Teaching at Art Fest, October 2023, Mesa, Arizona

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**Authentically Human! Not Written by AI**

I'm pleased to announce that I'll be teaching not one but TWO workshops at the Artists Network-sponsored conference, Art Fest, this October in Mesa, Arizona.  I've been working on an "Outdoor Study to Studio" workshop for several years now – I even wrote a book on it – and I'm excited to be able to present this material to you.  If you'd like to take your plein air paintings into the studio where I can show you how to bring your work up to the next level, I hope you'll join me.

The first workshop, October 26, runs a full day and will be in the studio.  For this workshop, I will have you gather reference material in the field in advance.  To help you prepare for the class, I will share with you video and written instructions on how best to gather this material.  Then, when we meet in the studio, I will take you through my studio process and work with you on taking your material and turning it into a finished painting.  Using your field references, you'll explore design ideas, color palettes and give your finished work the attention and consideration that just isn't possible while in the field.

The second workshop – and you can take one or both – runs for two full days, October 27-28.  For this workshop, we'll spend the first day on-location at a beautiful place not too far from our home base, which is the Mesa Convention Center.  I'll show you how I gather reference material in the way of pencil studies, color studies and photography, and then I'll help you gather yours.  For the second day, we'll be in the studio, taking this material and creating a finished work from it, just as my first workshop did.

Oil, pastel and acrylic are welcome for these workshops.  You'll need to have some painting experience – how to handle a brush, how to mix color – in order to get the most out of them.  To get more information on the workshops or to sign up, go to https://www.makerfestivals.com/mesa/4107992

I hope to see you in Mesa!

Some Sketches from the 10th Annual Plein Air Convention

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**Authentically Human! Not Written by AI**

Here I am demonstrating at the Judson's booth.
Carl Judson is in the background.  And thank you
to the members of En Plein Air Texas (also pictured)
who took the photo.  Some visitors asked why I wasn't
standing to paint.  Carl asked me to paint this way
because he wanted to demonstrate how easy and
convenient the 8x10 Cigar Box is to use in this manner.
I think I may start painting this way much of the time.

While demonstrating at Judson's Art Outfitters booth during the recent plein air convention, folks asked me if I'd post images of the sketches after I'd finished.  Here are a few of them.  I wanted to get these up on my blog before I left my winter studio (New Mexico) for my summer studio (Campobello Island, off the coast of Maine.)  They are still a bit rough, and when I get back in the fall, I may do a bit more with them.  They were all made on the Judson's Guerrilla Painter 8x10 Cigar Box -- my new best friend.

Grand Canyon Illumination, 8x10 Oil
As with all of the demonstrations, this was
painted from a photo.  By the way, when I paint en
plein air, the enviroment has a tremendous effect
on me, pumping me up with energy and excitement:
The sound of rushing water, the smell of soil
baking under the sun, the wind on my cheek.
This energy is completely missing in the studio. 
For studio paintings (or when painting anywhere indoors),
I try to encourage that same energy by really pushing
the color.  

Grand Canyon Point, 8x10 Oil
Same approach as in the sketch above.

Eldorado Rapids, 8x10 Oil
I painted this one on-location at Eldorado Canyon
State Park on one of the afternoon paintouts.
There was so much beauty in the cliffs and the water,
I was overwhelmed and had to focus instead on this
simple, small rapid.

New Mexico Color, 8x10 Oil
Another demonstration from a photo,
again with exaggerated color.

Golden Cabins, Blue Air, 8x10 Oil
I painted this on-location in Golden, in the
historic museum.  This was the day we had
really terrible smoke, and even the closest hills
were tinted blue and nearly invisible.  In such
times, I focus on the nearby.

Now I really am off to Campobello Island.  I hope to have some paintings from that area to share soon.  In the meantime, I'll post some interesting art history for you.

10th Anniversary Bash of the Plein Air Convention and Expo

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**Authentically Human! Not Written by AI**

The Grand Opening.
How many people attended?  I heard 850.

This week marked the 10th anniversary of the Plein Air Convention & Expo – and also my 10th anniversary with the event, since I was present at its inception.   That first year, in Las Vegas, we had snow.  This year, in Denver, we had smoke, thunderstorms, hail and, I heard, also some snow.  Interestingly, I spoke with another long-time participant who joked:  “Bad weather seems to follow PACE like a bad penny.”

Normally, one would usually just shoot up to Denver from New Mexico via I-25.  But we decided to make more of a vacation out of it, taking the scenic route via Pagosa Springs, Buena Vista and Leadville.  It was like a trip back in time as spring seemed to reverse the higher up we went.  In Pagosa Springs, the light spring greens were deepening into the shadowy hues of summer; but in Leadville, the aspens showed just the slightest hint of green.  By the way, we saw plenty of snow at Wolf Creek Pass (10,856 feet), where we took a hike on snowpack that was about six feet deep.

Denver, of course, was already into summer, since it sits at a much lower elevation.  Fortunately, we had a cool AirBnB, and it was just a few miles from the convention center.  (We didn't stay at the hotel because our dog, Raku, insisted on a place with a full kitchen.) We arrived Sunday, and that afternoon PACE opened up officially with rousing music from a bluegrass band; followed by a gospel choir in full dress; then a juggler; and finally the Master of Ceremonies, Eric Rhoads, who is also publisher of PleinAir Magazine.  You never know what Eric has planned for the opening event.

Monday, the convention got down to business.  As always, it was a banquet of tasty offerings.  PACE presented the participant with so many simultaneous events that you couldn't participate in them all.  (“I want to keep you busy,” Eric said.)  Besides the main stage, smaller stages for oil, watercolor and pastel provided more intimate settings.  The good news is, if you couldn't attend every session, they were recorded for later consumption.

Afternoons were reserved for paintouts.  Each one offered something different.  On Monday, downtown Golden gave us historic buildings as well as views of Clear Creek; onTuesday, Eldorado Canyon State Park gave us stupendous cliffs towering over whitewater rapids; on Wednesday, Garden of the Gods (in Colorado City) gave us an alien landscape of giant boulders and weird rock formations; and finally, on Thursday, Rocky Mountain National Park gave us up-close-and-personal views of the Rockies' highest snowclad peaks.

Each day, I demonstrated at Judson’s Art Outfitters booth in the vendor room.  This was a real pleasure, as I had many people coming to watch and to chat.  And of course, I was happy to be there to support Judson's, which has so faithfully supported me over the years.  Thank you, Carl and Sarah!

On the almost-last day of the event, the venue for 2024 was announced:  Great Smoky Mountains National Park and the Biltmore Estate.  The convention will be held in Cherokee, North Carolina.

Now that the convention is over, it's time to finish packing up my New Mexico studio.  When you hear from me next, it will be from my summer studio on Campobello Island!

Here are some pictures, starting with some travel pictures:

Near Pagosa Springs, where I'm leading a painting retreat this fall

Wolf Creek Pass

Buena Vista vista

The things you find in the forest

Leadville

The art show!  Faculty and participants offered work for sale

The plein air bear

Doug Dawson pastel demonstration

My good friend and master artist, Doug Dawson

Bedazzled participants, just off the bus, looking for a painting spot in Golden

A demo I made, using Judson's 8x10 Cigar Box Pochade

Eldorado Canyon State Park

Painting by the rapids

Four of these mighty motorcoaches transported painters to the painting sites; at Eldorado Canyon, they kicked up a bit of dust

My good friends and supporters, Sarah and Carl Judson of Judson's Art Outfitters

Plein Air Convention & Expo 2023

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**Authentically Human! Not Written by a Bot**

Next week I’ll be driving up to Denver for the annual Plein Air Convention & Expo.  This year marks the event’s tenth anniversary and my third appearance as a member of the faculty.  This time around, I won’t be presenting but instead will serve as a “field painter.” In addition to painting, my job at each paint-out will be to dispense useful tips, offer help as needed and spread good cheer generally.

The convention has become a big affair.  I think this year we are expecting upwards of a thousand participants, each of them eager to learn from over 80 instructors.  I personally am looking forward to reconnecting with old friends and making new ones, to watching some of my favorite painters at work, and to paint in some spectacular locations.  This year, we’ll be painting in Golden’s historic downtown, spectacular Rocky Mountain National Park—I understand it was very difficult to get the permit—and Eldorado Canyon State Park as well as Garden of the Gods in Colorado Springs.  It looks like we’ll be putting some miles on our vehicles, but I’m sure it’ll be worth it.

I’ll also be demonstrating for Judson’s Art Outfitters (maker of the fabulous Guerrilla Painter pochade boxes) at their booth in the vendor room.  Judson’s has been a longtime supporter of my art and teaching, and I’m delighted that I can help them in return.  I’ll also have copies of my book, Beautiful Landscape Painting Outdoors, for sale.  If you’ve been wanting a signed copy, this is your chance!

If time permits, I’ll blog about the event.  Failing that, I’ll at least post to Instagram and Facebook.  The event runs from Sunday, May 21, through Thursday, May 25.  There are still a few tickets left, which you can get at www.PleinAirConvention.com.  Stay tuned!

Plein Air Convention: A Demonstration

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(Link and video down at the end)

Back in May, I was on the faculty of the Plein Air Convention and Expo in Santa Fe.  I gave a demonstration one evening on “Outdoor Study to Studio.”  Even though I was presenting to a group of hardcore plein air painters, I wanted to share my thoughts on why it's important for us to get back to the studio.  Out in the field, while wrestling with environmental factors and changing light, it's difficult to do our best work; the studio offers a more controlled space, allowing us to address the finer issues of painting and thus to become better painters.  I think everyone enjoyed the session and got something out of it.

Prior to the convention, presenters were told that sessions would be recorded.  This was so attendees could later watch presentations they might have missed; there were several stages running simultaneously, making it impossible to see everything.  Also, the convention had an online version for those unable to attend in person.  Unfortunately, when I arrived at my stage, the AV tech was AWOL.  Finally, just moments before I was to start, he rushed in to hurriedly wire me up and set up a camera, and then he left the room.  I don't remember if he came back.  After all, I was focused on making my presentation and on my audience.  I'll give him the benefit of a doubt, so maybe he did return.

A few weeks after the convention, some of the faculty—including me—were sent an email letting us know that, regretfully, our sessions had not been recorded because of a technical problem.  This saddened me, as I had hoped that more people would be able to see my demonstration.  (There were two other events, not to mention a large cocktail party, happening at the same time as my demo.)  Worse yet, the videos were supposed to be available to view for a full year after the convention, a teaching opportunity that was now lost to me. 

So, I decided to take matters into my own hands and record a video.

To avoid disappointing you, I need to tell you that it doesn't show any actual painting happening.  After having practiced this particular painting intensely prior to the convention, I didn't want to have to recreate it yet again.  (I know this may sound lazy, but I want to move on to other projects.)  However, in it I do go over the complete set of slides I presented, and I also show my reference material, my design and color explorations and also the final painting.  The video contains about 90 minutes of material compressed into 14 minutes.  Enjoy!

Here it is (can't see it? use this link):

Looking Toward Autumn: Some Events!

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Here's a 24x30 studio oil painting I'm working on
this week.  I will have more to say about this in a
future post.

Yes, I know it's still July, but summer's quickened its pace.  The clock always races faster when one's busy, and it's about to go even faster:  I'm preparing for a workshop next week, then leading a painting retreat, judging a show for the Vermont Pastel Society, and finally, participating in Pastel Live.  (You can get details on this online convention for pastel painters here.)   With all this happening in August, I expect the month to barrel past me at Warp Factor 10.

And what next? you ask.  Well, for me, summer on Campobello Island comes to a close near the end of August.  At that time, I pack up and head for home in New Mexico, where I have a rather busy fall ahead.  Here are a few things that might interest you, including a painting retreat that is still open.

Escalante Grand Staircase in Utah

September 15-25, 2022

Escalante Canyons Art Festival (Escalante, UT)

https://escalantecanyonsartfestival.org/

The Escalante Grand Staircase area is a fantastic part of Utah with many beautiful rock forms and colors.  As a participating artist, I'm looking forward to painting here again.

Rio Grande River in Taos, New Mexico

October 2-7, 2022

Taos Painting Retreat for Experienced Painters (Taos, NM)

My painting retreats, unlike my workshops, have no formal instruction, but you'll have the opportunity learn plenty if you wish.  We'll have morning critiques after which I'll take you to one of my favorite painting spots.  I'll also give “formal” demonstrations during any downtime.  Afternoons are more free-form where we can paint together as a group or separately, or explore galleries and shops.  Last year, we had a memorable tour of the Couse-Sharp Historic Site.  Price is $300, which does not include meals or lodgings, both of which you would be responsible for.  The retreat is full, but I will be happy to put you on the wait list.  Contact me if you're interested.

Watson Lake in Prescott, Arizona

October 13-15, 2022

Prescott Plein Air Festival (Prescott, AZ)

https://highlandscenter.org/prescott-plein-air/

Prescott, a historic frontier mining town, offers a wealth of beauty for the painter.  I've hiked in the area many times, but this will be my first time painting there.  I can't wait!

November 3, 2022

Demonstration for Arizona Plein Air Painters

https://arizonapleinair.com/

I'll be demonstrating at the APAP monthly meeting in Phoenix.

Oak Creek and Cathedral Rock in Sedona, Arizona

November 7-10, 2022

Sedona Painting Retreat for Experienced Painters (Sedona, AZ)

I lived and painted in the Sedona area for ten years, and I know all the best places.  I'll be sharing my knowledge of some of my favorite painting locations with participants.  I have a couple of spots left, so contact me if you are interested.  Price is $300, which does not include meals or lodgings, both of which you would be responsible for.

Pastel Live!

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Sign up here!

One positive has emerged from the pandemic:  Many conventions, now easing back into in-person formats, are continuing their online versions.  It turns out that many people love the option.  Delayed flights?  Lost luggage?  Crappy hotels?  COVID lurking in the hallways?  None of these are a problem with a virtual convention.

So I'm glad I've been invited to teach at the online convention Pastel Live!, now in its second year.  I'll be demonstrating on “Beginner's Day,” which will be August 17th.  My demonstration will show how any pastel stick can make a variety of useful marks, plus I'll share ways to create special effects that will add pizzazz to your paintings.

Since my demonstration, like all the others, will be pre-recorded, you may wonder where “live” comes in.  Well, I'll be online at the time of broadcast, and you'll have the chance to ask me as many questions as you like.  Outside of my demo, there will also be critiques, question and answer sessions, roundtable discussions and group painting.  Whether you're just starting out with pastel or are an experienced painter hoping to take your craft to the next level, I hope you'll join me.  You can find all the details at this link: https://pastellive.com/pastel2022?affiliate_id=2989212

The Plein Air Convention and Expo 2022 – Part 2

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Albert Handell on the Main Stage

Despite my quiet hotel room, I woke early on Thursday—3:30—which is not terribly unusual for me.  I made coffee with the one-cup coffee maker I'd brought with me (far better than the stuff the resort supplied) and continued reading a biography of Robert the Bruce, one of my ancestors.  I think it's good to temper all the art input from the convention with something completely unrelated to avoid burnout.

Morning on the Golf Course

Once dawn arrived, I went out for a walk, hoping to find something other than pavement.  Fortunately, the resort has an 18-hole golf course, and despite the signs saying “No Trespassing—Golfers Only,” I walked a couple of miles, climbing to a rocky hill top where I had views of the waning moon sinking down above the Jemez Mountains.  It was good to work off some energy, as I've always been a bit restless sitting in hotel ballrooms at conferences.

Thomas Jefferson Kitts

Haidee Jo Summers

My first meeting was a presentation on the main stage by Thomas Jefferson Kitts.  His topic was on solvent-free oil painting.  Although I know most of the tech behind the practice, I learned that the safflower and flax ( linseed) oils one finds in the supermarket contain vitamin D.  Because vitamin D is an anti-oxidant, it will keep these drying oils from oxidizing and curing, so it's best to use artist's grade oils, which are free of it.  Following this, there was a talk by noted art historian Jean Stern on the historic women of plein air painting. I then took some time to peruse the wares in the vendor room and ran into Anita Louise West, who remembered me from times past.  It was good to reconnect with her, and hopefully, we'll get together to paint either in my neck of the woods or hers.

I returned to my room for an early lunch, and then attended a demo by Haidee Jo Summers.  Her topic, “Capturing the Essence,” explored the idea of simplifying a scene and cutting it down to one's basic idea.  Lori McNee then gave a presentation on Cobra water-miscible oils and Multimedia Artboard.  The Cobra rep was on hand to clarify some of the technical details, and since I've been very tentative in my use of the Cobra product, I gained some confidence.  Finally, it was off to see Dawn Whitelaw's talk on finishing paintings.  She took some of hers and showed us the steps she takes in evaluating them and adding the final brush strokes.

On the Plaza

By late afternoon, it was time to drive off to the Santa Fe's historic Plaza, which was our outing for the day.  I didn't pay for a bus ticket—since I had my own car, I just drove to a spot near the Plaza where I was sure I could get parking—and saddled up my gear and headed over.  I was a good 30 minutes in advance of the bus, so I was surprised to see the Plaza already teeming with painters.  The wind was starting to gust, but most of the Plaza seemed to be sheltered by the buildings that line the square.  And even better, the cottonwood trees gave plenty of shade, something much desired when painting in New Mexico.

At the paintout, I had a choice: paint or advise.  Early on in the year, when faculty was being invited, we'd been sorted into two bins, demonstrators and field painters.  I'd been assigned to the demonstrators, but this group was also given the option of functioning as field painters.  Field painters were supposed to wander around the attendees and offer sage advice.  I decided I'd do both.  So, first I set up my pastel box and did a quick sketch of a street scene; then, because the sketch might blow away in the wind, I packed everything up, donned my fluorescent, lime-green “Faculty” cap and began dispensing encouraging words and helpful suggestions.

An Encounter with PleinAir Magazine editor
Kelly Kane (left) and PleinAir Today editor
Cheri Haas (right)

Offerings were more limited on Friday, as the convention was winding down, with the big finish to be on Saturday with an all-day paintout at Ghost Ranch.  (Ghost Ranch, of course, was made famous by Georgia O'Keeffe, and now it's a retreat facility.)  Friday had the usual simultaneous events in the morning, but for the afternoon, everything took place on the main stage.

Tony Allain

First, in the morning, I attended Tony Allain's pastel demonstration.  I'd not met Tony in person before, but he's one of the master artists in my book.  It was a pleasure to finally meet this artist from Scotland and to see how quick he is to lay down the pastel.  He joked that he is so aggressive with the medium that the first two rows of the audience would probably be covered in pastel juice by the end.  Next, Albert Handell demonstrated painting a waterfall in oil on the main stage.  Although I've seen many different variations of his demos over the years, every time it's a treat to see him do it again.

Next, Eric took the stage to reveal the venue for next year's convention: Denver, with painting trips to Estes Park and City of the Gods.  There was a lot of excitement over the announcement, especially when Eric noted that it would be the convention's tenth birthday bash with a record number of attendees and faculty.  (He's planning on 1000 participants and 80 faculty.)

The final demonstration for the convention was Kevin Macpherson, but unfortunately, the schedule was running an hour late and seemed to be slipping even later.  I'd planned to go home after watching his demo and then stopping just briefly at the afternoon paintout at El Rancho de las Golondrinas; I needed to hurry home to pack for another trip--to get to my father's memorial service.  

Even so, Friday was a satisfying end to the convention for me.  I enjoyed seeing some old friends, learning a few new things, and absorbing the wonderful energy that his kind of event creates.  Will I be at Denver in 2023?  I hope so!

The Plein Air Convention and Expo 2022 – Part 1

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PACE Opens!  How many people can you count?
There's a whole left side that's not in the photo.

After being cancelled two years in a row because of the pandemic, the Plein Air Convention & Expo (PACE) finally opened in Santa Fe—but with wildfires raging on both sides of it.  Thirty miles east, New Mexico's second largest fire in history had charred over 300,000 acres by opening day.  And thirty miles west, a smaller fire of 50,000 acres was breathing its last.  The convention organizers recommended N95 masks for anyone worried about smoke.

The N95 masks, of course, would also be helpful because the pandemic still hadn't quite gone away.  I'd been uneasy about attending a convention with hundreds of people—partly because, right after it, I was due to travel several more days and visit with elderly family members on my long journey to Campobello Island.  But fortified with my second booster, and vowing to wear my N95 when indoors and to avoid parties, my hope was that I would escape unscathed.  (I won't mention that I snuck a small microwave oven into my room so I wouldn't have to dine out.)

As I approached the Buffalo Thunder Casino and Resort, about 20 minutes north of Santa Fe and on the Pueblo of Pojoaque reservation, I could see the smoke from the Calf Creek/Hermit's Peak fire billowing over the mountains.  The cloud, not quite a mushroom cloud, tilted to the east as the prevailing winds blew it away from Pojoaque.  The forecast for the rest of the week was sunny and unseasonably warm—in the high 80s—and with gusty winds expected later.

Dawn comes to Pojoaque

I discovered that the hotel was, thank goodness, isolated from the convention area and the casino.  As a light sleeper, it's important to have quiet.  Once checked in, I was surprised at how empty the place seemed.  Despite hundreds of people attending, the halls were largely void of traffic save for the occasional attendee frowning at the hotel map on his phone, trying to find the location of his room.  (Complicating things is the fact that there are two wings, and if you go up the wrong set of elevators, you may not find your room.  This happened to me while pushing a hundred pounds of gear on a bellman cart.)

I wasn't even sure if the casino was operating, as its parking lot, which is separate from the hotel's, was empty. The only place I encountered crowds was in the vendor area—a very dense gathering—and in the main stage area.  I found the best time to visit the vendors was during a presentation, when attendees were in the main stage room.  In the main stage area itself, I was able to hover in the back where things were more open.  (From anywhere in the room you could get a good view, thanks to the two large projection screens, which provided a close-up if not color-corrected view of the easel.)  Even so, I kept my N95 firmly attached.

After checking in, I immediately went to the main stage for the opening reception.  Eric Rhoads, the publisher of PleinAir magazine and organizer of PACE, appeared wearing a game-show host wig and a coat glittering with green sequins.  “Plein Air Wars” opened the evening, with four painters on stage performing under extreme conditions.  (Imagine being told to paint only with your non-dominant hand.)  Following that...more games, but finally it got down to Lifetime Achievement awards and the introduction of faculty.  I was pleased to see that my friend, Joe Anna Arnett, finally was able to take in hand her Lifetime Achievement award, which she was able to receive only virtually in 2021.

Brenda Boylan

The next day, my first event for the convention was a pastel demonstration by Brenda Boylan.  (There was a 6:30 am “Marketing Boot Camp” session I chose to skip, feeling a need to take my morning constitutional instead; I enjoyed a beautiful sunrise.)  Brenda showed us how to paint a city scene and discussed how to handle the issues one might encounter in that busy environment.  Next, I headed back to the main stage, where Eric was doing a live, streamed interview with master painter David Leffel and Sherrie McGraw.  Leffel is a Grand Master of painting, and he talked about some of the higher-level aspects of the art.  After that, I headed over to watch a watercolor demo on painting ocean waves by another friend and fellow Plein Air Fundy member, Poppy Balser.  I found it amazing that she was able to “save” the white areas for sea foam while painting a wave so loosely. She used no opaque white.  

Poppy Balser

Albert Handell

I ended the daylight portion of the day by watching a pastel demonstration of a tree by another good friend, Albert Handell, who has a fascinating approach in which he treats the tree more as a figure to be painted, and a talk on the optical physics of sunsets by Carl Bretzke.  This is a highly complex subject, and this MD-turned-painter did a great job of giving a clear presentation.  Somewhere in the course of the day, I ran into another friend, Kevin Macpherson—I am finding I have so many in the plein air world—and Eric, each of whom I showed my appreciation to by giving a copy of my new book.

Although the afternoon outing was scheduled for the historic village of Chimayo and its iconic Santuario, I needed to skip it.  I had a pastel presentation I was due to give at 8 p.m. and wanted to use the time to set up my gear, re-read my notes and make sure I had everything ready to go.  I also had been up since 3 a.m. and thought I might try to take a nap.  I'm not a napper, so this was a challenge.

Somewhat rested and fortified by a cup of strong Earl Grey tea, I made it through my presentation. At first, I was a little worried when the clock struck eight and every chair was still empty.  But PleinAir magazine editor Kelly Kane, someone I as a writer have known for years but had never actually met, and who was going to introduce me, said the bus from Chimayo was running late. (PACE hired one to ferry painters from the convention to painting sites.) Sure enough, people soon began filing in.  I had a good crowd, and I enjoyed sharing my topic: Outdoor Study to Studio.  I demonstrated how I use field references—color studies, pencil sketches and photos—for making studio paintings.  It's a hard sell to dedicated plein air painters, but I think they got the point, which is that the studio is not something to avoid.

(Coming Up—Part 2)

Plein Air Live -- and the Plein Air Convention and Expo

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Come to the Auction at Plein Air Live

You might remember last year about this time I taught at Plein Air Live, the online plein air painting convention.  Although I won't be teaching at PAL this year, I have been asked to put some work in the auction.  I have five pieces in it, and you can see (and bid on!) them at this link. The graphic above shows the paintings, but you can see bigger images at the site.

For some time now Eric Rhoads (publisher of PleinAir magazine) has been running a series of live interviews with artists, which he calls Art School Live.  In the interviews, artists give a short demo.  Eric will be interviewing me on Monday, March 28th, at noon Eastern Time.  (This will be my second interview and demo with him.) My topic:  "Trees are People, Too: How to Paint a Realistic Tree." You can see the playlist of past interviews here.

Eric Rhoads and me at the last PACE

By the way, it looks like the Plein Air Convention & Expo is a "go" this year!  You might remember that I was to be on the faculty back in 2020...then again in 2021...but of course, each of those years PACE was cancelled because of the pandemic.  I don't have a schedule yet, but I will definitely be in Santa Fe and demonstrating.  Registration is still open for the convention, and you can get all the details here:  www.PleinAirConvention.com I hope to see you there!

Plein Air Live

Join the Masters at Plein Air Live!

 As you've probably heard, the Plein Air Convention, which had been scheduled for this May in Denver, has been moved to May 17-20, 2022, and it will be in Santa Fe.  As much as I was looking forward to being on the faculty this year, it's probably a good idea to give us more time to get ahead of the virus.  

Good news:  I'll be on the faculty in Santa Fe next year.  I might even try holding a workshop or retreat before or after the convention, somewhere close by.

And here's more good news.  Replacing the "real" convention this year will be Plein Air Live.  This will be a virtual conference with live demonstrations and Q&A sessions with the faculty.  You can sit in the comfort of your own home (or studio) and learn from the masters.  There's a lot more to it, so I suggest you go to the website for more information.  Last year's was a big success, and I imagine this year's will exceed it.

Dates for Plein Air Live: April 15-17, 2021, plus a "beginner's day" on April 14th.  I know they're offering discounts if you sign up early, so you might want to look into it soon.

I'll see you there!  I'll be part of the program, demonstrating in gouache for the "beginner's day."

Preparing for a Demonstration

As you may know, I will be one of the invited guest artists and demonstrators for the 2020 Plein Air Convention & Expo in Denver this May.  As they say, this isn't my first rodeo—so I will be preparing for my demonstration, as I always do.

How do I prepare?  First, by figuring out what aspect of plein air painting I want to demonstrate.  Second, by choosing appropriate subject matter.  Third, by practicing my demonstration beforehand.  And finally, by making a checklist of things I need to take.

Figuring out what I want to say isn't too difficult.  Having been teaching plein air painting workshops for nearly 20 years now, I have a fairly clear idea of what information would be most helpful to people.

Choosing subject matter is a little more difficult.  Even though I'll be up on stage with TV cameras showing the audience close-ups, I want the painting to have good contrast, simple shapes and maybe even a little drama.  The subject also needs to allow me to demonstrate what it is I want to show.

In some ways, the most important part is the practice session.  When I went to Cincinnati several years ago to shoot my three instructional videos for Artists Network, you can bet I didn't show up cold.  I had practiced until I felt the demonstration would go smoothly.  I don't want to stumble because halfway through I've realized the composition doesn't work or my color choices are wrong.  Plus, I want to practice what magicians call “patter”—what I'll be saying as I paint.

The checklist is important, too.  I don't want to forget some small but essential item for the demonstration.  But I'll also have on my checklist promotional items such as business cards.  A person might not forget me so readily with a business card in his hand.  After all, there will be over 80 invited guest artists demonstrating!

If you have been asked to give a demonstration to your painting group or art society, I think having a plan like this—a plan that includes practice—a good one.

Plein Air Convention & Expo - Report

Ken Auster on the Big Screen

Tonight, I'm reporting from my hotel room in Las Vegas.  Although the First Annual Plein Air Convention & Expo began on Thursday, Trina and I didn't arrive until late that evening because of my teaching schedule.   But even so, we were up early because I wanted to to get to the convention center by 6:30 a.m. for Eric Rhoads' Marketing Boot Camp.  (Eric is the publisher of Plein Air Magazine.)  When we arrived bleary-eyed at the convention center, we were amazed.  The conference room was nearly filled with painters eager for Eric's early-morning advice!

And this set the tone for the last few days.  I don't know how many people are at the convention, but  the conference room, which is vast, has been filled to overflowing for each event.  Besides Eric's wonderful three-part series on marketing, I've been able to watch demos or to listen to lectures from such art world luminaries as Ken Auster, Matt Smith, Scott Christensen and Kenn Backhaus.  We also have had a special demonstration by Russian Master Nikolai Dubovik and a lecture on the history of plein air by noted American Impressionist scholar Jean Stern.  Each day has been packed with exciting and informative events, and it's been great to finally meet some of the folks I've admired through the pages of Plein Air Magazine.  I just wish I could have gotten here for the first day!

In addition, we've had a great trade show with vendors like Gamblin, Judson's Art Outfitters, King of Frame, Raymar Art and others.  Unlike some conventions, which have overwhelming numbers of vendors, it was nice to be able to attend a smaller trade show with vendors offering products that really matter.  I especially enjoyed meeting and chatting with Carl Judson and Robert Gamblin, who make the products I use every day.  I also enjoyed chatting with PAM editor Steve Doherty.  We've corresponded over the years, and it was great to meet him in person.  (Steve was given a Lifetime Achievement Award today from Plein Air Painters of America.  Congratulations, Steve!)

We've also had some impromptu art "happenings" here.  One day, Alexey Steele and Gil Dellinger set up shop on the trade show floor to paint Pierre Sennelier's portrait.  (Yes, Pierre is of the famous Sennelier family that supplied paint to Cezanne and Gauguin and invented oil pastels at the request of Picasso.)  One afternoon, extreme plein air painter Cory Trepanier arrived from Canada to give us a special showing of his new documentary, "Into the Arctic II."   I spoke to him afterward about the possibility of joining him on a trip with other painters to the Arctic.

Alexey Steele and Gil Dellinger Prepare to Paint Pierre Sennelier

Alexey Steele's Finished Portrait

Gil Dellinger's Finished Portrait

Today, Saturday, the lectures ended and it was time to go paint.  Although we had spitting rain Friday - a rare thing for Las Vegas - we had hoped it would end by the time we went out to paint today.  It didn't quite end, and we had bouts of drizzle and some pretty strong wind.  But who cared?  The mountains were just gorgeous with clouds and peek-a-boo sunspots.  I think all the painters were energized by the weather.  After I did my two paintings, I walked around a bit and was impressed by the quality of the work.

Painters at Spring Mountain Ranch

Me on Location, Here and Below

Tomorrow, it's off to Bonnie Springs for one last morning of painting.  The weather promises to be sunny.  I'll report on the last day when I have time to write.

By the way, Eric Rhoads announced the location for the 2013 Second Annual Plein Air Convention & Expo.  It'll be near Pacific Grove, California, at Asilomar.  I'm enjoying this year's so much, I hope I get invited back for the next one!