Drawn by the subtropical light, open space and ample connection to nature, serious artists have long settled in Southwest Florida—and many of them open their studios to share their craft. We scoured hundreds of regional art classes to find the most immersive, high-level offerings, from free-flowing painting workshops to molten glass manipulation.
Far beyond the paint-and-sip circuit, these programs operate more like apprenticeships, with limited class sizes and pedigreed instructors. Some cater to short-term guests; others are built for seasonal residents and locals to develop over time—but all tap you into the artistic energy that defines our coast.
Conrad Williams
With a 2,000-degree vat of molten glass as the centerpiece, Conrad Williams may teach one of art’s most intimidating mediums. But his classes are among the most accessible of the batch, with no materials or experience required, kids welcome and the two-hour workshops available six days a week from September through April. Simply select your desired project from Conrad’s menu of bowls, tumblers, oil lamps and holiday ornaments, gather your group, and register at his Glassblowing in the Garden website.
Surrounded by subtropical foliage and drooping orchids, the Chihuly-trained glassblower with deep roots in the region brings technical mastery and a calm, affable energy to the experience. He gives individual attention to each student (no more than four per class), narrating the process in plain terms and adjusting his guidance in real time. “It’s like I’m discovering [the process] again through them,” he says.
Workshops begin with a short demonstration and safety overview—eye protection, the blowpipe, how to gather molten glass and roll it through colored flecks—then, each person gets a chance at the kiln. Conrad stays close as they shape kaleidoscopic creations, offering step-by-step guidance. By the next day, the creations are cooled, set and ready for a prime spot on the mantel or holiday tree.
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Courtesy Conrad Williams; Reagan Rule
swfl art studio classes glass blowing conrad williams
Naples glassblower Conrad Williams opens his world of heat, timing and teamwork to all ages, amid a lush backyard garden.
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Courtesy Conrad Williams; Reagan Rule
swfl art studio classes glass blowing conrad williams
Carol Broman
Classical art holds that, to render the world with conviction, you must first master the human form. Arts Bonita’s new Atelier Core Program follows the tenet through a sequenced curriculum rooted in rigorous Renaissance and academic practices.
Launched last year and led by Fort Myers-based painter Carol Broman, the program draws from her training at New York’s respected Grand Central Atelier—revered as a champion of traditional art education in the United States.
Offered in blocks of three to five sessions, the courses range from Intro to Figure Drawing to Portrait I and II—the full program offers a structured path toward representational mastery. Carol maps out recommended sequencing for beginner, intermediate and advanced artists, but students are free to register for whatever class or classes interest them. The program’s modular structure, with individual classes of about 10 students—blocked seasonally throughout the year—coalesces to form an individualized curriculum suited to any experience level.
The full program starts with drawing fundamentals (line, shape, value, form) then progresses to master-copy work, cast studies and, in the final block, sketching from live models. Techniques like sight measuring and value organization train the eye toward precision. All told, a standard four-course curriculum spans about a year. “Mastery takes time,” Carol says.
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Carol Broman’s Fairy Tail (2016), photographed by Christina Bankson
swfl art studio classes painting carol broman
Fort Myers artist Carol Broman leads Arts Bonita’s 2024-launched Atelier Core Program. Three- to five-week courses build on each other, guiding artists through mastery of the human form.
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Photography by Christina Bankson
swfl art studio classes painting carol broman
Richard Rosen
Naples Art District pioneer Richard Rosen has a knack for guiding students who’ve never worked with clay—and never thought they could. He doesn’t buy into the idea that some people aren’t artistic. Instead, he believes creativity is inherent in all of us and only needs the right conditions to emerge. “That’s how it was for me and numerous others I have taught,” Richard says.
Richard employs the Japanese art of raku. Refined over three decades, the ceramicist’s style embraces the drama of raku but departs from its traditionally earthy aesthetic. He favors bold, cubist-inspired forms and vibrant glazes over a muted palette, leveraging the volatile firing process to ignite unexpected metallics, vivid color flashes and fractured surfaces that amplify his sculptural abstraction.
Throughout the year, Richard teaches Hand Building and Raku Techniques, a once-weekly (Thursdays or Saturdays), month-long course held at his studio. There, the ceramicist guides students through the basics of hand-built (sculpted without a wheel) ceramics—pinching and coiling—then dives into the firing process that gives raku its raw, elemental finish.
After sculpting, bisque firing and glazing, students fire their piece briefly in a kiln. Unlike typical pottery, where pieces slow-cool in a sealed kiln, raku is fast, fiery and unpredictable. Students remove pieces red-hot and plunge them into flammable materials, setting the mass ablaze to create the crackled glazes and smoky textures that make each plate, wall hanging or sculpture distinct. “It’s hands-on throughout. People love that,” Richard says.
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Photography by Christina Bankson
swfl art studio classes ceramics richard rosen
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Photography by Christina Bankson
swfl art studio classes ceramics richard rosen
Naples Art District pioneer and ceramicist of 30 years Richard Rosen teaches the Japanese art of raku, a hand-built ceramic technique with a unique firing process.
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Photography by Christina Bankson
swfl art studio classes ceramics richard rosen artwork
Tomaso Albertini
Driven by the belief that creativity thrives in conversation, Naples Art Institute’s former artist-in-resident Tomaso Albertini recently launched Studio Masterclass—an open-format program held in October, November and April, inspired by his years immersed in New York City’s contemporary art scene. Designed to foster an artistic community, the class offers a flexible, collaborative space where new and experienced artists can work side-by-side.
Ten to 20 students sign up for one month of classes (three per week), with each session loosely structured around a specific medium, including his dynamic, expressionistic blend of painting and collage. Required supplies include acrylic paint and brush sets, a sketch book and assorted paper clippings for collages—but artists are encouraged to bring whatever materials inspire them. The course culminates with a curated exhibition of works created in the studio.
Tomaso offers insights from his professional experience and education at The Academy of Fine Arts and Illustration in Milan, and encourages pupils to learn from each other and collaborate. “It’s not the classic art class,” he says, comparing the program to an “art laboratory” or co-working space where experimentation and aesthetic cross-pollination can flourish. “What I really want to do is connect people and inspire people,” he says.
Courtesy Tomaso Albertini
swfl art studio classes ceramics tomaso albertini
After years in Milan and New York and a residency at Naples Art Institute, expressionistic collage artist Tomaso Albertini launches a new creative gathering place with NAI’s Studio Masterclass.
Marco Bronzini
Tucked into a Naples shopping center off Tamiami Trail, the Marco Bronzini Art School and Studio hums with slick paint brushes, hushed feedback and the swell of classical music. “I consider myself an academic,” says Marco Bronzini, whose paintings are perhaps best described as ‘classic contemporary’–steeped in the early Modernism of Picasso, Rouault, Braque and Chagall.
Born in France and educated at London’s 250-year-old classical institution, the Royal Academy of Arts, Marco brings the technique- based rigor and historical context of a university-level education to four-, eight- and 12-week sessions between October and April.
This program isn’t for beginners. Marco’s classes are designed for experienced artists who want to deepen their technique and develop a more sophisticated visual language. Students choose their own subjects—whether landscapes, portraits or abstracts—and work independently during class time. The schedule is flexible, with students able to sign up for between one and five days of studio time weekly. And, once per season, Marco holds month-long, skill-specific workshops on topics like life drawing and understanding reflective light.
Rather than teaching through formal demonstrations or beginner exercises, he walks around the room offering critique and guidance. “Every artist is different, and my role as a teacher is to bring out the best in each one, in their own style,” he says.
Alina Rubio
If you’re looking for a more approachable, single-session experience, with the social ease of a paint-and-sip but the intention and guidance of a professional artist, look to Alina Rubio of Naples’ MasterPeace. The A-frame Tamiami Trail studio has become a creative haven since the sculptor opened her doors in 2023. As with Conrad, Alina focuses on private, two-hour workshops—ideal for visitors looking to unwind and tap into their artistic side.
Leveraging her academic background in education, interest in psychology and experience in Miami’s blue-chip Opera Gallery, the 30-year-old artist fosters a space of creative experimentation. There’s no rigid class structure. Instead, Alina follows Reggio Emilia, a curiosity-driven education approach similar to the Montessori method. The instructor plans an approachable project based on her groups’ wants—like small canvas painting or collage—and gives them freedom to try their hand at any medium in the studio, from clay to photography.
Alina floats through the room, encouraging students to step out of their comfort zone and dig for inspiration. She keeps a collection of art history, biology and photography tomes on hand for students to sift through, collect ideas or snip out frames for their collages. “I don’t tell you what to do. You tell me what you’re interested in, and we work from there,” Alina says.