The Cotswolds Plein Air Painting Workshop with Lori McNee
Join me on a luxurious plein air painting adventure in the breathtaking Cotswolds, England!
May 2025 in England with Lori McNee
Follow in the footsteps of the legendary John Singer Sargent, May 11-17, 2025! I'll lead a unique outdoor painting workshop designed for seasoned artists and beginners who want to capture the magic and beauty of the English countryside and charming historic villages en plein air.
Highlights:
- Iconic Locations: We will paint at some of the most picturesque spots in the beautiful English countryside! Be inspired by rolling green hills, and charming villages gleaming with golden limestone buildings. We'll visit Broadway, the former home of artist John Singer Sargent, and paint in one of England's most stunning gardens, Hidcote Manor, a National Trust garden surrounded by fields, pastures, and thatched-roof houses. We'll set up our easels at additional scenic Cotswold locations personally selected by me, Lori.
- Expert Guidance: I'll provide personalized instruction and insights, helping you to enhance your painting skills. With nearly 15 years of leading international workshops and over 25 years of teaching experience, I am recognized globally for my expertise. You will learn a lot about composition, design, color mixing, the power of limited palette thumbnail sketches, notan design, and more. Discover more about Lori McNee.
- Inspiration Everywhere: You'll capture the charm of honey-colored cottages, vibrant wildflowers, English gardens, pastoral landscapes with sheep and cows, castles, and historic market squares.
Immerse yourself in the same stunning landscapes that inspired John Singer Sargent, while honing your skills and connecting with fellow artists. This workshop is perfect for painters of all levels looking to enhance their craft in a serene and inspirational setting.
What's Included:
- Daily Sketching and Painting Sessions: With me, Lori McNee.
- Accommodations: Six nights in elegant, handpicked hotels, including The Manor House Inn in Moreton-in-Marsh and the luxurious Chesterfield Mayfair Hotel in London.
- Meals: Daily English breakfasts and two traditional English dinners with French wines.
- Cultural Experiences: Visits to Broadway, Chipping Campden, and stunning gardens like Hidcote Manor.
- Non-Painting Activities: Perfect for non-painter friends, photographers, and spouses with plenty of local attractions and activities.
- Extras: Optional morning pleasure walks, outdoor markets, and more!
Pricing:
- Early-Bird Discount: $5,975 (shared room, payment in full by Dec 15, 2024)
- Regular Price: $6,475 (shared room, after Dec 15, 2024)
- Private Room: Additional $1,600
Space is limited to 15 participants. Reserve your spot now for this inspiring artistic journey!
For more details and to book your tour, visit Cotswolds Painting Tour with Lori McNee.
For inquiries, call 626.616.3448 or email tomharter@walkeurope.com.
Don’t miss this opportunity to paint, learn, and explore the enchanting Cotswolds in England!
Testimonials:
"Lori is such an amazing teacher. She has a unique ability to convey complex techniques in a way that is both accessible and inspiring. Whether we were painting the picturesque countryside or the charming streets of Lucca, Lori's guidance and encouragement helped me grow as an artist." – Cindy Gugliemo.
"You can't imagine how much I miss all of you! It seems like a dream, filled with some of the greatest people I have ever met. Top that off with a common passion for art and painting... there's no way to express what this experience meant to me! This is the second workshop I have taken from Lori. The first one was in Giverny, France. Lori is a gracious and talented teacher who shares everything she knows. This has been a life-changing experience." – Harmony Kellogg.
“Lori created such a safe environment for her students attending her summer plein air painting course, that it promoted bravery, creative expression, and rhapsodic moments while painting.” – Mark Reitinger
“As an instructor myself, I enjoyed the ease with which Lori engages each participant. She really strives to make a connection with everyone. Her feedback was always on point and helped me to see what I needed to improve. She is genuinely concerned with each student's participation and satisfaction with their progress. Her generosity and willingness to share was inspiring.” – Jeff Olson.
"The trip was not just about painting; it was about connecting with fellow artists, sharing experiences, and finding inspiration in the world around us. Lori fostered a sense of camaraderie and creativity that made the journey unforgettable. I returned home with a deeper appreciation for plein air painting and a renewed passion for my art. Lori McNee's expertise and enthusiasm have left an indelible mark on my artistic journey, and I am grateful for the opportunity to learn from such a remarkable artist." – Cindy Gugliemo.
"Lori's Tuscany workshop was one of the best decisions of my life. Everything about it was incredible. Lori is a great teacher and gives every student individual attention. She's so good at bringing out each painter's personal style. I highly advise signing up early because her past students might fill up next year’s workshops before anyone else gets a chance!" – Romona Youngquist.
"I've been here for two incredible painting workshop sessions. I am a totally untrained beginning painter. Lori has shown me everything from brushstrokes to sky holes. I want to come back next year!" – Diana Citrit.
"You are so generous with your information and your kind spirit shows through in all of the work you do on behalf of artists everywhere. I tell everyone they should be following you." – Alyson Stanfield.
“Lori McNee is one of my favorite people in the art community. Lori has boundless creative energy as well as real business smarts. She never fails to impress with her incredible attitude and knowledge.” – Carolyn Eglund.
DIY Plein Air Painting Easel For Watercolor or Gouache
Plein air painting can be a major production especially if you are a beginner.
Over twenty years ago I began my plein air painting journey. Back then, each trip into the field involved loading up my entire studio setup in the trunk of the vehicle.
I'd drive to a location, park and then haul out my equipment, oil paints, brushes, mineral spirits etc and march out into some pasture. I was so excited to paint, but setting-up was a burdensome task.
Then when it was time to pack up, the entire grueling process would be in reverse order! But now with the addition of a wet palette, dirty brushes plus a wet oil painting that I'd desperately try not to drop as I headed back to my car!
Yes there were some great pochade boxes on the market, but I was a struggling artist and those setups were always just out of the reach of my meager budget. However, I enjoyed painting outside and imagined there had to be a simpler, more inexpensive system.
Back then I was planning a backpacking trip deep into Idaho’s White Cloud Wilderness area. I imagined how fantastic it would be to spend some quiet evenings landscape painting the jagged peaks and high mountain lakes. But my main concern was how I would protect the wet oil panels in my crowded backpack. I was mulling over the complexities, then the thought came to me, “Why not use gouache?”
I hadn’t used gouache since art school. Yet, I recalled all the advantages it would have for painting remotely in the mountains. Gouache would be water-based, lightweight and the panels or sketchbook would be dry and easy to pack away.
With this new plan in mind I looked up some gouache tutorials and came across James Gurney’s Youtube channel. This fantastic artist/illustrator had developed a unique DIY plein air painting easel setup for holding his watercolor/gouache sketchbooks as he painted plein air on location. This was exactly what I was needing! I rummaged through my garage and found various wood scraps and got work.
Inspired by James Gurney's setup, my own DIY plein air painting easel essentially consists of two 10 ”x 6” x .125” birch panels. The panels are joined together with two tension hinges and I added a glued piece of .375 thick plywood on the back with an open metal thread to match my tripod's quick release attachment.
After that I drilled out some small circles and glued into an array of magnets to which I can attach a small metal painting tray (left over from a colored pencil box) and a rubber collapsable cup (I throw a couple of more magnets into the cup before adding water). Finally, I attach my panel or sketchbook with a couple of small clamps I found at the hardware store.
Later, I discovered the James Gurney sells a DVD with detailed instruction on how to build his specific easel. However, after a few years in service I have no complaints about my set up.
Keeping it simple and hassle free has given me more time for painting in the field. Now I don't miss out those fleeting sunsets and other impromptu painting moments. I just grab painting satchel filled with what I need to hit the ground running and painting when I arrive at my destination!
Guest artist: A Southeast Idaho native by way of the city of Iona, Rett Longmore grew up with a passion for the outdoors. Rett graduated with a Bachelor of Arts from the Art Institute of Phoenix studying character animation. rettlongmore.com instagram.com/rett.longmore.sculptor
Landscape Painting Workshop in Seeley Lake, Montana with Lori McNee! June 6-7, 2020
Join me, Lori McNee, for a two day plein air landscape painting workshop adventure in beautiful Seeley Lake, Montana!
You won't want to miss this exclusive experience! We will be plein air landscape painting together at Rich Ranch in Seeley Lake, Montana - the gateway to the glorious Bob Marshall Wilderness.
Rich Ranch and Alpine Artisans of Western Montana have invited me to conduct a special, very affordable two-day workshop, June 6 - 7, 2020.
Space is limited so sign up now!
Join us for a two-day springtime painting adventure! You will experience "Montana's Serengeti" in the spectacular Blackfoot Valley.
The stunning landscape is home to a wide variety of watchable wildlife including elk, deer, moose, bear, mountain goat, trumpeter swans alongside a large variety of other birds, and more!
Plus, the Rich Ranch meadows will be dotted with horses and dazzling wildflowers. Experience the beauty of spring in Montana.
Alpine Artisans is a non-profit dedicated to promoting and preserving the arts in the Seeley, Swan, and Blackfoot valleys of Western Montana. Their motto, "We Paint. We help young artists DREAM." Alpine Artisans host working professional instructors to teach and inspire artists of any level.
I am honored to help support the arts in Western Montana! I hope you can join us for, Painting For A Dream!
Spend two days “at the Ranch” and it will give you a lifetime of inspiration!
- WHO: All levels beginner to professional welcome.
WHAT: Painting For A Dream: 2-Day Resident Art Workshop with INTERNATIONALLY acclaimed instructor, Lori McNee. Lori will also be available to answer your art business questions.
WHEN: Saturday and Sunday / June 6 & 7, 2020
WHERE: Rich Ranch in Seeley Lake, Montana
WHY: To support aspiring artists with a dream!
HOW MUCH: $250.00 for two days. Includes lunch and snacks.
*Limited to 10 participants. Lodging and other meals are separate, Rich Ranch details below.
Click here for more information & sign up!
For any additional workshop information or questions call Kris at 406-241-1209.
*Cozy cabin rentals available at Rich Ranch. Contact Belinda Rich directly at 406-677-2317.
Valuable Lessons Learned at the Plein Air Convention
Each spring, some of the best landscape artists in the world along with novice painters and top art vendors, congregate at the Plein Air Convention and Expo.
This amazing convention is the world's largest plein air event founded by Eric Rhoads, publisher of Plein Air Magazine, Fine Art Connoisseur Magazine and the helpful blog, OutdoorPainter.com. Eric and his talented team make this a not-to-miss annual experience. Over 80 of the world's top painters serve as faculty members to nearly 1000 participates ranging from aspiring to professional artists. During the convention everyone enjoys networking and painting together. Attending the event is sure to give artists new techniques and valuable information to elevate anyone's painting and business skills - plus we share lots of laughs together!
This year we met in beautiful Tucson, Arizona for a week of plein air painting, and intense learning. Again, I had the honor of being on of the faculty and also represented Royal Talens as the Cobra Artist Ambassador! Each day, I spent time in the Royal Talens' booth demonstrating Cobra's watermixable, solvent-free oils. I painted on universal primed linen by Multimedia Artboard and used Catalyst brushes by Princeton Artist Brush Company as their Ambassador.
Below is one of my demos. When painting demos, it's best to paint 'what you know' in order for your painting to have the best chance of being a success - so, I painted a winter scene!
The convention was a mind-expanding experience! Once over, there is kind of a let down. We all go home and miss the camaraderie, but we can stay in touch via Facebook and by using the hashtag #PACE16 to find more conversations!
To keep the Plein Air Convention buzz going, fellow artist Mark Fehlman started the Facebook Plein Air Challenge, "Plein Air Convention Challenge- What are 5 things that you got out of the Conference?" In this Challenge we were asked to identify and post 5 takeaways from the conference and challenge 3 friends to do the same.
I don't normally like these chain-type Facebook posts, but this one was really worthwhile! In fact, I was so impressed, I decided to share some of the takeaways here - I think you will learn a lot! (At the end of each post, be sure and click on 'See More' to read the whole post.)
Here are some valuable lessons learned by the pros at the Plein Air Convention:
Professional artist, Bill Davidson shares his takeaways...
Professional artist, Lori Putnam and her takeaways from the convention...
Professional artist, award winning pastelist Kim Lordier's lessons learned...
Popular art blogger, professional writer, and artist, Lori Woodward gives her top tips...
...and here are my lessons I learned from the Plein Air Convention! I could have written lots more!!
I hope you enjoyed reading this #PACE16 conversation!
STRADA MICRO Easel: Little Pochade Box With A Big Attitude
Sleek, compact, and lightweight, the STRADA MICRO easel is the newest addition to the popular STRADA line of beautiful, functional, aluminum pochade boxes.
In business, I'm a big believer in hitching your wagon to a star, and the owner of STRADA has done just that. A talented artist and smart marketer, Bryan Mark Taylor has designed his STRADA website to resemble Apple's. Just as eager cell phone, and computer users await the next best release of an Apple product, a visit to the STRADA website leaves any outdoor painter adding a new STRADA easel to the top of his or her wish list. In fact, due to it's immediate need and popularity, the STRADA MICRO easel completely sold out of its first run. Luckily, Bryan Mark Taylor the maker of STRADA, saved one for me!
The STRADA MICRO truly is the new cool kid on the block!
A STRADA MINI user for nearly 2 years, I was excited to receive my new STRADA MICRO just in time to test it out during my painting trip to Venice, Italy. Suitably named, 'strada' is the Italian word meaning path, street or roadway. How apropos, for in Venice I would be backpacking my gear, walking the roadways, and painting each day.
Perfect for overseas travel or around town, the MICRO is especially great for any paintin' girl on the go! With its minimal, sleek design, the STRADA MICRO easily slides into a backpack or designer bag, and looks chic too!
Specs
The MICRO is a little pochade box with a BIG attitude. Only 7" x 7" in size, the MICRO weighs in at only 1lbs 8 oz, but holds canvas panels up to 11" high with an unlimited panel width. It will accommodate a 1/16", 1/8", 1/4" canvas panel.
Like its big brother and sister, the standard STRADA EASEL and the STRADA MINI, the 'baby' MICRO easel simply attaches to any tripod with a quick release plate. The ingenious design makes for easy set up and use. There are no exterior knobs or hinges to adjust, just slide the MICRO from your bag, pop it on the tripod, flip open the lid, slide in a panel and you're ready to paint! Breakdown is just as easy.
Improved Design and some more thoughts
As awesome as the STRADA design is, no brand of easel or pochade box is perfect. With the MICRO, I am happy to report that STRADA has worked out some of the minor bugs that were previously found in the larger models - plus, STRADA has also upgraded all their second generation boxes.
- The MICRO's optional trays now nest and store inside the easel. With my older MINI, the trays are too large to fit inside the box when closed. This was one of my suggestions (and from other artists), and I'm happy to see that STRADA made this design improvement.
- In my opinion, these optional side trays are a must as they add extra mixing space, and a handy place to keep extra brushes and tubes of paint. However, they do add a considerable amount of weight, especially when backpacking all day. But, what if STRADA were to punch holes in the trays? That would lighten the load.
For quick set up, I left the optional trays in the box. It was especially helpful when painting a nocturne. - With the MICRO, I set up my paints in the removable tray (lined with plexiglass) to the left. That way, I can easily stack the trays inside the box with minimal clean up.
No matter what the brand, any pochade box which mounts to the top of a tripod is prone to some wobble. A few artists have complained about minor wiggle when using the larger STRADA easels.
- I have found this can be minimized or even avoided by using a sturdy tripod with a heavy load capacity for maximum stability. Here's a helpful post about choosing a tripod.
- The easy open hinges of the MICRO easel are even tighter and more positive. For me, I didn't notice any wiggle/wobble when I put brush to panel.
- Also, it's important to keep your tripod properly maintained by tightening all the nuts and bolts, and tighten the quick release plate each time you use the easel.
For this trip, my goal was to pack as light as possible. Of course I brought my Cobra solvent free oil paints, and I brought a variety of 1/32" linen panels by MultiMediaArtBoard.com ranging from 6x8 to 9x12 inches. Canson also sent me some of their new Plein Air Canva Art Boards to try. They worked great! The MICRO had no trouble holding these panels securely.
The STRADA MICRO was the perfect choice for navigating and painting the busy streets of Venice. I was able to tuck myself aside the flow of traffic. The onlookers enjoyed watching us paint, but they were in awe of my STRADA (they loved the name and the design). I could have sold a bunch of them right there in the street!
The STRADA MICRO is a little pochade box with a big attitude. It truly is the new cool kid on the block! Having a trustworthy easel made this painting trip especially enjoyable.
Still have questions about STRADA Easels? If you need more in depth information, please check out the wonderful review by Thomas Kitts.
You can purchase a STRADA of your choice here. Be sure to tell them Lori sent ya!
The Amazing History of Plein Air Painting
The history of plein air painting is explained in the following beautiful documentary, "Outside The Lines."
Produced by the publishers of PleinAir Magazine, "Outside The Lines" was created to further the mission of the Plein Air Force which aims to bring plein air painting to the world!
Plein air painting is a French expression meaning “in the open air,” and refers to the act of painting outdoors. The term was used to describe Claude Monet and the Impressionists in France. Since then, the term plein air has been used to describe people who paint outside. Using a pochade box, or outdoor easel, paints, and brushes, plein air artists strive to capture the spirit and essence of a landscape or subject before them.
PaintOutside.com explains that Plein Air painting is for people who love to be outdoors in nature, people who love to paint landscapes (as well as other outdoor subjects like buildings, cities, old barns, farm equipment, statues, flowers, gardens and people). Painting outdoors offers artists the pleasure of being in nature, and the ability to “stop and smell the roses” because of the need to concentrate on a single scene until the painting is completed.
Plein air painting is a joyful experience and an important discipline. It takes artists of all levels outside and into the open air, and away from their studios or desk jobs. Plein air painting pushes us out of our comfort zones and stretches our imaginations.
Please enjoy this captivating documentary. While watching, you might even recognize a person or two. Plus, I can almost guarantee it will make you want to get out there and paint! I am proud to be a part of the plein air painting movement.
Learn some great plein air painting techniques from the pros in my book, Fine Art Tips with Lori McNee!
A Beginner's Approach To Plein Air Painting
Plein air painting intrigues and intimidates the heck out of me. I thoroughly enjoy the time out in nature painting en plein air, but I end up moaning with frustration as to painting what is in front of me.
When it comes to painting outside I get so overloaded with “information” that I just freeze up and have no idea how to proceed. But I’ve never been one to quit easily, so I’m inching my way into plein air painting very, very gently. I hope that others who likewise struggle may find this beginner's approach an encouragement.
I got the notion one afternoon this past week, to try “plein air” close to home. We’re talking VERY close to home, just a few paces out my front door. I chose a little succulent plant off my wrought iron plant-stand, placed it on the sidewalk and plopped myself down on the ground next to it.
With my pochade box in my lap, I proceeded to paint this simple composition. By choosing just the plant, I could control how much/or little information I was dealing with. Here are the illustrated and annotated baby-steps I took:
- As you can see, my little succulent plant was dramatically backlit by the sun. If I’d known better I would have waited later in the day to paint, as the sun was sizzling hot and bright. I realized that these are the types of things plein air painters learn by experience.
- Here’s my pochade box with my two colors of paint, a warm and cool yellow, red and blue. And white of course, since I paint with gouache. That’s a sealed and primed piece of cardboard with texture that you see taped to my pochade box.
3. Next I toned my board with red-orange which really worked out well for this piece. Gouache dries so so quickly that I was able to paint over it immediately.
4. Below you can see how far I progressed with my painting out-of-doors, not bad, about 90% completed. I had to get out of the heat at this point as I was practically blinded by the scalding sun, so the rest of the painting was finished up inside at my art desk. But I did it! Some may consider this a still life, but for this painter, it was my entrée into the world of plein air. And I can’t wait to try more. Just one little baby-step at a time. : )
And here’s my finished piece below – "Succulent Sunbath" - just a wee bit more paint and some strokes of my customary india ink.
Artist/Guest Author: Joanie Springer, a late-blooming artist, loves to paint with opaque watercolor / gouache as if it were oil paint, and archivally prepped cardboard is one of her favorite supports. See more of her art, art tips, and FREE art tutorial at her website: www.ARTfortheSOULofit.com.
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Thank you Joanie for sharing another great guest post. I hope you all enjoyed Joanie's beginning approach to plein air painting!
You can see more art on my website, LoriMcNee.com, and let’s meet on Facebook Fine Art Tips Facebook Fan Page, on Twitter, Google Plus and on Pinterest. Be sure and check out and my fine art prints and notecards on Fine Art America.! ~Lori
Tips For Marketing To Strangers While Painting en Plein Air
Artists who work en plein air must deal with natural and self-imposed burdens every time we go out to paint - including the possibility of marketing to strangers.
We load our packs (paints, thinner, brushes, palette, canvas panel, towels, garbage bags, clamps, bungee cords, sunscreen, hat, collapsible umbrella, water and power bars) carry our easels, set up and stand for hours at a time. We are at the mercy of the weather, the land and the ever-changing light.
If these obstacles weren’t enough, people interrupt us to talk while we are painting! It’s a wonder we get anything done, much less create a body of work to sell.
WAIT…that’s all wrong! We plein air artists have it made – we have a unique marketing and sales advantage over studio artists. We can talk to strangers, and turn them into collectors!
All artists who sell their work need people to buy it. Family, friends and acquaintances may be interested in our art, and they may purchase it. But, it is the people we don’t know who are key to sustaining sales and having an art career.
So, what about those strangers who “interrupt” us? They are interested, potential collectors with whom we have a marketing opportunity to create a relationship.
Consider this very typical conversation:
THEM: “Can I see? Nice painting!”
YOU: “Thanks! This is a gorgeous spot to paint.”
THEM: “Yes, it’s one of my favorite views.”
The conversation can then take a variety of turns, depending on what you say next:
(A) “Mine, too. Enjoy your day.”
(B) “I’ll be posting the finished painting on my website. Would you like a business card?
(C) “Would you like a photo of the painting when it’s done? I’ll be happy to email it to you.”
Choose (A), and you have ended the conversation. You have been friendly, but you have not made a business connection.
If you respond with (B), you have created an opening to a relationship. You shared information, and indirectly suggested the other person take action – to look at your website. If they say no, you can say (A) and return to painting.
By selecting (C), you are in the best position to create a relationship. You are offering something, and it exchange, you may get something – the email address of someone open to knowing more about you and your art. If they decline, you can revert to (B) and offer a business card. If they decline, say (A) and get back to painting.
The next time you are in the field, give it a try. The small risk of engaging in a conversation may offer a reward. And you might consider adding an empty box to your plein air pack – you might sell a wet canvas to a stranger right off your easel!
Guest artist/author: Linda Rosso is a painter, author of Art Marketing Basics (www.artistmarketingguide.com) and blogs at Plein Air Liaison DIY (www.pleinairliaisondiy.blogspot.com)
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...and for those of you who don't want to chat with spectators while painting, here's a tip: When American painter T. Allen Lawson doesn't want to talk with strangers, he will quickly put a paintbrush between his teeth! He says it works every time... ;)
Let's also meet on Facebook - Fine Art Tips Facebook Fan Page, on Twitter, Google Plus and on Pinterest. You might want to check out and my fine art prints and notecards on Fine Art America and here’s my art website, LoriMcNee.com. Thanks for visiting my blog, ~Lori
On My Easel #5: Oil Painting Demo of Aspen Trees
Over the past few years, I have noticed a pattern with my painting practice. During the cold winter months, I hole-up all alone in my studio and paint my still life art. But, as soon as the snow begins to thaw, I am excited to start landscape painting.
...and I am always looking to paint with other people!
The only problem is this...where I live in Idaho, there is no lack of talent. In this resort community we have talented skiers, teachers, musicians, athletes and even MBAs who are waiting tables and driving buses - but, there are not many practicing artists. So, when I had the opportunity to paint with a talented group of artists this week, I jumped at the chance!
Regarded nature artist, Connie Borup led the group. Connie specializes in painting trees and branches, so with our own 'tree guru' in the house, I decided to try my hand at painting some aspen trees. This complex subject has intimidated me in the past, but with a strong 'support group' of fellow artists, I felt up for the challenge. ;)
I thought you all would enjoy seeing what was 'on my easel' this week.
At first, switching between the two painting disciplines from still life to landscape is refreshing, but it is always a strange transition. My still life paintings are wonderful to execute, but they are rather controlled and labor intensive. Landscape on the other-hand, allows me some extra painterly freedom. Each discipline helps my growth as an artist. I am always excited to watch my paintings unfold...
The Concept:
It is best to begin a painting with a concept in mind. Last autumn, I took some really great aspen tree pictures, so I decided to use them as reference material.
I decided upon a horizontal composition and bought a 24x30 inch canvas. But, before I began dipping into my paints, I did a little refresher homework.
Looking for some tree inspiration, I browsed the paintings by my good friend and fellow Kneeland Gallery artist, Robert Moore. Robert is an amazing talent, his popular paintings sell right off his easel each year at the annual Kneeland Gallery Plein Air Exhibition. Just look at his beautiful painting below!
Like most artists, one of my favorite past-times is looking at art that inspires me. I have always been a big fan of the famed 20th century landscape painter and author, John Carlson. His book, "Carlson's Guide to Landscape Painting" is a must-have for any budding or professional landscape painter. However, my copy of the book only has black and white photos of Carlson's work. I was happy to find a great little blog post by Stapleton Kearns that showcased many of Carlson's luscious paintings.
"Light and atmosphere" are two common denominators that I strive to achieve in all my paintings. I decided this painting should feel lyrical, glowing and I wanted the autumn leaves to dance across the composition. This was the concept.
The Start:
- Much like my still life paintings, I began with a warm burnt sienna wash as the base for the under painting.
(Since I don't have a image of the trees at this stage, I hope this helps.)
- Next, using burnt sienna and ultramarine blue, I blocked in the tree trunks and branches, as well as the dark under growth. This will anchor the trees and keep them from floating.
- At this stage, design and composition are critical. I was careful not to repeat patterns, making each trunk and branch individual.
- I then mixed up a middle value, green-gray to represent the darker foliage.
The Middle:
- Once the darks were in place, I could see the composition clearly.
- I began to paint in the middle values of the tree trunks.
- Using cadmium red light, cadmium yellow and alizarine with a bit of their compliment - green, I blocked in the warm foliage in behind the trees.
- After, I used a cooled off yellow to hint at the aspen colors in the background
The Finish:
- The next day, I felt the painting was too 'hot'...or, too warm. I wanted to keep the 'glow' that I was achieving, but I didn't want my trees to look like they were on fire!
- I decided to 'cool' off the painting.
- I could have done this a couple of ways, but I decided to mix some opaque passages on complimentary colors to cut into the background.
- I mixed the red oranges with white and a touch of blue. This pale lavender created a wonderful harmony that can be seen in the finished painting.
- Next, I worked on the tree trunks and branches, strengthening their shapes and details.
- The 'dancing leaves' took careful consideration. I had to be careful not to make the painting look 'spotty' and amateurish. I massed in much of the foliage and carefully placed the leafs. I also positioned them to lead your eye throughout the painting.
The result is, "Aspen Dance". I have not signed this painting - yet. I think I will let it sit for a few days and then look at it with fresh eyes...just to make sure it is done. I hope you enjoyed this little tutorial. If you have any questions, please leave a comment! ~Lori
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10 Motivating Tips for the Plein Air Painter
Although some of my readers are from around the world and warmer places, many of us have endured an extra long, cold and grey winter. In fact, there is still about 3 feet of snow in my yard! But, the hint of spring is finally in the air here in Idaho, and I can't wait to get out my plein air pochade 'toy' box!
I am willing to bet, many of you plein air painters are feeling the same way. Nevertheless, some artists might feel blocked or intimidated when making the transition from the comforts of their studios and out into Mother Nature's studio - whether in the city or the country. Below are 10 tips written by my friends at ArtBistro to help get us all get motivated and ready for some outdoor, en plein air painting.
Guest author: ArtBistro. The following article was originally posted on ArtBistro.Monster.com
1. You will have to do deal with your natural self-consciousness.
Most people don’t enjoy looking and feeling conspicuous. Even exhibitionists prefer blending in most of the time! So you need to talk yourself into a willingness to be seen, watched, pointed at, gawked at, criticized, and all the rest. You may turn out to be much more invisible than you fear—but if you aren’t, so be it!
2. You will have to deal with a vast amount of visual data.
When you’re in front of your canvas while plein air painting, you have only whiteness to look at, which can be its own problem. But that’s a very different problem from the staggering amount of visual material available to you as you wander in the world. Wherever you turn your head, there is more to see! Accept this reality and talk yourself into the belief that all this visual data is a special kind of abundance, not some sort of problem.
3. You will be obliged to make choices.
You can’t paint everything you see! Even if that were possible, what would be the point? Isn’t the artistry in the choosing? Choosing provokes anxiety and having to make strong, clear choices about what to paint may well raise your anxiety level. Be prepared for this anxiety, know what you’re going to do to combat it, and accept that you have no choice as an artist but to choose.
4. You need to bring a painting set-up that works for you.
This may take repeated tries, as the first set-up may be too cumbersome, the second set-up too meager, and so on. Learning how to feel comfortable en plein air is a process and there is no reason why you should nail your set-up the very first time. Consider your first tries experiments and learn from them.
5. You will need to be clear about your intentions.
Are you planning to make finished paintings while you’re out? Or loose sketches? Or something in between, something that’s more than a sketch but that still requires work back at the studio? Maybe you actually don’t know your intentions—in which case, try to learn them as you go. Maybe you’ll discover that you can complete things on the spot and maybe you’ll learn that your real goal is to capture a sense of place and finish up at the studio. Learn as you go.
6. You will need to think about partners and buddies.
Would you enjoy going out with a friend? Maybe several of you might travel together? You don’t have to confine yourself to one way or the other—usually Van Gogh went out alone but sometimes he went out with Gauguin. Think through the pros and cons of painting en plein air with a buddy and if the pros tip the scale in their favor, find a painting partner.
7. You will need to schedule real time for the experience.
Most people are so busy nowadays that they can’t find three or four hours “out of nowhere” unless they consciously pencil those hours into their schedule. Look at your schedule and make some decisions about where you might find your en plein air time. If you can’t find the time, that means that in order to get en plein air painting onto your schedule you will need to rethink how you spend your time.
8. You will need to remind yourself of the joys of en plein air painting.
You may be focusing in your mind on the difficulties associated with it and by focusing on them have forgotten how joyful it can be to be out in the world looking, seeing, and creating. Think back to how much you’ve enjoyed sketching in parks and cafés. The studio is great—but so is the world. Remind yourself of its greatness!
9. You will need to keep the process simple and not over-dramatize it.
It isn’t as if you’re going to the ends of the earth! We can easily talk ourselves into the belief that something is far more difficult than it really is. Have a quiet conversation with yourself, gather up a few things, go out, and find some fascinating vistas to paint. Don’t over-dramatize the difficulties!
10. You will need to have a conversation with yourself about the importance of en plein air painting to your creative life.
If in the course of that conversation you decide that it is more a romantic fancy or a “should,” let it go. But if you decide that it is central to your growth and something that matters to you a lot, honor your understanding of its importance and make sure that you get some en plein air painting on your schedule—and soon!
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Plein air painting is a wonderful pastime. I encourage you to get out there and try it! This discipline will improve your studio art dramatically. Please share your plein air tips with us in the comment section. We all learn from one anther! ~Lori
PS. Please, let's meet on Twitter and my FineArtTips Fan Page.
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How to Pack For Painting – Tips for the Painter Traveling by Airplane or Car
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