.

(I would have loved to have studied with Bettina Steinke.)

Peggy

Sarasota workshop
 

Peggy,

You mentioned a workshop here in Florida. Could you send me additional info?

Thank you.