Tag: workshop

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Arizona’s light changes everything

Crepuscular rays from Forest Road 525, 8X16, oil on linenboard. Available through Sedona Arts Center.

Painters think about light the way sailors talk about wind. We don’t perceive either of them directly, but they influence everything we do.

I’ve been painting and teaching in Sedona, AZ for several years now (and am very blessed to do so). There’s something about high desert painting that transforms the way we see color. The warm light and the color of the shadows falling across canyon walls are different from anywhere else. I don’t think that’s just because the light is brighter, although it is. It behaves differently from the filtered light of the northeast.

Sedona’s colors are over the top. There are red rock buttes, sheer ochre cliffs and cool green pines and junipers, all under a brilliant blue sky. That can fool painters into always using the most saturated colors possible. That’s a trap. The real story isn’t the color of the rocks, it’s what the light does to them.

Country path, 14X18, oil on archival canvasboard, $1,275 includes shipping and handling in continental US.

Sedona sits high, dry, and clear. There’s seldom atmospheric haze to soften edges or dissolve forms. As a result, values snap into focus. Shadows aren’t murky or vague; they’re cool, transparent and very colorful. You can’t get away with ho-hum darks.

The intense warmth of the red rocks complicates what we understand about color temperature. They bounce warm light into shadow areas, creating a running dialogue between warm and cool. Shadows contain more color than sun-bleached planes. That’s counter to what we think should happen.

Hammerhead cumulonimbus cloud over Posse Grounds Park, 9X12, oil on canvasboard, available through Sedona Arts Center.

Wanna try it?

This March, I’m leading a 5-day plein air workshop in Arizona, and I’d love for you to join me.

Canyon Color for the Painter: A Plein Air Workshop will be held through the Sedona Arts Center, March 9–13, 2026. This immersive week-long workshop is designed for painters in oil, acrylic, pastel, watercolor, gouache, and at all experience levels.

You’ll master advanced color strategies that elevate your plein air and studio work. Through practical lessons, focused exercises, and daily on-site painting sessions, you’ll gain time-saving techniques, build stronger compositions, and harness color and line to direct the viewer’s eye with authority.

You’ll refine your unique artistic voice while strengthening foundational skills in drawing, observation, and brushwork. Whether you paint boldly or seek more control and clarity, this workshop offers deep insights, supportive instruction and meaningful feedback. And did I mention it’s lots of fun?

Sycamore Shadows, 14X18, oil on archival canvasboard, available through Sedona Arts Center.

Reserve your spot now for an unforgettable artistic journey.

This workshop includes:

  • Demonstration and instruction
  • Supervised plein air painting sessions
  • Targeted exercises
  • Critique and discussion
  • Individual feedback

This is a great opportunity to break out of comfortable patterns and push your skills, all while enjoying the great cultural and natural resources of Sedona.

Questions

You can register directly on Sedona Arts Center’s website, here. Or, contact me if you have questions. I’m happy to answer anything about the workshop, skill requirements, materials or what to expect painting in the desert.

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

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Am I being selfish?

The Pine Tree State, 6X8, oil on archival canvasboard, $348 includes shipping and handling in continental US.

Am I being selfish?

I hope you’re all sitting quietly amid the remnants of Christmas and Hanukkah. I’m always glad to celebrate with my loved ones (and almost as glad to be done with it). This year, however, I’m on a mad rush to paint the rooms in my daughter’s first house so they can move in this weekend.

There’s a nagging little voice that I’d like to stomp out whenever it shows up in my life. It sounds practical, even virtuous. Isn’t this selfish? Shouldn’t I be spending this money and time on something more useful? I know that voice well; it torments me by telling me to do administrative tasks before painting. For others, it’s particularly loud when they consider signing up for a painting workshop.

I’ve spent my life hearing how art is secondary to the serious pursuits of math, science, history and economics. We tend to treat art education as optional, but scores of studies point to its importance both for the developing mind and for adults.  That moves it up in priority, from something you earn only after all responsibilities are met to something that’s vital for health and happiness.

No other discipline is framed this way. Nobody suggests that continuing education for engineers, teachers, or physicians is selfish. In those fields, learning is understood as maintenance. Painting is no different. If you care about your work, you need input—fresh eyes, structured guidance, and time to think deeply about what you’re doing.

The Late Bus, oil on archival canvasboard, 6X8, $435.00 framed, includes shipping and handling in continental US.

Self-indulgence or stewardship?

When you enroll in a painting workshop or online class, you’re hardly buying a luxury object. You’re investing in skill, clarity, and confidence. These are durable goods. They don’t wear out. They compound. A single breakthrough in understanding composition, value structure, or color harmony can quietly reshape every painting you make going forward. That’s not selfish; that’s efficient.

The Road to Seward, 6X8, oil on archival canvasboard, $348 includes shipping and handling in the continental US.

At a good painting workshop, you’re no longer guessing in isolation. You see how other painters solve problems. You learn why certain approaches fail and others succeed. Most importantly, you learn how to look. That’s the real product of art education, and it can’t be downloaded from a quick video or absorbed by osmosis.

Most painters don’t lack ability; they lack time and space. A workshop gives you sanctioned time to focus on your practice without apology. For caretakers, professionals, and anyone used to putting themselves last, this can feel transgressive. But it’s precisely why it matters. When you invest in your creative life, you model seriousness—about art, about learning, and about your own inner life.

From a practical standpoint, workshops often save time and money in the long run. How many years have you spent circling the same problems? Muddy color. Weak focal points. Paintings that never quite resolve. A few days of clear instruction can untangle issues that have stalled progress for a decade. That’s not extravagance; it’s problem-solving.

Last light at Cobequid Bay, 6X8, oil on archival canvasboard, $348 includes shipping and handling in continental US.

But wait, there’s more

Art isn’t just something you produce. It’s something that shapes how you think. Painting teaches patience, discernment and restraint. It trains you to make choices, live with them, and revise intelligently. Those skills don’t stay in the studio. They ripple outward into how you handle uncertainty everywhere else.

Investing in a painting workshop isn’t selfish; it’s a vote of confidence in your capacity to grow. And that’s one of the most responsible choices an artist can make.

I’d love to have you join me for Trust the Process (making technique tell the story you want to tell), my live Zoom class designed to help you build a dependable, joyful, repeatable painting practice. (It’ll give you something to focus on besides the bleak midwinter.) We’ll dig into technique, creative decision-making and the mindset that frees you to paint with confidence. We meet Monday nights, 6-9 PM EST, starting on January 5, 2026. It’s suitable for all levels and all media. You can learn more here.

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

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A week of painting, a night of celebration

Cheryl Ryan painting at Beauchamp Point.
My intrepid class at Colin Page’s gallery.

After a week painting outdoors in this limpid October light, my workshop students are showing their work! Join us tonight, Friday, October 10, 5–7 PM at the Carol L. Douglas Gallery, 394 Commercial Street, Rockport for my final gallery opening of the season — with new student pieces and some of mine on the walls too.

Their work is still wet and oh, so fresh. These students range from absolute beginners to experienced painters, and their progress this week has been wonderful to watch.

Cheryl Ryan painting at Beauchamp Point.

This is the last event of the year before I close for the season, as I’ll be heading for Arizona next week for the 21st Annual Sedona Plein Air Festival. It’s a wonderful chance to see both my students’ work and mine.

I’d like to regale you with stories about their courage in the face of rain, fog, sleet, wind and snow, but the weather this week has been absolutely wonderful. (I keep telling you that autumn is the best season in coastal Maine.) Other than a rogue wave nearly washing Dave and his easel off the rocks, it’s been a blessedly drama-free week. I’ve driven them hard, however. I know they’re tired, and ready to join you for a glass of wine and conversation.

Plein air painting is never boring. First, there were skinny-dippers, then these four scuba divers…

We’ve painted at Beech Hill, Camden harbor, Beauchamp Point and Owls Head, giving us granite rockscapes, the long view of Penobscot Bay, lobster boats and fall color. Come meet the artists, enjoy light refreshments, and take home a piece of Maine, painted with heart and immediacy.

Somehow my workshops always seem to involve dogs. That’s Ellie curling up with Mike and Sharron.

My 2026 workshop and Zoom class schedule will be published soon. Watch this space for more information.

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Monday Morning Art School: how to prepare for a plein air painting workshop

A good workshop fosters camaraderie.

A good plein air painting workshop is a growth opportunity. You set aside time to focus on painting—something most of us rarely get to do in the press of ordinary life. A little preparation before you arrive will make your week smoother, more productive, and more fun.

Pack the right gear

Painting outdoors is different from working in your studio. The wind blows, the sun shifts, and you can’t run to the store if you need something. That’s why I send you specific supply lists.

These lists also include necessities like paper towels, trash bags, bug spray, sunscreen and a hat. Don’t forget water and sensible shoes. (If you’re flying, let me know and I’ll tell you what you can safely carry on a plane and what you can’t.)

Having fun talking about values.

Practice with your kit ahead of time

Nothing slows you down more than fumbling with an unfamiliar easel on the very first morning. Set up your easel beforehand. Is it stable? Can you reach your palette without stooping or stretching? Do you need additional space to hold tubes of paint or brushes? Time you invest in practicing your set-up will pay off when you’re standing outside, impatient to get started.

This is my friend Jane, talking to my students about I don’t know what. She’s a crackerjack painter, so I’m sure it was good.

Condition yourself for the outdoors

Plein air is the most satisfying and instructive painting discipline, but it’s also physical work. You’ll be outdoors for long stretches. If you’re not used to being outdoors, give yourself the grace of a little conditioning. Go for walks. Practice sketching out of doors. You don’t have to be an athlete, but stamina helps you stay focused on painting.

Study your fundamentals

A workshop is where I want to start brand-new painters, because I can give them the one-on-one attention that they need. But it stands to reason that the more comfortable you are with the basics, the more you’ll get out of instruction. Do a few quick sketches every day. Don’t worry about whether they’re any good. Think of this as stretching before a race: it warms you up for the work ahead.

Occasionally, you’ll have to watch me demo, but I promise I’ll crack jokes.

Arrive with an open mind

Perhaps the most important preparation is mental. While we want to see change, we’re also afraid to let go of our ingrained habits. Growth doesn’t come from staying in our comfort zones.

It’s not just you who’s resistant to change; it’s everyone, including me. Every student comes into a workshop with habits, strengths and stumbling blocks. Be ready to let go of your routine and try something new. Some lessons may click right away; others may feel uncomfortable at first. You can trust me and my process; I’ve been teaching a long time.

You’ll learn as much from your fellow students as from me. Be willing to share your thoughts, ask questions, and offer encouragement. A workshop is a group effort, and the energy you put in helps everyone rise.

Be ready to show your work

Critique and student shows can feel intimidating, but they’re great opportunities to see your progress with fresh eyes. Remember, everyone else is just as vulnerable as you are. Hang your work proudly—it’s the record of your week’s labor and learning.

Above all, a plein air workshop should be fun.

Ready to try it?

A plein air workshop is a gift you give yourself: uninterrupted time to paint, guidance to grow, and experiences that will stay with you long after we all pack up and head home. If you’d like to take that leap, join me in Rockport for my October In-Person Immersive Workshop. We’ll paint the coast in its autumn glory, have a guided tour of the Farnsworth Art Museum and visit the Page Gallery, where Colin Page will talk to you about his process. We’ll wrap up with a student show. Spots are limited—reserve yours today and come ready to paint outside with confidence.

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Why does work look different in a gallery?

Brigantine Swift in Camden Harbor, 24X30, oil on canvas, framed, $3478 includes shipping and handling in continental US.

I close out my local painting workshops with student shows in my own gallery (and wish I could do that everywhere I teach). Student gallery shows are about far more than just hanging paintings on the wall. Many of my students are professionals; for them, gallery shows are old hat. But for others, the leap from easel to gallery is mysterious. What does it feel like to have work hung with intention? How do others respond when they see your vision in a professional setting, rather than just propped up somewhere?

Drying Sails, 9X12, oil on canvasboard, $869 framed. Includes shipping and handling in continental US.

Why does work look different in a gallery?

On the easel, a painting lives in the context of wet brushes, dirty rags and the rush of choices you’ve been making in real time. You’ve been staring at it for hours, judging every brushstroke and second-guessing every passage. It feels like an extension of your tired head: intimate, unfinished, maybe even uncertain.

But in a gallery show? Suddenly your painting is scrubbed up and dressed for company. It lives independently of you. It hangs against clean (hopefully) walls with space around it. It’s no longer just something you’re working on. It’s a complete statement, a thing to be contemplated. Sometimes that means it has attributes and meaning you the creator never expected. Strangers stop, look, and give it the attention you couldn’t afford when you were wrestling with it.

That change of setting is immensely clarifying. Sometimes you’re astonished by how strong your painting looks in a gallery. Other times, you see where it wobbles. Either way, the gallery strips away the clutter and distraction of process and lets the painting speak for itself.

That’s why it’s so important to get your work out of the studio and onto a wall. A painting isn’t truly finished until it’s in the world, doing the job it was meant to do: communicating with viewers.

Larky Morning at Rockport Harbor, 11X14, on linen, $869 unframed includes shipping in continental US.

A student show is more than just critique

I believe in reasoned, intelligent critique. It’s critical not just for the painting under discussion but for developing your executive function as an artist.

In critique, the audience is small, sympathetic and hopefully knowledgeable. Critique is about growth, not display. It’s a safe place to experiment, fall short and try again.

A gallery show, on the other hand, is about putting your work in front of people who don’t know your process or your struggle. They don’t care how many times you scraped out that sky; they just respond to what’s on the wall.

Critique is rehearsal. The show is performance. You need both in your life as a developing artist.

Dinghy Dock, 8X10 on archival canvasboard, $522 unframed includes shipping and handling in the continental US.

And then there’s the opening itself. I gave up cooking 24 years ago, but I can serve hors d’oeuvres with the best of them. An opening is a party to which all your besties are invited. Standing in my gallery, you will discover an essential truth: art isn’t complete until it’s seen. That tells us something I can’t predict, which is the public’s emotional response to your art.

Want that experience for yourself? Join me for my upcoming immersive plein air workshop in Rockport, ME, which will culminate in seeing your own work on my gallery walls.

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Immersive in-person painting workshop — FAQ

Beautiful Dream, oil on archival canvasboard, $1449 framed includes shipping and handling in continental US.

When and where is the immersive in-person workshop held?

The painting workshop runs October 6–10, 2025, centered in Rockport, Maine. Plein air sites include Beech Hill, Camden Harbor, Beauchamp Point, Owls Head, and the North End Ship.

What happens if it rains?

My studio is available if it’s raining. I’ll contact you if a location needs to change for weather.

What level of painting experience is required?

This is a one-on-one painting workshop, which means I can take beginners to advanced painters.

Which painting mediums are accepted?

All portable mediums are welcome: oil, acrylic, pastel, watercolor and gouache.

Clary Hill Blueberry Barrens, watercolor on Yupo, ~24X36, $3985 framed includes shipping and handling in continental US.

What supplies do I need?

Here’s a clothing packing list for a week of on-site painting. Watch the forecast as the weather advances.

If you have room in your kit, feel free to bring more than one medium. I’m happy to instruct in any of them.

These lists have links to specific products. If you’re buying your supplies in a bricks-and-mortar store, please take it with you on your phone and refer to each item directly. Art supplies have many ‘look-alikes’ that can vary in color and quality—for example, I’ve linked to two different Masterson boxes, one for acrylics and gouache, and one for oils. I’ve linked to these exact products so that you don’t waste money on something that’s not quite right.

Plein air supply list—Acrylics

Plein air supply list—Gouache

Plein air supply list—Oils

Plein air supply list—Pastels

Plein air supply list—Watercolor

Apple Tree with Swing, 16X20, oil on archival canvasboard, $2029 framed includes shipping and handling in continental US.

What is our daily schedule like?

Sessions run daily from 9:00 AM to 4:00 PM, with morning and afternoon painting, plus lunchtime discussions and demos.

What makes this painting workshop “immersive”?

This isn’t just a class—it’s a full dive into the creative life of a plein-air painter. Highlights include:

  • Plein-air painting at stunning locations unique to the Maine Coast;
  • A full day of figure study, exploring form and light using a live model out in nature;
  • A visit to the Farnsworth Art Museum exploring the changing nature of plein air painting;
  • A visit to Colin Page’s gallery to meet the artist;
  • Small group size allowing one-on-one instruction, demos, collaborative painting, and reflective conversation during demos and lunches.

How many other students can I expect in my group?

Enrollment is capped at 14 participants, ensuring focused instruction and community engagement.

How is this different from a regular weekly class?

Unlike shorter weekly classes, this immersive painting workshop:

  • Offers extended depth and momentum over five days;
  • Combines lectures, demos and conversation with painting practice, figure work, gallery visits, and community learning;
  • Creates a purposeful and creative environment that mirrors a painter’s lifestyle—living, working, reflecting in community with your peers.
Owl’s Head, 11X14, oil on archival canvasboard, $1087 framed includes shipping and handling in continental US.

What’s the cost?

The tuition is $780, which covers all painting instruction and your admission to the Farnsworth Art Museum.

Where should I stay?

There is accommodation of all levels available in Rockport, ranging from campgrounds to camping cabins to charming Mom and Pop motels to the very chic Rockport Harbor Hotel.

Seaswell Campgrounds

Oakland Seashores cabins

Starlight Lodge

Harkness Brook Inn

Country Inn

Rockport Harbor Hotel

Do I need a car?

Yes, you need a car, but if you’re traveling with a partner, you can be dropped off and picked up at our painting sites.

Don’t hesitate, enroll today

If you’ve been waiting for the right moment to invest in your art, this is it. Spaces are limited, so grab your spot today!

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Is an immersive art workshop different from a weekly art class?

Drying Sails, 9X12, oil on canvasboard, $869 framed.

My latest reel is here.

Some of us want a teacher who cheers us on at every step, someone who makes us feel seen and supported. Others do better with clear standards and firm instruction. Most good teachers are a mix of both, but it takes time to tease out what a student needs. That’s where a painting workshop comes in.

The fundamentals of painting are light and shadow, proportion, design, color, composition and meaning. A great painting workshop folds these lessons into the practice of painting itself.

In my Rockport Immersive Workshop you’re not just painting for a week, you’re diving headfirst into the whole world of being a painter. These extra experiences are what make this workshop different from a weekly class.

Main Street, Owl’s Head, oil on archival canvasboard, $1623 includes shipping and handling in continental US.

What does immersive mean in this context?

When I say my fall workshop is immersive, I mean it’s a deep dive into painting. You’ll be stepping fully into an artist’s world, nourished by relationships, context, and creative resonance.

I’m really asking you to live the plein air painter’s life for a week. You’ll set up your easel in midcoast Maine’s most iconic landscapes, from Camden to Owls Head. You’ll stretch your skills with figure study in the crisp autumn light. You’ll reflect on what you’ve learned with serious art conversations during demos and lunches.

We’ll visit the Farnsworth Art Museum to discuss plein air painting through history. Colin Page has invited us to visit the Page Gallery, to help map out the conversation between contemporary practice and our own creative path. Then on Friday, we’ll have a group show, with your paintings on my gallery walls—and a celebration to cap off our time together.

American Eagle in Drydock, 12X16, $1159 unframed includes shipping and handling in continental US.

What makes it truly immersive?

  • The extended duration allows ideas and skills to deepen and blossom;
  • Locations are not just scenic; they’re also historical and relate to movements in art;
  • Working alongside other passionate painters fosters creativity and learning that extends beyond instruction;
  • Seeing and discussing art in galleries and museums connects technical practice with where we stand in the great sweep of art history.
Beauchamp Point, Autumn Leaves, 12X16, oil on archival canvasboard, $1449 framed includes shipping and handling in continental US.

Because I keep my groups small, there’s plenty of room for one-on-one support. I explain, demo and then step back so you can try it yourself. The real goal isn’t to make you a copy of me, but to help you unlock your own ideas and refine your own painter’s voice.

If you’ve been waiting for the right moment to invest in your art, this is it. Spaces are limited, so grab your spot today!

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Monday Morning Art School: the overwhelming landscape

The Vineyard, oil on linen, 30X40, $5072 framed, includes shipping and handling in continental US.

Last summer, one of my students arrived at my workshop with a problem I see frequently. She could draw beautifully from photos, but when she set up outdoors, she froze. “The landscape is overwhelming,” she said. “There’s too much going on. I don’t even know where to start.”

That’s the problem of infinite options, and at times it can be a problem for even the most experienced painters. That’s especially true in a new environment. There is a sense that the whole world is pressing in, demanding to be painted. If you succumb to that and don’t break the scene down, you end up fussing endlessly over detail. Or, by trying to include everything, you end up with a painting about nothing in particular.

Athabasca River Confluence, 9X12, $696 includes shipping and handling in continental US.

On the first day, I gave this student one simple assignment: big shapes first. We stood on the edge of a blueberry barren, facing a stand of spruces set against the immensity of the ocean and the sky. “Squint,” I told her. “What are the three biggest shapes you see?” She hesitated, then answered: “The sea, the sky and the trees.”

That became, in the end, both her composition and her focal points. Once she blocked these in on her sketch, she could move easily into a structured, sensible painting. She was no longer struggling to find a starting point in an immense landscape, and the mindless chatter of too much detail faded.

Coal Seam, 6X8, oil on archival canvasboard, $348 includes shipping and handling in continental US.

By the end of that day, she had a painting that was loose, fresh, and alive. More importantly, she had an epiphany. She realized she didn’t have to paint everything, only the essence of the scene. From that point onward, the workshop was a romp for her.

Every painter has hurdles like this—sometimes it’s drawing, sometimes color, sometimes just getting past his or her own nerves. The good news is: once you know the roadblock, you can break it down. That’s where good instruction and practice make all the difference.

But don’t take my word for it

Here are some of the comments I received after last year’s October immersive plein air workshop:

“The week started as an exercise in frustration, for all the varied reasons that make watercolor challenging. But Carol, with a sprinkling of her magic dust, managed to turn it into a high by Friday afternoon.” (Rebecca)

“It was a week of growth for me! Thank you, Carol, for a wonderful learning experience.” (Lynda)

“What a magnificent experience this has been to meet everyone, be a part of a week of learning, living, creating, with like-minded artists and a teacher with significant range… I loved our week together and would do it again in a heartbeat.  I learned so much from Carol, which was the icing.” (Jody)

Eastern Manitoba River, 6X8, oil on archival canvasboard, $348 includes shipping and handling in continental US.

“I had a wonderful week! I learned a lot and am left energized and motivated to put all my new-found methodology to work.” (Beth)

“Thank you for the abundant art wisdom, patience and willingness to give of yourself.” (Sandy)

“This is the first workshop I’ve attended without a 2–3-hour demo to start every day and it was WAY better!  The personal attention addressing my painting–where I’m at and where I’m trying to go–was so much more helpful than watching someone paint then trying to relate it to my work.  The demo at the end of the week solidified all that we had discussed all week. (Christine)

If you’ve ever felt overwhelmed when standing in front of a landscape, don’t put off tackling it. My October immersive plein air workshop is your chance to face it head-on.

But space is limited, and October will be here before you know it. Don’t wait—secure your spot today, and give yourself the breakthrough you’ve been waiting for.

Click here to reserve your place before it’s gone.

Posted on

Monday Morning Art School: the overwhelming landscape

The Vineyard, oil on linen, 30X40, $5072 framed, includes shipping and handling in continental US.

Last summer, one of my students arrived at my workshop with a problem I see frequently. She could draw beautifully from photos, but when she set up outdoors, she froze. “The landscape is overwhelming,” she said. “There’s too much going on. I don’t even know where to start.”

That’s the problem of infinite options, and at times it can be a stumbling block for even the most experienced painters, especially in a new environment. There is a sense that the whole world is pressing in, demanding to be painted. If you succumb to that and don’t break the scene down, you end up fussing endlessly over detail. Or, by trying to include everything, you end up with a painting about nothing in particular.

On the first day, I gave this student one simple assignment: big shapes first. We stood on the edge of a blueberry barren, facing a stand of spruces set against the immensity of the ocean and the sky. “Squint,” I told her. “What are the three biggest shapes you see?” She hesitated, then answered: “The sea, the sky and the trees.”

Athabasca River Confluence, 9X12, $696 includes shipping and handling in continental US.

That became, in the end, both her composition and her focal points. Once she blocked these in on her sketch, she could move easily into a structured, sensible painting. She was no longer struggling to find a starting point in an immense landscape, and the mindless chatter of too much detail faded.

By the end of that day, she had a painting that was loose, fresh, and alive. More importantly, she had an epiphany. She realized she didn’t have to paint everything, only the essence of the scene. From that point onward, the workshop was a romp for her.

Every painter has hurdles like this—sometimes it’s drawing, sometimes color, sometimes just getting past his or her own nerves. The good news is: once you know the roadblock, you can break it down. That’s where good instruction and practice make all the difference.

Coal Seam, 6X8, oil on archival canvasboard, $348 includes shipping and handling in continental US.

But don’t take my word for it

Here are some of the comments I received after last year’s October immersive plein air workshop:

“The week started as an exercise in frustration, for all the varied reasons that make watercolor challenging. But Carol, with a sprinkling of her magic dust, managed to turn it into a high by Friday afternoon.” (Rebecca)

“It was a week of growth for me! Thank you, Carol, for a wonderful learning experience.” (Lynda)

“What a magnificent experience this has been to meet everyone, be a part of a week of learning, living, creating, with like-minded artists and a teacher with significant range… I loved our week together and would do it again in a heartbeat.  I learned so much from Carol, which was the icing.” (Jody)

“I had a wonderful week! I learned a lot and am left energized and motivated to put all my new-found methodology to work.” (Beth)

“Thank you for the abundant art wisdom, patience and willingness to give of yourself.” (Sandy)

“This is the first workshop I’ve attended without a 2–3-hour demo to start every day and it was WAY better!  The personal attention addressing my painting–where I’m at and where I’m trying to go–was so much more helpful than watching someone paint then trying to relate it to my work.  The demo at the end of the week solidified all that we had discussed all week. (Christine)

Eastern Manitoba River, 6X8, oil on archival canvasboard, $348 includes shipping and handling in continental US.

If you’ve ever felt overwhelmed when standing in front of a landscape, don’t put off tackling it. My October immersive plein air workshopis your chance to face it head-on. With its sweeping views and ever-changing light, Beech Hill is one of the best classrooms you’ll ever step into.

But space is limited, and October will be here before you know it. Don’t wait—secure your spot today, and give yourself the breakthrough you’ve been waiting for.

Click here to reserve your place before it’s gone.

Posted on

Monday Morning Art School: why is instruction important when learning to paint?

Beach erosion, 9X12, Carol L. Douglas, oil on canvas, private collection.

I’ve been both a student and a self-learner, so I speak from experience. Painting instruction provides structure, feedback, and foundational knowledge that self-teaching lacks.

Painting is made up of design elements like value, color, composition, edges, and brushwork. Instruction helps you learn how these elements work together.

Without guidance, we can spend years reinventing the wheel. A good teacher—and the emphasis has to be on ‘good’—helps you skip those detours and make real progress faster. You’re no longer guessing, you’re working with a purpose.

A good teacher can point out technical problems or compositional issues you wouldn’t notice on your own. Learning technique from an expert gives you tools to express your ideas more clearly and with confidence.

More than anything, painting is about learning to see—not just to recognize objects, but to observe light, shadow, shape, proportion, and color relationships. A good teacher trains your eye to notice what really matters.

I have three different paths to learning painting available now. Isn’t it time to choose one and get started?

Beach toys, 9X12, oil on canvasboard, Carol L. Douglas, private collection

Option 1: Workshops

Sea and Sky at Acadia National Park

This is my longest running workshop, in America’s first national park. This is a student favorite and personal favorite. Enjoy all-inclusive accommodation or join us as a commuter. August 3-8, 2025.

Find Your Authentic Voice in Plein Air, Berkshires, MA

The Berkshires are easily accessible from NYC and Boston, and a perfect blend of natural, historic, and agricultural beauty. August 11-15, 2025.

Immersive In-Person Fall Workshop, Rockport, ME

Spend a week of deep art engagement in Rockport, Maine, with fellow artists. This five-day session will open a new chapter in your journey as an artist. October 6-10, 2025

Beach Saplings, Carol L. Douglas, 9X12, oil on canvas, $869 framed.

Option 2: Zoom classes starting in mid-August

Don’t be confused because the names of these classes are similar; they’re two different approaches to the same question. The Monday night class is for those who need more guidance on the nuts-and-bolts business of painting. The Tuesday night class is for those who need critique and overall direction. If you have questions about which class to take, email me and we’ll chat.

What I Did on My Summer Vacation: For Intermediate Painters Mondays, 8/18 – 9/29 6-9 PM, EST

This class is perfect for anyone in an early or intermediate phase, or returning after time away. No pressure, no jargon—just encouragement and direction.

This relaxed, supportive class is designed for artists who want to build confidence and paint in a community setting. Bring any work you’ve done (even if it’s just sketches or photos!) and I’ll help you take the next steps. 

You’ll learn:

  • How to strengthen your summer paintings
  • Foundations of good composition and color
  • Tips for setting up and painting from life or photos
  • How to give and receive useful critique

What I Did on My Summer Vacation: For Advanced Painters Tuesdays, 8/19 – 9/30 6-9 PM, EST

This critique-driven class is for artists who are ready to refine their work and push it further. Bring in pieces for serious, constructive feedback—finished or in-progress—and use weekly exercises to rework, reframe, or respond to your summer output.

Each week offers:

  • In-depth group critique
  • Guided prompts to explore composition, editing, and intention
  • Focused painting time with optional instructor feedback
Fish Beach, Carol L. Douglas, 9X12, oil on archival canvasboard, private collection

Option 3: Work at your own pace, from your own studio

Seven Protocols for Successful Oil Painters

If you’re looking for more consistent, beautiful results in your painting, you need a repeatable protocol. In this online course, discover a system that will reliably improve your oil paintings. New for 2023, I’m offering a 7-part online course. Each class includes video content, quizzes, and exercises to do in your own studio at your own pace.