A great painting workshop starts with great students

Bob Torgerson and his painting, courtesy of Beth van Gorp.

At the end of every workshop week, people say, “Thank you for a wonderful week.” I appreciate that so much. Teaching painting workshops is one of the great joys of my life, but a good workshop doesn’t begin with the instructor. It begins with the students.

The best painting workshops happen when a group of painters arrives enthusiastic, curious, and ready to work. I’m not a big believer in ‘talent.’ It matters far less than attitude. What really shapes my week is a collegial group of people who want to learn.

Demonstrating a 20-brushstroke painting.

That energy is contagious. It was there when I was teaching at the Sedona Art Center last week. It seemed like a split second between our hellos and goodbyes.

Enthusiasm beats experience

Some students arrive with decades of painting behind them. Others are picking up oils or acrylics for the first time in years. Unless a class is specifically designed for a certain skill level, that doesn’t matter.

Karelina Wilkening, courtesy of Beth van Gorp.

The students who get the most from a painting workshop are the ones who show up ready to try new things. They’re willing to change their approach, experiment with new ideas, and aren’t afraid to fail. They understand that learning to paint well is a process, not a performance.

Those painters ask questions. They compare notes. They learn from their mistakes and keep going. By the end of the week, their work almost always improves dramatically—not because of any magic on my part, but because they were open to learning.

Lunch break, courtesy of Jean Hoekwater.

Painting is better together

There is something uniquely energizing about painting with other artists. You see how someone solves a problem with color temperature or simplifying shapes. You overhear a discussion about brushes or medium that sends you back to your easel with a new idea.

Bonny Wilson, photograph courtesy of Beth van Gorp.

In my experience, painters tend to be generous. Last week, Jean shared canvas paper for brushwork exercises; Bonny gave me something to calm my ratty gut, people were quick to offer Gamsol or boards. In a good workshop, students encourage each other as much as the instructor does. People share snacks, trade stories and look at each other’s work. That shared experience creates the supportive atmosphere where real learning happens.

Jacob Johnson and me, thinking deep thoughts about art, courtesy of Beth van Gorp.

Curiosity drives improvement

The students who thrive in workshops want to understand why ideas work. That curiosity pushes painters forward. A workshop is never about producing a masterpiece in five days, or being the best in the class. It’s about building skills you can carry back into your studio long after the week is over. When students come with that mindset, the results are remarkable.

Sometimes students have what Jacob Johnson jokingly called an existential crisis: a moment when nothing works and they wonder why they ever took up painting. I keenly feel their nerves. But that’s balanced by my joy when they pass through the crisis and things click.

Scouting for views, courtesy of Karelina Wilkening.

Join me for a workshop

When students thank me at the end of the week, I also thank them. A great workshop is a collaboration between teacher and students and the enthusiasm you bring makes all the difference.

If you’ve been thinking about taking your painting to the next level, or simply want a week immersed in art with other painters, I’d love to have you join us.

A sweet note, courtesy of Kelly Flint.

My upcoming workshops bring together artists who are curious, supportive, and ready to learn. Whether you’re refining your process or rediscovering the joy of painting outdoors, you’ll spend the week surrounded by people who share the same passion.

Bring your brushes, your questions, and your enthusiasm. The rest will take care of itself.

Registration is now open for workshops in 2026! Reserve your spot:

Can’t commit to a full workshop? Work online at your own pace:

Seven Protocols for Successful Oil Painters

How to avoid preciousness: embrace mistakes

Painted at the Amitabha Stupa and Peace Park, by Bonnie Daley.

I’m teaching plein air in Sedona, which is one of America’s most wonderful hippie, dippy, trippy places. There’s a looseness of thinking here that leads straight to a looseness of painting, and you can see it in my students’ painting from yesterday, which veered closer to abstraction than is typical for plein air.

“One of my strengths as a painter is that I’m not worried about the result,” Rachel Houlihan told me. That means she isn’t bent about whether the painting is good or bad, she just paints. That, conversely, makes her a better painter and student because she is just never uptight about the end product.

Painted at the Amitabha Stupa and Peace Park, by Amelia Scanlan.

Avoiding preciousness in painting means embracing mistakes, spontaneity, imperfection, and risk. Here are some ideas to help you loosen up and paint more freely:

Mindset Shifts

Be more like Rachel: You will paint a lot of duds in your career; in fact, I’m three for three this week. Don’t worry about it. Throw that bad canvas on the pile and move on. If you haven’t made mistakes, if you haven’t got a pile of duds, you aren’t trying.

Painted at the Amitabha Stupa and Peace Park, by Libby Scanlan.

Embrace Mistakes: Remind yourself that mistakes are opportunities. I have noticed that sometimes the paintings that make me the most uncomfortable at the time I do them are the paintings that point the way that I’m heading in the future. And sometimes the most compelling passages of art started as accidents.

Value process over outcome: That’s really what Rachel was saying to me. When she was painting under a juniper in the Peace Park, she was perfectly content. Shift your focus from the results to being in the moment.

Set a Time Limit: If you don’t let yourself perseverate, you’re unlikely to obliterate everything that was once good about your painting.

Use Bigger Brushes: Everyone should always start with a brush that’s twice as big as they expect they need. That way they can’t overthink the details. If you need a smaller brush later, then go for it.

Painted at the Amitabha Stupa and Peace Park, by Stacy White.

Push past your comfort zone: I can’t tell you how many times I’ve heard painting teachers say “not another brushstroke!” I’ve always wanted to smack those teachers. How can one know what the limit is, when one never pushes past the limit?

Painted at the Amitabha Stupa and Peace Park, by Rachel Houlihan.

Registration is now open for workshops in 2026! Reserve your spot:

Can’t commit to a full workshop? Work online at your own pace:

Seven Protocols for Successful Oil Painters