I am not inclined to enjoy painting classes online unless they are done in chunks of short amounts of time. Shari Blaukopf’s most recent class, Sketching Spring Flowers, is one such class. In fact, all her classes are very much like this. Her style of teaching and painting are very fresh and direct, and up front, I think she is one of the most talented and unique watercolorists of our time.
So, taking the first section of the class, we are doing a small batch of purple crocuses blooming in her garden, bright colors after a long, cold Montreal winter. Well, I have lived in cold places, have seen tulips and hyacinths emerge from the snow, but never have I seen a crocus. One day! Anyway, this is the first of her flower studies. I can only hope someone else can tell what it is supposed to be.
My own painting is a bit muddy-looking as far as I am concerned. My paints were not as fresh as hers, but that is not the point. It is more about learning technique. It is hard to paint something from a photograph, and hard, too, to paint something completely alien. However, technique and color mixing are the point. For instance, thick wet paint. Let water do the work in the lighter areas. The experience is the point – but my problem is I am hasty. This painting took me about an hour, watching the videos and thinking about things. I wonder if ever anything sinks in! Despite that, exercises like this are always valuable …
Shari Blaukopf class; crocus; watercolor on Arches CP 140#. About 8×8.
A bit over a year ago I spent far too much money on a class I didn’t like. I liked the artist’s work, and some of the teaching methodology, but in the end felt it was like a big rip off. Most classes lack good content and good teaching as far as I am concerned, and being cheap, I am not inclined to spend the amount I did last year. The course was a gamble, and I lost.
On the other hand, I have been really happy with Shari Blaukopf’s short courses and demos, which are content rich and reasonably priced. I have been working to incorporate the simplicity and directness with which she paints to keep from overworking my own watercolors – and believe me, overworking a watercolor is awfully easy! Ian Roberts’ course and follow-up group for his Mastering Composition has also been a great group to belong to and participate in.
I have also decided to enroll in Matthew White’s course on a monthly basis – Learn to Paint Watercolor. He has monthly demos, and critiques. There is a nice group of watercolorists of different levels of experience and skill, and so far it is worthwhile. The fact I can stop my monthly subscription beats a year paid up front for not too much I couldn’t learn on my own. I’ve watched his critiques and they are valid, and he works to make sure that as many people get a brief but informative bit of feedback.
Anyhow, this is the first of the demos I did of Matt’s. He has a lot of things I don’t paint – like boats, buildings, cows, nights, hay bales. The challenge is there, and I am looking forward to them. His demos are clear and sequential, and even though I doubt I will follow them step by step, there is something definitely to be learned.
The title of this painting – from Matt’s demo – is “Boats on Land” – definitely a boat yard and storage facility. I liked doing this, and was really happy to see Matt paint around the light boat sections with darker paint. I need to see that and do that. I think my painting turned out okay!
I am kind of a cheapskate at times, especially when it comes to paying for educational experiences. Too many times I have been disappointed by the experience, especially when it comes to art classes. Cost vs. course value and content are a big issue for me, and more often than not I am very disappointed.
One person, though, from whom I have taken online courses, and who has never disappointed me, is Shari Blaukopf. She is a Canadian watercolorist with quite a following – her workshops are always sold out – who provides economical and informative online classes in various subjects. Subjects have included snowy urban scenes, wintery scenes, flowers. Her courses last from an hour or so to more, depending on how you do them, for very good prices of about $30 US. I ain’t complaining!
Let’s begin with her most recent course on trees throughout the seasons. I think this is one of my favorites. What did I learn? As a dabber – tiny brush strokes – this class was perfect for me. I got a better grip on painting foliage, not a leaf at a time, but as color masses. Most instructors will tell you “paint foliage as a mass of color.” Okay, clear enough, except it doesn’t really sink in well for me. Shari’s method of drawing an outline of the areas in question is brilliant, and a lightbulb-going-off-in-the-head experience for me. My samples from this enlightening experience gave me quite a bit of pleasure.
While she is painting her tree she says that midway through, when the tree is just a bunch of colors, she begins to wonder if it is going to get any better – and it does. My own thoughts were the same, but continuing on, the results were pleasing.
These southern live oaks (above) were also done with masses of color, but a bit more detail. The maple tree was a great segue into the oak trees.
The standard or classical “way” to do watercolor is light to dark. I have followed this “rule” with mixed success, and as a little automaton, I do what is “expected” far too often. However, Shari often does the sky, then darker areas, or outlining certain areas with color.
Above was the very first tree study – a vast area of pine forest against a mountain and sky. Sky and mountain were both worked around a lot of the treetops. From there, the very dark pines were painted with the lower edge of lighter vegetation done last.
What?! That is the “wrong” sequence!
Working around the trees leaves areas of white paper, and this this gives a sparkle to the end painting as well as keeping colors more pure and fresh. Painting around the bright green tree was also a challenge – and to remember it was there. Shari had to remind herself, and did so as we moved along. I didn’t quite succeed, but caught myself in time.
This snow-laden maple – the brightly colored one from earlier, now in winter – was the last study. No frisket was involved to leave the snow fresh on the tree. Instead, hints on how to leave snow areas apparent in the drawing – put a dot on the snowy areas to remind you – worked very well. I’ve done such things myself, but it is a good reminder of little tricks.
In many ways, this winter tree was perhaps the most challenging of the studies because so much advanced thinking was involved in the journey to the final result. Snow on so many tree branches was sort of a logistical nightmare, but oddly enough easier for me than masses of colored leaves. Titanium white covers up a few mistakes, too, where the snow was painted over. Blue, too, was added very lightly to make shadows on the snowy branches, giving more dimensionality than without that subtle touch.
Shari even returns to her trees to add a bit more here and there to improve them. I like these little forays into imperfection or dissatisfaction – so many workshops don’t show these little bits of humanity.
If you like watercolor, need some good instruction, and are on a budget, Shari’s classes might be the answer. She doesn’t teach you the basics but assumes you know how to do washes and use colors and what a paint brush is. Her classes range from pretty straightforward to more sophisticated and complex subjects. No matter what, she leads you through the process quite nicely. For example – buildings terrify me. Perspective is not my forte and suburbia throws it at you from all directions. But, I did this, and learned that even I, who has no depth perception to speak of, can actually produce a painting with buildings!
I managed to produce the above – albeit with some glitches – by following her along with her “Urban Winter” class – which you can find here. Check out her work and courses – I don’t think you can find better value and better education almost anywhere. And as a final plug, here is my painting from her course “Winter Woods and Stream”.
And, for my own frugal heart, Shari offers course bundles that discount her already fabulous prices a bit more. Check her courses out and sign up if you are interested. Some courses allow you to upload your work – the later ones in particular. She always leaves feedback, too, even a bit late as she travels a lot. The personal touch is so nice, and being able to see what other students produce is good, too.
Nothing like a slushy pile of dirty snow alongside the road to make you really appreciate bright, white clean snow!
I thought I would do this for more practice painting snow, using some of the things that stuck in my mind from the Shari Blaukopf’s class on painting snow. Add to that, I tried to recall and implement some of the things I have learned over the past several months from my courses with Ian Roberts. Something seems to be shifting!
There are a lot of watercolor instructors out there. Many are good, some mediocre, and others not worth the time. Among my favorites are Rick Surowicz, Oliver Pyle, and Shari Blaukopf. Most important is if I like their paintings or not! Next is their teaching style. In person classes are hard to find, get to, and can be expensive, but online courses are often repeatable. I am beginning to find this to be the best venue for my own learrning. Blaukopf has a number of short courses, very reasonably priced, which fous on this or that. Shari Blaukopf fits both criteria – great painter, great teacher.
I have purchased a number of her courses. Over time, her classes, already good, have gotten even better with more details and focused studies. You can learn a lot from copying a painting – a long, traditional history for the art student – but when you watch a painter achieve a painting, how they apply paint, when they explain their approach, learning is an even better experience.
I can paint snow and have done it fairly well, I think. What I enjoyed about this class was to see her sequence of painting, understand the logic behind her approach, as well as the fact that her painting is pretty direct. Shari applies her colors directly to the paper, sometimes mixing on the palette and other times on the paper while adding other colors. The key factor in her success is she does not overwork her painting!! She also explains why and where she is using hard and soft edges, as well as warm and cool colors. Not everyone is this clear.
In the end, her painting always have a lively freshness to them, with plenty of detail mixed with a painterly quality. Perhaps a lack of fussiness? Whatever it is, her painting seems very spontaneous to me. Seeing / learning how she achieves this has been the highlight of her classes. She is thoughtful, plans ahead, and yet achieves a looseness that is hard to match. As watercolor – or “watercolour” – is such a challenging medium, good techniques are like gold to me.
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