Q&A: How do I sign up for a class? Simply email: claudia@claudiarilling.com and a reply will be sent to you with payment options. Class descriptions below.

FOR FULL CLASS DESCRIPTIONS SCROLL TO THE BOTTOM OF THE PAGE

NEW CLASSES COMING THIS WINTER 2027: (email claudia@claudiarilling.com to be added to the announcement)

FOUNDATIONS OF FLORAL PAINTING | SEPTEMBER 24-27
Open For Registration | Full Class Details Below

BUILDINGS IN THE LANDSCAPE OCTOBER 6-20
Open For Registration | Full Class Details Below

THE STUDIO LANDSCAPE: Observation and Invention
Examining the Boundaries Between Realism and Abstraction
November 3 - December 8
Now open for registration | Full class details below

IN PERSON WORKSHOP 2027:

WORKING FROM FAMILY PHOTOGRAPHS
Our Painted History
at Woodward Contemporary in San Diego.
Apr 01, 2027, 10:00 AM PDT – Apr 04, 2027, 4:00 PM PDT
$950 | Step into a transformative 4-day workshop designed to help you build deeply personal figurative paintings from archived family photographs. Through color, composition, proportion, and simplifying complex forms, learn to turn meaningful images into artwork with clarity and your distinct voice. Register at: woodwardcontemporary.com/workshops
Limited to 12 students

FOUNDATIONS OF FLORAL PAINTING 4-Day Workshop 
September 24-27
 
Dates & Times (Philadelphia/NYC time zone (Eastern) time)
• Thursday, September 24 | 12:00- 1:45 PM ET
• Friday, September 25 | 12:00- 1:45 PM ET
• Saturday, September 26 | 12:00- 1:45 PM ET
• Sunday, September 27 | 12:00- 1:45 PM ET
Office Hours (Optional to join): Sunday, September 27 | 3:00- 4:00 PM ET (casual drop-in; not recorded)
 
About the Workshop
Designed for painters who are new to painting flowers, this four-day foundations course will help students understand complex floral forms and paint them with confidence. By learning to simplify and paint these intricate forms, students will build a strong foundation for more advanced floral painting classes.
 
The workshop is divided into clear and manageable stages. During the first two days, students will work in a more realistic style to develop a strong understanding of floral structure and form. On Days 3 and 4, a looser, more expressive approach will be demonstrated. 
 
Course Objectives
• Simplifying and understanding complex floral forms
• Employing strong lighting to ensure a successful painting
• Mixing clean and accurate color
• Developing the surface and using varied edges
 
Class Syllabus
Day 1 Drawing; seeing shapes rather than details; simplifying complex information
Day 2 Mixing clean color; painting simple floral forms
Day 3 Different flower species and forms; working with edges
Day 4 Vases and ellipses; continuing to develop varied edges and marks
 
Format & Materials
• Instruction includes discussion, lecture, and demonstrations
• Instructor works in oil; acrylic, gouache, and pastel are also welcome
• A basic supply list will be sent after registration
• Students may paint from life or from provided photo references
 
After the Workshop
Students will receive individual weekly audio or written critiques through our private online classroom.
Participants will have two full weeks following the workshop to complete exercises and receive continued feedback. You might choose to start the work over the weekend or complete them during the week (however your schedule allows).  
Online Format
• Classes are held live via Zoom and recorded
• Live attendance is not required
• Recordings are available for 30 days after the course ends
• Private online classroom for critiques and between-session feedback  
Level
Beginner and higher

Tuition: $325
EMAIL: claudia@claudiarilling.com to register

BUILDINGS IN THE LANDSCAPE
Observing How Architecture Anchors the Natural World

October 6, 13, 20
Dates & Times (Philadelphia/NYC time zone- Eastern Time)

• Tuesday, October 6 | 12:00–2:00 PM ET

• Tuesday, October 13 | 12:00–2:00 PM ET

• Tuesday, October 20 | 12:00–2:00 PM ET

About the Class
Architecture can appear overwhelming, but by training our eye to see past detail, we can convey buildings powerfully and merge them with the organic forms of the landscape.
In this three-week intensive course, students will learn to see edges and shapes more confidently and clearly. The focus will be on simplifying complex architectural forms, conveying detail without overworking, varying edges, and merging the man-made with the organic.
By focusing initially on faster, small-scale studies, students will learn how to see and quickly capture complex information in paint. We will gradually move to slightly larger surfaces during Weeks 2 and 3. Other topics, including color mixing, value structure, and light, will also be covered.

Course Outline
• Simplifying complex architectural forms
• Seeing and organizing strong shapes

• Conveying detail (without painting details )
• Varying edges- integrating architecture into the landscape

Format & Materials
• Instruction includes discussion, lecture, and demonstrations

• A basic supply list will be sent after registration

After the Class
Students will receive individual weekly written or audio critiques through our private online classroom.
You will have two full weeks following the final class to complete the class exercises and receive feedback.

Online Format
• Classes are held live via Zoom and recorded

• Live attendance is not required

• Recordings are available for 30 days after the course ends

• Private online classroom for critiques and between-session feedback

Tuition: $295
Email crilling@hotmail.com to register

THE STUDIO LANDSCAPE: OBSERVATION & INVENTION
Examining the Boundaries Between Realism and Abstraction

6 WEEKS November 3 - December 8, 2026
Dates & Times (Philadelphia/NYC time zone - Eastern Time)
• Tuesdays, November 3- 24 | 12:00 - 1:45 PM ET
• Tuesdays, December 1 & 8 | 12:00 - 1:45 PM ET

About the Workshop
This six-week class explores the many ways we can interpret the landscape. Through observation, invention, or subtle abstraction, a painting can become much more intriguing than a strictly observational piece. Throughout the class we will move between observation and semi-abstraction.

In the first week, we’ll explore different approaches to interpreting the landscape through smaller studies. In the following weeks, we’ll cover topics such as working with limited vs expanded palettes, experimenting with scale and format, and finding the right balance between structure and expression. Students will be encouraged to discover their own voice and style through a variety of exercises.

The final two weeks will focus more on group critique and discussion. Learning from each other’s work, and developing an analytical eye is an important part of this class. Please note that Weeks 5 and 6 may go a little overtime.

Class Format
• Instruction includes discussion/ lecture, and painting demos (live or pre-recorded)
• Demonstrations will show different parts of the painting process and approaches to interpreting the landscape
• A materials list will be sent after registration. Instructor works in oil; acrylic and gouache are also welcome.

Critiques & Online Classroom
Students will receive individual weekly audio or written critiques through our private online classroom. Assignments will be done between weekly class sessions.

• Classes are held live via Zoom and recorded
• Live attendance is not required
• Recordings are available for two months after the final class (extended due to the holidays)

Level
This course is designed for painters who have a foundation in landscape painting.

Tuition: $395

To Register: Email claudia@claudiarilling.com

2026 Private Mentoring and Coaching

These focused one-on-one meetings will support you in strengthening your work, overcoming blocks, and organizing your painting practice:

-Critique: Receive in-depth feedback on current work
-Overcome obstacles and artistic blocks
-Set artistic and professional goals
-Develop clarity and confidence in one's work and process

$110 USD/ 50 minutes
Meetings are conducted through Zoom

EXAMPLES OF PREVIOUS COURSES: The Single Object Still-Life: Mastering Planes and Form; Foundations of Floral Painting: Unlocking Vibrant Color; Landscape Painting Foundations; After the Masters: Transcriptions in Gouache and Acrylic; After the Modern Masters: Transcriptions in Gouache and Acrylic; Alla Prima: A Direct Approach to Florals; Cityscape Painting: Capturing the Light and Atmosphere of the Urbanscape; Atmosphere and Edges: Building Depth into the Landscape; Oil Painting Foundations; Foundations of Still Life Painting; Color, Shape, and Design; Studio and Plein Air Practices; Buildings in the Landscape;

REFUND POLICY: There are no refunds or transfers for online classes. If one cannot attend live, recordings are available. In the unlikely event that a class is cancelled, students will receive a full refund.


General Supply List (oil):

Materials List for Claudia Rilling

• Paper Towels / rags
• Portable easel if working outside (landscape classes)
• Canvas Panels, stretched canvas, or gesso primed paper (any size you feel comfortable working in, but starting smaller is a good idea) 8x8, 10x10, 8x12, etc. Size is based on personal preference.
• Paint Brushes- It’s good to have a variety of brushes that range in both type and size. Rounds, Flats, and Filberts are all good
• Paper Palette (or whatever you prefer) - at least 12x16. Or, if using a portable easel, it may come with a nice palette.
• Metal palette knife. A pointed end is best, not larger than 3 inches long.
• Some Paints: (or use what you have)
Burnt Umber— Transparent Earth Yellow— Ivory Black — Cadmium Red— Cadmium Yellow Light or Medium— Ultramarine Blue or similar— Titanium White (large tube is best)— Alizarin crimson—Sap Green
• Any other colors that you like
• Feel free to experiment with other tube greens and blues like Permanent Green, Cadmium Green, Pthalo Blue (VERY strong), Phtalo Green (VERY strong), Prussian Blue, Cerulean Blue, etc. Tints can also be useful: ie "King's Blue"
• The brand I prefer: Gamblin or Windsor Newton oil paint, Williamsburg and Old Holland are more expensive options. AVOID student grade paint: "Gamblin 1980" and "Winton" by Windsor Newton
• Liquin Original or linseed oil– Not needed if working in acrylic
• Odorless Turpenoid or Gamsol– Not needed if working in acrylic
• Jars or cups for medium and thinner. Make sure the lid seals tightly.
• Optional: view finder (you can make a homemade version with pieces of cardboard taped together)
• Small sketchbook and pencil/markers. "Tombow" value markers are great for value studies.
• Gesso (optional to prime surfaces) : Professional Grade White Acrylic Gesso. “Golden” brand is good.

"Painting a Dynamic Landscape"
Jerusalem Studio School: Painting Workshop, July 1-15, 2019
Affiliate Workshop hosted by The JSS in Civita Castellana, Italy

WAYNE ART CENTER
www.wayneart.org

RECENT NEWS

Portrait drawing published in "Lessons in Classical Drawing" by Juliette Aristides