School of painting by Veronica Kalacheva. Profitable arts: how to make money teaching drawing to adults. How do ideas for your work come about?

The artist Veronika Kalacheva held her first drawing classes in the basement of a store for artists, and recruited students through her blog. Although the lessons were inexpensive, the group quickly fell apart: the course had no program, beginning or end. Four years later, Kalacheva and her husband restarted classes in rented premises, quadrupled the price, came up with a course of study and invited new teachers, spending only their own money. The couple also launched online drawing classes - and the school’s turnover increased fivefold. Now drawing at the Kalacheva School is fashionable, and in four and a half years more than 20 thousand people have completed the program. Inc. I learned from the founders how to make money from free marathons, why people are more willing to study if they pay more, and how to combine conservative drawing and progressive technologies.

Freelance artist Veronika Kalacheva decided to create the “Columns and Squirrels” drawing school in September 2009, when the number of subscribers on her LiveJournal grew to 3 thousand people. Kalacheva made money from individual drawing lessons and decided that if so many people were interested in her blog, it made sense to scale up. They decided to hold classes in the “Colored Mondays” store for artists, which belonged to Veronica’s husband, Matvey Kalachev. But the idea failed. At first, 12 people signed up for the classes, but after a month only five remained. Even the low price of lessons did not deter those who fled - 3.5 thousand per

8 lessons. The course had no beginning or end; new students came to the group when classes had already started, and as a result, some yawned from boredom while others tried to catch up on the material.

The courses in the basement lasted for about six months, when it became clear that the idea was not very successful and it was time to close. In addition, Veronica was pregnant and at some point the doctors simply forbade her to teach classes and ordered her to take care of herself. The Colored Mondays store also stagnated. It was necessary to invest a lot of working capital in this business, recalls Matvey Kalachev, in order to keep the goods in stock.

Three years after an unsuccessful attempt to teach drawing, Matvey Kalachev decided to open a school in a new format. In the summer of 2013, Matvey created a simple school page on LPGenerator. On the CIAN website, the couple found a studio in the House of Artists - 70 sq. m. m for 80 thousand rubles per month. The room had large windows that were conducive to drawing. The founders decided to radically change everything and started by raising the cost of training for the same 8 lessons of 2.5 hours from 3.5 thousand rubles to 20 thousand rubles. Veronica wrote an announcement on her blog about enrollment in a watercolor course in September, and then the couple went on vacation to stop worrying that nothing would work out with the business.

The courses were promoted only through LiveJournal, and by the fall a group of 12 people had gathered. We paid the rent two months in advance, bought furniture (in total we spent 25-30 thousand rubles on this). The paints and paper are left over from the art store days.

The Kalachevs never had a business plan, but they had a feeling that they could earn 200-300 thousand rubles a month at the school. To scale the business, it was necessary to look for teachers, and Veronika Kalacheva began writing to artists she knew. By the end of 2013, four more teachers appeared at the school. The school launched art history courses, children's groups and classes in different drawing styles.

Two years later, in 2015, the Kalachevs were contacted by Marat Nigametzyanov, a former designer of the Artemy Lebedev Studio, the author of the Getcourse platform for online training for a wide range of clients - among the projects there is Alexander Vasiliev’s school, courses on nail art, style and even sex .

“The moment we met Veronica and Matvey, we immediately agreed to do a course - and we did it in a month. We sold the first stream for 1.5 million rubles. Veronica had a training program, we made a landing page and put it online. We started in September 2015,” said Marat Nigametzyanov.

Added online classes: increased turnover fivefold

We found out that studying online is more effective. Someone was late for class, someone took a long time to swing, someone is embarrassed to ask a question. There are active students, and there are those who only get inspired at the end of the lesson.

In online lessons, we break the process down into small details so that students learn the simplest things step by step. For example, you need to fill in watercolors. Everyone thinks it’s very simple, everyone wants to draw Notre Dame de Paris right away. But we build the learning process in our own way.

Our competitive advantage is that we offer an individual approach - the student has the feeling that he is one on one with the teacher. On Coursera, no one teaches students one-on-one. And we have 30 teachers who check work in online courses.

Online classes are good because one teacher can teach 100-150 people. If you spend only 5 minutes per person and leave only one comment, you get 12 hours of work. This is beneficial from a business point of view and comfortable for students. After the launch of online classes, the school’s turnover increased fivefold.

Economics School of Veronica Kalacheva

million rubles- turnover in 2017 (growth of 14% compared to 2016).

million rubles- profit before taxes in 2017.

turnover spent on promotion.

We opened a second studio: the flow of clients increased by 1.5 times

In January-February 2015, we had to rent a second studio - there were many people who wanted to study in the evening. There were 6-7 courses per month, and it was difficult to accommodate them in one studio. Moreover, no one will go to Academicheskaya from the north of Moscow, no matter how much he loves Veronica. We looked at three premises and chose one on Novoslobodskaya (35-40 sq. meters), next to the metro, for 80 thousand rubles per month.

The basic course is designed for beginners - this is a large audience, possibly with an average income. In fashion design, our audience is professionals who want to work, for example, with Alena Lavdovskaya, they are willing to pay more. For example, she taught extreme sports during Fashion Week and taught how to draw an image directly from a living person. The group painted at the Kenzo show. There were about 1 thousand people there - it was like a packed club at a rock concert.

We advertise only on social networks: attracting clients pays off in 3-4 months

Social networks are the most effective channel for attracting customers. It gives a conversion rate of 41% from visitors to registration. We did not measure how much to buy. From search - 10%, from advertising systems - 2.4%. We believe that this is a high conversion rate, but we are working to increase it. An increase of 1% can result in an increase of 1 thousand orders.

Veronica Kalacheva. Photo: Nikita Berezhnoy / Inc.

New Year's holidays for those who did not want to lie face down in the salad. The advertising cost 800 thousand rubles - it was rotated every day. There was also an hour-long interview with Veronica. But we love advertising that can be measured through metrics.

We want every dog ​​to recognize our school. We currently have 400 thousand people in our database, but it should be 140 million (the population of Russia is Inc). Every person should try to draw, and everyone should learn from us. We plan to grow sales by 40% per year, but we cannot tell how we will do this.

Invested in offline events: customer base grew by 250%

To attract people, we came up with our own format for promotion - the “Extreme” online marathon. The point is that participants must go outside and draw, and they must do it quickly. In total, nine such marathons have already taken place; more than 100 thousand participants signed up for the first one, but 20 thousand participated. Those who invited three participants took part in the marathon for free. Those who could not attract friends could not participate. After the first extreme event, the base grew from 80 thousand to 200 thousand people.

To increase awareness, in October 2017 we held the Moscow Watercolor Festival on the premises of the Central Telegraph (DI). 19 foreign artists from Great Britain, France, USA, China, Italy, Turkey, and India arrived there. All of them are known in the big world of watercolors, they give master classes and hold exhibitions. Some we knew, some we followed on social networks. Some refused or did not answer, but those who were needed all arrived.

The main expenses for an event of this level are fees and rent. We paid the invited artists

Matvey Kalachev. Photo: Nikita Berezhnoy / Inc.

expenses for hotel and flights, and the fee for each master class amounted to more than $1 thousand. Preparation took 9 months and 5 million rubles, and the festival itself lasted 3 days. We conducted 22 master classes of 2.5-3.5 hours, participation in which cost 2 thousand-4.5 thousand rubles. Just entry to the festival cost 300 rubles. It was possible to visit an exhibition of works by these artists and some teachers of the School - they brought 96 works and there were also about 10 works by our teachers.

We managed to sell all the tickets and break even thanks to promotion through mailing lists. But we won’t risk repeating this experience again - it’s still very expensive. But we managed to meet foreigners from the big world of watercolors, and now we bring them to master classes outside the festival. Participation in them costs from 7 thousand rubles.

During my last trip to Moscow, I was lucky enough to meet Veronica Kalacheva- an inspiring artist whose work I have been following for quite some time. Veronica opened her own school in the fall and it was there that we met her for an interview.

— Please tell us where you learned to draw and how you came to this?

— Since I lived in a military town, we didn’t have many different studios and schools. There was a music school that I went to, but there was no art school. But one of my mother’s friends, an artist, decided to teach her children to draw and set up her own studio. This, of course, was not much like a school; there was only one; drawing and painting were taught there. It was there that I learned the first basics, and then, in fact, there was institute. And I started drawing with my mother’s encouragement, my parents supported me, they told me that I was doing well and that I needed to continue, I consider them my teachers - my parents, who did not interfere.

— What institute?

— Moscow State Pedagogical University, Faculty of Art and Graphics. I never thought that I would need a pedagogical education, to be honest, but I need it regularly. It helps in school, in life, and communication. One way or another, you have to explain something to someone, even your child, teach something, know how to correctly convey your idea. I think this is very important.

— Tell us about your school, what classes are held here? How did this idea even come about?

“Actually, it was my husband’s idea.” This is our joint, family project. My husband took on this business from the financial side, and I from the creative side. I had this experience before, I ran a studio, but then I was alone and I didn’t have such a coherent vision, and that’s probably why the classes stopped. That is, people came to me who wanted to study, they saw where they were starting to study, but they did not see where the end was. One way or another, some people lost some kind of passion, this was one of the mistakes. The second point is the “stupid” drawing of still lifes. Of course, I still sometimes resort to this, but in general I believe that the first task is not to lose interest. When a person wants to draw, he does not mean that he wants to draw still lifes, he has some other tasks in his head.

— What are the features of teaching at your school, the approach, I understand correctly that it is not classical?

— I call this a “creative kick.” Because when you come to school and realize that there are only 8 classes, it’s a kind of “kick.” It is clear that in 8 lessons, in principle, it is impossible to teach you to be fluent in watercolors, but it is possible to cram it with knowledge, some techniques, theses, which you will then think about when you leave here. This is exactly what we are counting on. That is, a person comes here, I tell him a lot of theory, tell him what exercises to do, then we do the final task. As a rule, there is such an alternation: simple-complex, theory-practice, so that it doesn’t happen like we have at the university - the teacher puts up a still life and goes away to smoke for the whole lesson, and then he comes and “oh, you don’t know how to do anything and why do you actually came here.” Since I had this exact learning experience, I want to do things differently. So that people come here and see the enthusiasm of teachers (not only me, I also select teachers for my school with the same calculation) and it is very important for me that they convey information.
When they say that drawing is “given” or “not given,” I categorically disagree. It seems to me that when you teach with soul and enthusiasm and talk about things, you can generally express it in words, then a person gets it. And with such snobbery, pretending that “you won’t learn this because it’s not given to you” is generally not our approach.

— Tell us about the watercolor, why exactly it, how was your relationship with it?

- This is a strange story in general, I never thought about it, I didn’t choose it on purpose, I wasn’t inspired by anyone. When we started working in oils at the institute, I painted and did everything I was told. But suddenly I got bored, realized that it’s not my thing, I don’t like it, I just don’t get pleasure from it. I even started painting in oils as a graphic - I liked that there were glazes, everything flowed, was translucent, etc. And I realized that I was simply replacing one thing with another. I asked the teacher if I could paint the assignments in watercolors, he said that there was only one requirement - a large format. And I started painting with watercolors. I don't know why, it was just a call from the soul.

— What inspires you in general - to draw, to create? Where do you find themes and inspiration?

— Well, in the air, as usual :)
You are walking on such a beautiful sunny day, beautiful shadows, patterns of branches in the sky. All this somehow - once! - and it comes together into one picture and you realize that it’s beautiful.

— Do you draw from life?

- Differently. Both from life and not, I really like to draw from life. But sometimes this is simply impossible, because you are in a hurry or embarrassed for some reason. Sometimes this is inappropriate, as in the theater, for example, because you can’t lay out watercolors there. Although you can, of course, make sketches, I have a whole series of them.

— Are sketches as independent things or as sketches for subsequent works?

- Well, first I draw what I like, what inspired me, and then it can grow into something, it happens. Or maybe it will end up as sketches in sketchbooks.

— What advice can you give to people who are just starting to draw, who are afraid to do it? Where should they start?

- Well, the first thing is not to be afraid. Why be afraid? This is you, sheet, paints. If what you did doesn’t seem very nice to you, well, take another sheet and do it again. By the way, this is a very funny thing - sometimes they ask me: “does it ever happen to you that you don’t get your work done?” I don’t even know where people get this myth from, that professional artists get everything right the first time and always. With watercolors, this is generally a normal story - buy a pack of paper and the sheets of paper fly away, and only one of them turns out good.

— It’s just that many people are afraid of spoiling materials and treat them as something “sacred”

- Well, there are savings here, I always advise you to buy some kind of roll of paper, completely forget how much it costs (and it can be expensive) or ask for it as a gift. And then cut off the sheets from there and not think about it at all.

— I remember one key moment when I first got a job as an illustrator. That is, this was the first time that I, as an artist, received money - I just sat, drew and earned money. Firstly, it was gorgeous in itself, it seemed to me that this could not happen. But I was given certain tasks, I could not cope with them and was very worried about this. I could sit for weeks from morning to evening, everyone is already leaving, and I sit, worry. And I realized that I was doing it wrong - it seemed to me that I should immediately come up with some idea and quickly implement it. I didn’t understand that in order to get a good result, you need to go through several stages, absolutely. Get fed up with an idea, collect material, sit and just laze around in the park, think, make sketches, choose the best one, and so on. It seemed to me that all these stages were already clear, but spending a large chunk of time on them was pointless. And now I understand that this is the key to success. I can sit all day looking at pictures on the Internet, but only if you have a specific goal, you are looking for something. You don't waste time, you invest in yourself. And then do everything great in an hour. Previously, I tried to quickly grab some ideas in 5 minutes and sat there developing them. And I didn’t understand why I couldn’t do it, I could “toss and turn” the same drawing for weeks and not be satisfied.
Preparation is very important, it was such a revelation for me. I don’t know, maybe everyone already knows about it :)

— Well, I don't think so. Many people are very embarrassed to download pictures on the Internet and use them for inspiration. In general, that you need to draw from your head is some kind of widespread misconception, I myself also suffer from this :)

— In principle, I have a normal attitude even to drawing from a photograph, but on the condition that you do not completely copy from there, but take something, process it, add some of your own elements.

Veronica, thank you for the interview! I wish you a sea of ​​inspiration and enthusiasm! Your work is very inspiring :)

I’ve been doing graphic design for several years now, and now I wanted to draw not only on the computer, but also on paper, with my hands. Master some new technique, learn something interesting.

As you know, thoughts are material. As soon as I thought about it, a certain Veronica Kalacheva's drawing school with an extensive program of online and offline courses.
At first I didn’t pay much attention, I think it’s advertising, everything is clear...
But then something caught my attention. This was not just a standard “come, let’s teach” text. In each post, one could feel a sincere love for one’s work and a desire to teach others, useful advice, students’ work, and an encouragement to be creative. I'm hooked!

I went to their website, it turned out to be easy and nice. I like it. There is also quite enough information for each section.
The prices seemed high, but I was ready to take the risk and try. What suits me most is what it is online courses , because while on maternity leave I did not have the opportunity to attend classes in real time.

How the training works

I’ll show you the example of a webinar with Anna Egida (she also conducts distance courses in sketching, for example, “Heroes in the City”). First, the technical part - payment for the course (you can find out how to do this on the website), registration in the system.
Until the course starts, you can read on the website, or ask the administrators what materials you will need. Usually the first lesson of the course is also devoted to materials and their properties. Teachers will tell you what tools they use, their preferences and wishes.

On the plus side. With online learning, you are not tied to the hours of the day; you can take lessons whenever it is convenient for you. The video of each lesson opens step by step. Until you complete your homework, you will not be able to watch the next lesson. Here's your motivation :)
Please be aware that your instructor will review and comment on each piece of work and this may take some time. Until the teacher looks at your work and gives the go-ahead, you will have to practice this lesson over and over again. But don’t think that you will be bullied all the time and not allowed to study further! No. Your guru will point out the main shortcomings, thereby raising your level of skill.

The only problem, if you did not manage to complete all the tasks within the prescribed period (for example, 2 weeks), access is closed. If you want to get to the end, pay another certain amount, and you will again be given a time period and the attention of the teacher. But there is a plus to this, again an incentive to study and not slack.

All previous lessons can be reviewed again within the time limit set by the course.

About the teacher. I liked Anna Aegis. She provides clear, structured knowledge and puts everything in order. It would seem that you are drawing little scribbles, but with Anna’s help they turn into a good sketch. Good diction, clear explanations. I think I’ll take this course too, because I want to learn how to make quick and high-quality sketches anywhere in the world, to sketch not only in a “cartoon style” (which I adore), but also more realistically. I want to create clear silhouettes and outlines with one or two movements of the liner.

This is what the video control panel looks like:

If you tried to watch the next lesson without completing the task from the previous one:

Schedule:

After you have completed the training, you will be sent a certificate either by email or by mail, if you ask the administrators about it.

You also get many bonuses. Namely, additional free lessons and master classes, newsletters with useful information, competitions, discounts on further training. By subscribing to the school’s page on social networks, you will also keep track of news and good offers. In this way, I regularly replenish my cache of free lessons;) After all, even at such master classes and webinars, teachers share their tricks that will definitely be useful to you.

My impressions of the courses taken

Last summer I decided to do distance learning. Chose between courses sketching with Anya Rastorgueva and Pastels for beginners" with Elena Tatkina.

I chose Pastel because it is a completely new material for me; I have never painted with pastels before.

Looking ahead a little, I will say that I just a little, just a little, regretted it, because in Elena Tatkina’s lessons we painted a lot of still lifes, and I just hate them :) And in spirit and style, I like Anya Rastorgueva better. But I realized this only after I watched her master classes.

Overall, I really enjoyed the training. Elena is a competent and intelligent teacher. Pastel is a cool material.
I used Koh-i-Noor (36 shades), I didn’t regret it, the price-quality ratio was good. You need to buy better paper, otherwise your crayons will not work at full capacity. The average option suited me - Canson. Paper was used in different shades for different works. Elena Tatkina also showed us the technique of drawing on sandpaper. I also liked the velvet effect.

They painted, as I already said, still lifes, landscapes, animals. We mastered the technique of drawing glass and metal. We put our hands on it and studied palettes and color combinations. Unfortunately, no people were drawn. It was a little monotonous to work in a muted palette (Elena Tatkina works in it), and personally I missed the bright colors. For those who love such tones, classic still lifes and landscapes, this course is perfect! I recommend!

Now I really want to take a sketching course with Anya Rastorgueva first for

In October 2015, I signed up for an online course at Veronica Kalacheva’s school. There are a lot of impressions, so for those in a hurry, I will immediately write conclusions, and for the rest, after the conclusions, I will describe my impressions of the classes.

CONCLUSIONS
A strong, good, harmonious course to start with. It does not require any primary skills or knowledge. Cleverly divided into lessons. Alternating practice and theory keeps you from getting bored. Clear deadlines for completing the course and the presence of many lessons force you to accustom yourself to drawing regularly, which ultimately has a noticeable effect on the level of drawing. Interesting, exciting tasks.
If you don’t count on a quick check of your work and thoughtful communication with the teacher, and your budget allows, then the courses are a solid 4+.
As a result, a complete revision of one’s abilities, the emergence of new goals and good help from academic work during times of doubt :-).

Don't expect to get away with a couple of brush strokes. To complete the course you will need to work. Of course, not every day, but every second day you will definitely have to take up drawing. But that's the whole point, isn't it?

And now everything is in order.
I got into the course not knowing how to draw at all. I didn’t have any art school behind me, or even more or less intelligible drawing classes at school. I chose this course after going through a long chain of reviews about various offline and online classes.

PROS (which I chose the course for and which I saw during the training process)
1. Online format (I can only do entertainment at night, after putting all the children to bed).
2. Availability of a clear description of the course, its objectives, and necessary materials. A detailed list of lessons with explanations of what needs to be done during them.
3. There are many lessons, each dedicated to a small topic, theoretical question or technique, the course consists of more than 50 lessons.


4. Veronica’s very detailed and understandable explanations in the video. It is important for me that the teacher’s speech is not only literate and intelligible (without babbles and mutters), but also intelligible :-). Little things like the pace, sometimes even the timbre of speech, can make it either instantly understandable or boringly pass by consciousness.
5. Enough, but not excessive, exercises in technique and explanations of theory. I even began to look at things known to everyone differently.


6. Comments on the works from the curator and the opportunity to view the works of other participants. This is both an incentive for improvement and an opportunity not to make mistakes made by others.
7. Stop lessons that force you to go consistently, completing all tasks.
8. Interesting tasks that immediately catch the eye. About half of them I was sure that I'll never be able to draw like that: brushes, bottle, tartlet, machine... Something of course didn’t work out - there wasn’t enough time to work on it and redo it, but a lot was achieved.

MINUSES (I don’t pretend to be the ultimate truth, this is my personal opinion)
1. Cost of the course. When I was studying (and this was only 4 months ago) this course cost 12 thousand for school students, but now it costs 20 thousand without discounts for students. The growth is quite impressive, despite the fact that the course seems to have already been written down and essentially does not change from stream to stream.
2. The works are checked and commented not by Veronica herself, but by her students. The option is acceptable, but not for that kind of money.
3. The insane number of students that are now being recruited. I don't mind 70-80 people, but again, not for that kind of money.
4. After completing the course, access to lessons and comments was closed. Now comments are open for viewing, even in courses that have already ended. Having access to the lessons was important for me about a month after graduation, but now they are no longer needed.

Personally, checking assignments in watercolor gave me a little help. For the most part, all errors are visible immediately after photographing. Rather, a teacher is needed to suggest how to correct these mistakes, but this is not always possible. With so many students, there is simply not enough time, energy, and sometimes even teaching experience. I corrected some of my mistakes in other master classes from other artists. For example, I started to get realistic eggplant and apples (and it became clear what I was doing wrong) only after the Botanical illustration by Tanya Shirbidova, the Tabasco sketch in the previous drawing was a success thanks to Maryana Bryukhanova and her Cheerful sketcher. And at that moment I got such a miracle

However, I repeat, for a beginner, these are practically the only courses available online that I was able to find after a long search. The quality is high, and so is the price.

I am often asked how to learn to draw? And where?
It is worth recognizing that there are not many schools in our city... although wait... there are almost no schools to, for example, learn the basics of illustration or creating storyboards, so online learning is a good option. I want to talk about my experience and the resources I had the opportunity to study from: paid or free.

School of Veronica Kalacheva. Cost 15,000-50,000 rubles
I'll start, perhaps, with the mastodon - the school of Veronica Kalacheva, notorious for its prices for courses. I bought an express course in watercolors from them for 990 rubles, to see how well this format suits me and how the work of the school and teachers is generally organized.
There were only three lessons in the course, and one of them was somehow in a free webinar, but that’s not the point. We drew: a tree against a sunset background, a rose and a house. Each work was commented by a teacher, for clarity, I will attach here my work and feedback, as far as I remember, because access to the lessons was naturally closed, and you will not be able to find anything.

I don’t like any of this work, I plan to burn them so that descendants don’t see this shame, but I’ll show you :)




Let's start with the fact that I didn't like anything except the house: the tree is somehow too simple, the rose has a strange green spot in the background.
1. I specifically bought a flute brush for 800 rubles to do the filling.
Feedback from the teacher: in the future, do not leave gaps between the reflection and the tree. All.

2. Instead of a rose, I tried to draw a peony.
Comment from the teacher: make the petals more contrasting, do not touch the green spot, it is now abstract and looks good.

3. Let's start right away with the comments: the bush on the right is too green and the shadow in the windows is too turquoise.

This completed the course, but there was an additional webinar for course participants with work reviews. I didn’t like the tasks and the feedback was not extensive enough. I liked the free “Aquarelle Winter” course, which took place in January, much more. Here are a few works, there were more varied techniques and references.






I recently took another free course on summer extreme sketching: I’m sure half the world took part in it, and the rest heard about it and were furious on Instagram at the number of black and white trees and people. I expected that we would work with color, markers, and not just liners and windlass. It was very disappointing that in the lessons they called for not going into details and professionalism, but in the periscope Anna Egida noted the work done at the highest level. The winners will be announced on July 9, let's see how fair the choice will be.

I will show you my work and the final task (I don’t think you can win a trip to Paris with it), so I didn’t even post it on Instagram.








I was thinking about buying a course on watercolor painting or drawing with markers, but I thought about the feasibility and price-quality ratio.
In principle, you can replace these classes with a huge amount of practice. And I don’t like that access is limited for the duration of the course. In other online schools you get access forever.
Do you have anything to say about this school?

Amlab.me. The cost of the courses is 2500-5000 rubles.
I bought a subscription (or rather, Leshenka gave it to me) for the sake of Sofia Miroyedova’s lessons. But there are other teachers there. I "took and reviewed" a course on the fundamentals of illustration, digital painting, character and medium. To be honest, learning is like watching lectures, there is no homework or feedback. Therefore, you need to work out everything yourself. So this is more just a theory rather than a practice.
Here are two of my works based on the results of the course “digital painting in photoshop”.

Lectoroom. Cost 3000-4000 rubles
I bought two courses “onion, garlic, eggplant” and “watercolor commercial illustration - flowers” ​​by the magnificent Tatyana Shirbidova, better known as PICTTA, she has an offline school in Barnaul and I want to go there if the class is on a weekend. What are these 300 km to us? ?

I like that in colors Tanya explains everything from the basics and talks about materials. He teaches you how to make pours and tells you a lot of useful things.
But! There is no reference in the course from which you could draw, the teacher draws from life and it turns out that you also need to buy vegetables in order to repeat what you saw and practice your skills. Let’s say I find onions, garlic and eggplant, but the peonies have already bloomed.

I have not completed the coursework yet.

Bang Bang education. Cost from 4,500 to 20,000 rubles.
I’ll just put this school here, I didn’t study there, but maybe you can give me your feedback :)