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Saturday, March 26, 2016

Albert Handell Mentoring Program Report

Albert Handell discusses his painting process
Some of our scenery for the week

Master painter Albert Handell returned to Sedona, Arizona, this past week to conduct another in a very popular series of mentoring workshops for landscape painters.  I've had the honor of assisting him in three of these programs, which cover not just advanced painting topics, both studio and en plein air, but also career-building advice.  This is a very useful program for painters desiring to jump to the next level in their painting and also for those interested in pursuing galleries and collectors.

Albert's pastel box
Albert's traveling oil palette
The Master Mixes

If you haven't had the pleasure of being part of his mentoring program, it is a true immersion experience.  After a Sunday evening meeting and an ice-breaker dinner, we met each morning at 9 and, with stops for lunch and dinner, went until about 9 each evening through Friday.  Mornings consisted of a full painting demonstration by Albert in oil or pastel.  After lunch, participants painted in the field as he went from easel to easel offering guidance.  Just about everyone crammed in as much painting as they could until sunset.  We painted in some beautiful spots with a variety of subjects:  Graceful sycamore trees, old gnarled cottonwoods, red rock mountains and cliffs, and rushing creeks were some of the motifs we enjoyed.  One morning, Albert had a paint-along, and we were in the field the entire day.  Each evening, we met in the studio for critiques and career-building talk (although this also happened freely throughout the day.)  Friday evening, participants brought in all the work from the week plus a selection of recent paintings, and Albert gave each of us a direction for moving forward.  For an even deeper immersion, some of the students lodged at the studio.

Rock demonstration

Lecture on oil palette colors

Painting sycamore trees

There's a great deal more I could say about this program, but I'll let the pictures speak for me.  By the way, this session filled up early, and we already have signups for the next one.  If you missed the Sedona program this time around, Albert is offering it again this fall (November 6-12, 2016) and again next spring (March 12-18, 2017).  For full details, please visit

Here are three of my paintings from the week.  Although I've worked with Albert many times, I always learn something new, and I always enjoy his generosity.

A Steep Climb 12x16 oil/canvas by Michael Chesley Johnson

Old Cottonwood 18x12 pastel by Michael Chesley Johnson

Sycamore Study 12x9 pastel by Michael Chesley Johnson

Monday, March 21, 2016

Review: Multimedia Artboard

Arroyo 8x10 pastel by Michael Chesley Johnson
Pastels Girault on Multimedia Artboard Pastel Panel
Detail of above
You can see the texture of the pastel panel

Every once in awhile, a maker of art materials asks me to review a product.  For me, this is very enjoyable because I get to try something new and learn a little.  Recently, I had the opportunity to try a few new products from Multimedia Artboard.

Multimedia Artboard (MA) has been around for 30 years.  This board is very thin (1/32"), rigid and archival, and can be used "as-is" for oil and other liquid media.  For pastel and colored pencil, it comes in either of two grades of grit (#320 or #500) in a ground that is silkscreened on.  People love this board because it is pure white, which is great for glazing techniques, and it doesn't buckle with wetting and can be painted on both sides.

But one of the complaints I've heard about the unmounted board is that it is somewhat brittle and prone to chipping if dropped.  However, the new products solve this problem.  You can now get the MA dry-mounted to a 1/8" Sintra backing.  Sintra is a thin, lightweight but very hardy substrate made of extruded PVC.  It's much sturdier than foamboard and completely eliminates the chipping problem.  It's also a lot lighter than hardboard panels.

Another product is the Ultra-Light Artists Panel.  Oil-primed Claessen's Belgian linen, which is available in a variety of grades and priming levels, is dry-mounted to MA.  Besides being a traditional surface to paint on, the linen also reinforces the MA and, again, prevents chipping.  Or, you can get it dry-mounted to Sintra, which makes for a slightly thicker but more stiff board.  The linen/MA package is also available with no substrate but just a self-adhesive backing.  This lets you mount it easily to any surface you choose—hardboard, plywood, birch or even Dibond.

For my tests, I used the pastel version, mounted to Sintra; the plain (oil/liquid media) version, also mounted to Sintra (the "Ultra-Light Artists Panel") ; the linen/MA package, again, mounted so Sintra; and the adhesive-backed linen/MA package.

After using the pastel surface, I initially found it isn't quite "toothy" enough for my technique.  I tend to use harder pastels (Girault), and that's why.  A softer pastel, I find, holds just fine.  I first toned the surface selectively with the pastel, rubbing it in with a paper towel; I followed this with little strokes of these and then softer pastels to finish the painting.  I did spray on a little workable fixative after my first layers of Girault to hold the pastel better; I didn't, however, use any after adding the softer pastels.  In the detail image, you can see the initial toning plus the succeeding layers, and this will give you an idea of the tooth.  This was the coarser board (#320),

Toward Chicken Point 8x10 oil by Michael Chesley Johnson
On Multimedia Artboard mounted to Sintra

Detail of above

I next tried the Sintra-mounted MA with oil.  The MA is very absorbent, and if this doesn't suit you, the manufacturer recommends applying a coat of clear gesso first to cut the absorbency.  Rather than do this, though, I diluted a little paint with odorless mineral spirits and toned the surface first, in effect "priming" it so the next layer of paint went on effortlessly.  I like the rough texture of the board, especially when using a painting knife; it gives an "active" look to the paint that I find very pleasing.  I toned the panel first with yellow, and in the detail image you can see the rough edges created with the knife against this tone.

Early Spring on Oak Creek 8x10 oil by Michael Chesley Johnson
Painted on Ultra-Light Artists Panel (on Sintra)

Detail of above

Below the Rim 8x10 oil by Michael Chesley Johnson
Painted on Ultra-Light Artists Panel (on Sintra)

Detail of above

I then tried the Claessen's linen on Sintra.  I enjoyed painting against this rigid, lightweight subtrate.  The linen performed as one would expect from Claessen's—that is, perfectly.   In the detail shot, you can see the weave and how it grabs the paint.  I'm not sure what grade of linen this was, but I liked it.

The linen/MA package with the adhesive-backing is just like the one mounted to Sintra, except that you can mount in on anything.  I had a little trouble peeling off the silicone backing—it is a very thin sheet—but once I got it started with a knife point, it separated nicely.  You have to take care, though, that you are actually separating the silicone sheet and not separating the different layers of the Artboard.  Start at one corner, gently, and then it'll become obvious to you how it works.

MA is also now available in several different colors in both the pastel and oil/liquid media versions.   I have not tried these yet, but when I do, I will post an update.  But for now, you can see the full list here:

Saturday, March 19, 2016

How I Judge a Show

Some of the paintings I juried into and then judged at the
Northeast Pastel Society's exhibition in 2015.

I want to expand on my last post, "Painting in the Spirit of Plein Air."  A question I am often asked is, How do I judge a show?

There are two things that happen before awards are given.  First, a Juror of Entry juries paintings into the show.  These days, jurying is done by looking at digital images.  Second, the Judge of Awards views the work and identifies those most deserving of praise.  This is usually done by viewing the actual paintings.  Sometimes Juror and Judge are the same, but most often not.

Jurying in Work

I like to receive images on CD so I can import them into my own software for viewing and sorting.  (Sometimes, I am asked to view them online through a site such as  This is always more cumbersome than my system, but I don't let it affect my judgement.)  The show committee often gives me a spreadsheet on which to record my decisions.  The images are coded so I don't know the names of the artists.

The committee tells me how many pieces to jury in.  Sometimes they have specific guidelines such as "no more than two entries juried in per artist."  Otherwise, I'm allowed to use my own judgement.  Sometimes after I've made my choices, the show committee may make adjustments.  If there's a dedicated volunteer who needs recognition, or if the organization is young and trying to build membership, a few may be added to my list.

But before I go to the spreadsheet, I make a quick pass through the images, sorting them into three categories:  Yes, Maybe and No.  I go quickly for two reasons.  One, I think my initial reaction to a painting is very important; although this may seem subjective, my reaction actually comes from a broad base of experience.  Second,  it gets the process going.  Of course, I will go back several times to re-evaluate my decision.  I always keep this fact in mind:  Behind every painting is an artist who loves what he does and works hard.  And for some, this may be the first time they've ever submitted to a show.  Each painting deserves respect and consideration.

Next I go to the spreadsheet and add columns for Design, Drawing, Color, and Handling.  For these categories, my decision is deliberate and founded on skill basics.  I award up to four points for each category.  I also add one more column where I can note my subjective response.   Some paintings possess an inscrutable quality that appeals to me immediately.  For these, I award an extra point.  I then tally up each row and sort on score.  I go through the images three or four times to make sure I haven't misjudged a painting.  It's not uncommon for me to change my mind as I do this.  Finally, from this spreadsheet I select the top paintings.  Quite often, they are the same ones in my initial "Yes" pile.

By the way, looking at images on a screen is far from ideal.  As much as the artist may have adjusted his image so it looks true to him, the appearance may vary from screen to screen.  The best we can do is look at the images relative to one another on the same screen.  Still, an image that looks warm and inviting in person may look cool and less inviting on a screen with slight blue cast, and it may suffer in the scoring.  Another issue is size.  Large paintings tend to look better on a screen because they are reduced; small paintings, worse, because they are enlarged.

Judging for Awards

If I am both Juror and Judge, I always get a treat when it comes to award time.  I finally get to see the works in person.  I'm often pleasantly surprised when a piece is even better than it looked on-screen; though once in a while, I'm disappointed when the craftsmanship isn't what I'd expected.  When this happens, it's usually at a micro-level where the mark-making, an aspect that is hard to discern on-screen, shows a lack of skill with the brush or pastel.  But this is why we give awards usually after inspecting the work in person.

When I enter the exhibition space, the doors are shut behind me and I am alone.  Armed with a yellow pad and a list of paintings, I make several rounds.  The first round is to see what appeals to me immediately, just as I did in my initial pass as juror.  I put a yellow sticky note on each one so I can go back to it.  I make a second pass through the gallery looking at all the works again, keeping skill basics in my mind.  Sometimes the yellow sticky notes get shifted around.  I then make a third pass, paying special attention to the more subtle paintings that I didn't select in the first round.  I don't want to overlook a painting that whispers beauty.   I may go back again and again, re-thinking my decisions.

Once I'm satisfied that I've found the best, I need to narrow down my choices to fit the number of awards.  Giving awards is always difficult because those under consideration often rise above the merely well-crafted.  Sometimes they rise into the realm of the genuinely masterful, and are true showpieces made with compelling artistry.  When two or three vie for the top award, I have to go with what appeals to me personally.  There's no other way to choose.

I prefer having one award, a Best of Show, followed by Merit Awards.  Discerning between First Place, Second Place and Third Place is often a coin toss.   By giving Merit Awards instead, the judge isn't forced to make up a reason why he chose one painting over another.  By the way, Purchase Awards, which are sponsored by local businesses, are an excellent addition to any show.  Sales are guaranteed to the artist this way.  It's a win-win situation for everyone.

I've judged many shows and events over the years.  If your group needs a juror or judge, please feel free to contact me as I charge a reasonable fee.  I am also happy to teach a workshop for you in conjunction with your event.  If you'd like a consultation on the jurying and judging process, I'd be glad to do that, as well.

Monday, March 14, 2016

Define: "Painting in the Spirit of Plein Air"

2014 Grand Canyon Celebration of Art
Invitational Plein Air Painting Event
Opening Night

When I jury artwork into an exhibition, I'm always given guidelines by the show committee.  Besides what you might expect, such as evaluating design, color use and skill, I may be asked to consider other factors.  Recently, I judged a show for a plein air group.  One factor was whether the work had been painted "in the spirit of plein air."

Looking at technical aspects is objective and relatively easy.  I actually work with a checklist.  But "in the spirit of plein air" seems more subjective and slippery.  What does this mean, exactly?  Does the statement have to do with technique?  Or does it live more in the realm of philosophy or possibly even ethics?

For shows and competitions, it's usually a question of ethics.  It often comes up at plein air competitions, especially among painters who are new to them.  The rules state that work needs to be painted en plein air.  Does this mean 100%?  What if you like to take your work back to the studio for a few adjustments?  And how about the painter who makes a quick block-in but returns to the studio for the bulk of his efforts?

I generally believe in holding to the spirit of the law rather than to the letter.  I'm not going to count outdoor brush strokes and indoor brush strokes.  If your heart was in the right place, it doesn't really matter to me.  (I must add, however, that for shows and competitions, I judge by the rules; if I'm told the work needs to be 100% painted outdoors, that's what I look for.  And, yes, I can usually tell.)

Having your heart in the right place, to my mind, means that you took your paintbox into the landscape with the intent to observe, record, experience and possibly make a statement.  It's about going into the field to harvest from it things you can't get from a photograph or from memory alone.

"In the spirit of plein air" also has to do with technique.   Plein air pieces have a looser and thus fresher look, mostly due to the rapidity with which the paintings must be made.  Color tends to be more accurate, especially if the painter has a good eye coupled with good color mixing skills.  On the other hand, color may be less accurate but more interesting in a way that can't be invented from a photo.  Design also tends to be weak, mostly because the painter is more concerned with capturing a sense of the moment rather than building a good composition.

For the experienced eye, it's usually easy to tell if a painting was based on a photograph.  The painting may have shadows darker than any real shadow could possibly be; a photograph distorts the value range.  It tends to have more detail; a photograph offers an all-you-can-eat buffet, and it's hard to resist sampling everything.  It often has an overworked quality, too; a photograph gives you plenty of time to overwork a painting.

Granted, a painter with much outdoor experience can correct these tell-tales.  Also, one shouldn't forget that a painter may be making a statement:  the plein air piece may have intentionally dark shadows, lots of detail or tight brushwork.  But these rare circumstances just make the judging all the more interesting.

I've judged many shows and events over the years.  If your group needs a judge, please let me know.  I am also happy to teach a workshop for you in conjunction with your event.

Thursday, March 10, 2016

Demonstration at L'Auberge de Sedona for Goldenstein Gallery

Painting at L'Auberge de Sedona

If you're in the area this Sunday, I invite you to come to L'Auberge de Sedona along the banks of Oak Creek to watch me paint.  As one of Goldenstein Gallery's artists, I am participating in its Artist-in-Residence program there.  The AIR program is a cooperative effort by the gallery and L'Auberge, one of the town's most scenic resorts, to present free, educational opportunities to the public.

I'll be at the resort this Sunday (March 13) from 11:30 to 2, near the restaurant and along the creek.  I hope you'll join me at 301 L'Auberge Lane, Sedona, Arizona.  (Their website is

If you've been following my blog over the years, you'll know I've painted regularly at L'Auberge for the Sedona Plein Air Festival.  I'm looking forward to setting up my easel by the creek's quiet, sun-dappled waters and under the sycamores again.  If you haven't been to L'Auberge, you're in for a treat!

In addition to watching me paint, you'll be able to see some of my work at L'Auberge's restaurant. You can see more at Goldenstein Gallery, 70 Dry Creek Road, Sedona, Arizona. (The website is

Here's the painting I did last time.  If you're interested, please contact Goldenstein Gallery!  With all this warm, spring-like weather, I think I'll have more leaves on the trees next time.

"The Wedding Tree" 11x14 oil/panel
by Michael Chesley Johnson

Saturday, March 5, 2016

Plein Air Painting Workshops Downeast Maine (Lubec)

For many summers, I've taught plein air painting workshops on Campobello Island in New Brunswick, Canada.  However, if you're from the U.S., this requires a passport.  Unhappily, each year I hear from painters who'd love to study with us but don't have passports and so can't join us.

This year, I'm pleased to announce that all workshops will be held in Lubec, Maine.  No passport? No problem!

The historic fishing village of Lubec offers a wealth of material for the painter.  But it's not just about boats, wharves and lighthouses.  If you prefer natural scenery, there's plenty of that, too.  Think bold cliff overlooks, cobble beaches, storm-blasted trees and crashing surf.

This doesn't mean you can't visit Campobello Island, though.  In fact, I encourage you to bring your passport if you have one.  Because the workshops are half-days, you can explore Campobello in the afternoons.  If you didn't get your fill of painting in our morning session in Lubec, you can paint more on Campobello -- and I'll be happy to critique whatever you do the following day.

I've put together the following short video to show you a little of what Lubec has to offer.  If you'd like more information, please visit or
#pleinairpainting #campobelloisland #pleinairworkshops #lubecmaine

(Don't see the video?  Here is the link:

Friday, March 4, 2016

Decades in the Making Opening at Goldenstein Gallery

Goldenstein Gallery Artists
(Photo: Goldenstein Gallery)

Please join me this Friday, March 4, 2016, at Goldenstein Gallery for the opening of "Decades in the Making" from 5-8 p.m. as part of Sedona's monthly First Friday art walk.

Many of the artists, pictured above, have been making art for literally decades--hence the name of the show.  We are painters, sculptors in wood, metal and stone, and makers of jewelry.  It'll be a pleasant evening under Sedona's starry skies!

Goldenstein Gallery is located at 70 Dry Creek Road, Sedona, Arizona.  For more information, visit www.

Thursday, March 3, 2016

Time Lapse Painting

Recently, we purchased a little video camera to have fun with.   It's a GeekPro 3, a knock-off of the better-known (and more expensive) GoPro Hero 3.  The camera has, among other things, a chest mount, which I used for the above video.

As you may recall, I'm in the process of painting a series of 24 small paintings for the 100th anniversary of Acadia National Park, which will be on exhibit (and for sale!) at Argosy Gallery in Bar Harbor, Maine, starting July 1.  This short video shows me painting one of the 6x8s.  This two-hour painting session is condensed into a couple of minutes.

A viewer lamented that it was difficult to follow my process because of the speed and camera movement.  I didn't intend the video to be instructional; instead, I aimed to provide context for the series of paintings I'm working on.  It's a glimpse of the flurry of activity that happens with these small paintings.  I paint with a tiny painting knife, which means lots of quick trips to the palette to mix and reload.  I find painting these little pieces to be incredibly energizing.

Once I finish the series, I'll post them to my Facebook studio page and also to my Open Gallery page.  I'm nearly done!

Here's the finished piece:

Ledge 6x8 Oil
by Michael Chesley Johnson

Tuesday, March 1, 2016

March Newsletter from Michael Chesley Johnson

Afternoon at Otter Cliff 12x24 oil by Michael Chesley Johnson
March 2016
Sedona, Arizona

Spring is still a few weeks away, but here in Sedona we've been enjoying springtime weather for over a month. Everyone's saying spring has come early this year. Cottonwoods are filled with green catkins, fruit trees are blooming, and along the creeks songbirds are busy making nests. Personally, I think this weather is getting hot! It won't be long before we'll be heading back to Campobello Island.

Exhibition News

I am hard at work on a series of 24 small paintings of Acadia National Park that will be exhibited in Bar Harbor this summer. To celebrate the 100th anniversary of the Park, Argosy Gallery will unveil these paintings on July 1. I'll be posting images of these paintings once they're all done to my studio page on Facebook and elsewhere. Details on the exhibit will be available at

Plein Air Painting Festival News

I'm pleased to announce I've been invited to two more plein air painting events this year. I'll be returning to both the Castine (Maine) and Sedona events. This will be my fourth year at Castine and Grand Canyon, and my ninth at Sedona.
Workshop News

If you've been holding back on coming to my Canadian Paint Campobello workshops because you didn't have a passport, this summer I will be shifting the program entirely to Lubec, Maine. We'll have plenty of great scenery: bold ocean cliffs edged with storm-blasted trees, quiet marshes and inlets, and—yes!—lighthouses. If you've not been to that part of Maine, Lubec is a historic fishing village with lobster boats and beautiful old homes.

I am offering a package deal for my Lubec workshops this summer. You get to stay in our Artists Retreat Studios & Gallery, which is just a short walk from the beach and also the shops and restaurants on Water Street. Total package price is $800. (The workshop by itself is $300.) The house is a traditional Cape built in 1867 with water views and a delightful cliff-top sitting area. For full details, please visit

See the end of this newsletter for a full listing of workshops, including my April 22-24 workshop in Scottsdale, Arizona, at Scottsdale Artist's School, as well as others in Illinois, Indiana, New Hampshire, North Carolina, Ohio, Michigan and even Italy!

Painting Retreat News

Who Wants to Join Me in Italy? 

I know this sounds like a long time off, but it's not. June 16-23, 2018, I will leading a workshop in Florence. Imagine a week of painting the Tuscan landscape! Our group will stay at the Villa Fattoria Bac├Čo in Certaldo Alto with painting excursions to Siena, La Meridiana, San Gimignano and Barberino. Price starts at € 2,200 (about $2400 USD) and includes transportation to/from the Florence airport, and daily transportation to locations and all meals. The group sponsoring the trip has run many such workshops there with some big names, so I was very excited when they approached me about teaching. If you're interested and would like details as I get them, please let me know. We are now taking deposits for the trip.

Zion National Park Painting Retreat

Each year, Trina and I host a painting retreat in a beautiful place. April 22-29, 2017, we will return to Springdale, Utah, and Zion National Park. If you haven't painted in Zion before, you are in for a real treat! Zion has several paintable views at every bend in the road. This will be our third time hosting this particular retreat, and it just keeeps getting better. If you're interested, please let me know. Because this is not a workshop but a real retreat, I do reserve space for previous students. If you want to go but haven't taken a workshop with me yet, do so now! Details are at

That's all for now. As always, please follow my Plein Air Painter's blog for painting tips and techniques, and my Michael Chesley Johnson website for new paintings, videos and books, workshops and announcements.

-- Michael 


  • April 22-24: ARIZONA, Scottsdale. Three-day workshop for Arizona Plein Air Painters, hosted by Scottsdale Artists School. Price: $400. Contact: Scottsdale Artists's School, (800) 333-5707 or
  • May 6-7, 2016: ILLINOIS, Batavia. At Water Street Studios in scenic, historic Batavia. We will paint in the beautiful parks along the Fox River. Price: $250. Details: or 630-761-9977
  • May 9-11: INDIANA, Valparaiso. At the Art Barn. Over 80 acres of fields, woods, a pond and barn, and chickens! Price: $325. Details: or 219-462-9009 or
  • July-August: MAINE, Lubec. Plein air painting workshops for all levels of painter in pastel, oil or acrylic. See some of the world's best maritime scenery! Price: $300.
  • September 6-7: NEW HAMPSHIRE, Crawford Notch. All stay at historic Bartlett Inn. Price: $285 to $600, depending on lodging choices. To register and for details: NH Plein Air, Sharon Allen,
  • September 26-29: MAINE, Acadia National Park. Price: $595. To register and for details:
  • October 4-6: NORTH CAROLINA, Wilmington. Wilmington Art Association. Price: $350 WAA Members, $385 non-members. Contact: Ann Lees, WAA Education Chair,
  • October-December: ARIZONA, Sedona. Paint Sedona continues! Price: $300.
Coming in 2017!
  • May 5-6, 2017: OHIO, Columbus. Two-day workshop. Details TBA.
  • July 17-21, 2017: MAINE, Rockland. Five-day workshop at a new venue for me, Rockland, Maine. Price: TBA. Details: Coastal Maine Art Workshops, 207-594-4813,
Coming in 2018!
  • May 7-9, 2018: MICHIGAN, Lowell. Workshop for Great Lake Pastel Society. $400. See Michael's website.
  • June 16-23, 2018: ITALY, Florence. For full details about this exciting trip to Italy,contact Michael.  Now taking deposits!

Michael's THREE NEW full-length oil and pastel videos are now available from North Light Shop!
  • The Secret to Oil Painting with Light and Color
  • The Secret to Oil Painting Wet-into-Wet
  • The Secret to Pastel Painting En Plein Air
The videos are about two hours each, and are available as either DVD or streaming download.

All available from Amazon! Visit

Outdoor Study to Studio: Take Your Plein Air Paintings to the Next Level
Print: $24.95 / Kindle $19.95
Learn how to gather reference material in the field and then take it to the studio to create finished works. 114 pages, 146 images with 13 demos in oil and pastel.

Backpacker Painting: Outdoors with Oil and Pastel
Print: $45.00 / Download: $20.00
How to paint outdoors (en plein air) by minimizing the hassle and maximizing the fun. 12 demonstrations in oil and pastel, 72 paintings and 125 illustrations. 164pp.
Also Available as a Download from North Light Shop!

Through a Painter's Brush: The American Southwest
Print: $40.00 / Download: $20.00
Artistic interpretations of the American Southwest in oil and pastel. In addition to a wealth of images (26 pastel paintings, 81 oil paintings plus 55 photos and illustrations), it includes essays on the landscape and on his artistic process. Two painting demonstrations are included along with a chapter on materials and techniques. 130pp., full color.

Through a Painter's Brush: A Year on Campobello Island
Print: $40.00 / Download: $20.00
Essays on the process of making art along with notes about painting on Campobello Island, New Brunswick, and in Downeast Maine. Over 150 images including 55 oils and 20 pastels of maritime scenery complete with detail shots and illustrative photos, two demonstrations in oil and pastel. 140pp.

Paint Sedona! A Plein Air Painter's Field Guide to Sedona, Arizona, 2nd Edition
Print: $10.00 / Download: $7.00
A plein air painter's field guide to Sedona, Arizona. 43 pp, 35 black & white photos with map. Also includes useful plein air tips and supply lists for oil and pastel plein air painters.

Fifty Paintings: Roosevelt Campobello International Park's 50th Anniversary.
Print: $25 / Kindle: $12

Artist as Steward: Landscape Paintings of Michael Chesley Johnson
Print: $15 / Kindle: $10
49 paintings in this portfolio.