Questions About Plein Air Painting Workshops: One-on-One Private Painting Intensive Program

(Looking for the post on Questions About All-Level Workshops? Click here.)
(Looking for the post on Questions About Advanced Workshops? Click here.)

Some of you may consider yourselves "advanced" plein air painters, but perhaps you still aren't quite sure where to go next. This post, the final part of the three-part series of answers to questions I get about my plein air painting workshops, concerns private study that is customized to your needs. As I have mentioned before, if you don't see a question that you'd like an answer to, please let me know, and I'll be happy to update this post.

How do I know I'm ready for this program?

This program is for you if you:

• Paint outdoors regularly but feel you aren't able to take your painting to the next level; 
• Are trying to sell your work and would like to learn more about the business of being a professional artist; or 
• Would like to establish a mentoring relationship with me. 

For this program, you must be an experienced outdoor painter. Additionally, you must be able to provide digital images for me to review and be comfortable with writing a short essay, both of which will be necessary for the initial consultation.

Exactly what will be covered in this program?

The program is completely customized to the participant, based on the initial consultation. The consultation consists of sending me several images of recent plein air work plus answering a questionnaire (essay form.) If I believe I can help you, I will draft a proposal for the program, which you then approve. In the past, I've had participants work on "outdoor-study-to-studio" to improve their overall skill; we've developed marketing plans to help with the business side of things; and we've worked on refining our powers of observation in the field. In this program, you'll have the opportunity with work with me side-by-side in the field, and I'll also give you solo assignments. At the end of the week, I will create an "action plan" to help you on your path. Following our time together, I give you three months of additional consultation via e-mail.

What do I need to bring for supplies?

I have a full supply list for oil and pastel on my web site. Consider these items a suggestion, but I encourage you to bring them. If you would like to bring something different, please let me know, and we'll discuss it. For your customized program, I may ask you to bring additional or different items.

I'm flying. How do I take my paints?

Oil painters, pack your paints in a non-crushable container (a large plastic container works), insert a copy of the MSDS (Manufacturer's Safety Data Sheet) in with the paints, and label the container "Artist's Oil Colors—Made with Vegetable Oil—Non-Flammable." Tape the lid on securely. Put this in your checked baggage. Do not take mineral spirits or turpentine on the plane! Let me know if you need OMS, and I will make sure I have some on hand. Other items, such as brushes, easel, etc., you can either put in the checked bag or carry-on. Pastel painters, do NOT put your pastels in your checked baggage. Pastels are "carry-on only," and make sure you are present when the TSA officer opens your bag so you can give him direction in opening the bag. (I have a blog post with more detail here.)

How will I get my paintings home?

Pastel painters, just sandwich your paintings between two sheets of foam board, and interleave the paintings with glassine. Tape up this sandwich so nothing shifts. Oil painters, I recommend Handy Porters, resuable cardboard boxes that can hold up to four wet panels or two wet canvases. The boxes come in different sizes. When heading home, these can either be packed inside a second box and shipped home, or you can carry them on the plane. On the other hand, if the paintings are dry to the touch when you're ready to leave, you can simply stack them and interleave them with waxed paper and make a sandwich, similar to what I recommend for pastel painters. For this program, we may choose to work in a larger format, so you may want to consider shipping this larger work home.

How should I prepare for the workshop?

At this point, you should be painting outdoors regularly. I suggest you read my new book, Outdoor Study to Studio: Bring Your Plein Air Paintings to the Next Level, as we may have an opportunity to apply the practice I describe therein. Also, if you need a refresher or, if you haven't seen my approach to plein air and would like to do so, I recommend that you enroll in my Plein Air Essentials self-study, self-paced online course. My other book, Backpacker Painting: Outdoors with Oil and Pastel, is a good reference. I also have several videos through Northlight Shop.

Will I need to walk far?

Most likely, we will paint just a few minutes from the car but there are some locations that will require us to hike probably no more than a mile. I do recommend that you wear good walking shoes and have a backpack that can hold everything you need for our excursions. This is not a program for people with mobility issues.

Can I bring my spouse or friend? My dog?

Unfortunately, no. The program includes lodging, and the lodging space isn't suitable for a companion or pet. (A tuition-only version is available, in which case you will need to find your own lodging, but this would allow a companion.) If you are lodging on your own and bring a companion, please, no companions in the studio; the program is intended to an intense, one-on-one experience.

That's all for now. I do hope you'll consider taking a workshop or studying privately with me. If you are interested, please see the following for my schedules:
Paint the Southwest (all-level workshops): www.PaintTheSouthwest.com/sched_reg.htm
Paint the Southwest (one-on-one private painting intensive for experienced painters): www.PaintTheSouthwest.com/sched_int.htm
Plein Air Painting Maine (all-level and advanced workshops in Maine): www.PleinAirPaintingMaine.com
General Workshop Listing (which includes workshops for art centers): www.MChesleyJohnson.com/workshops

Also, I host painting retreats once or twice year.   These are for past students only.  Although there is no formal instruction, there is plenty of art talk, critiques and camaraderie.  Retreats are small in size, we all stay in the same place, there's lots of painting time plus an organized itinerary.  By the way, they are always in scenic spots!  Past retreat have been to Isle of Skye (Scotland), Lunenburg (Nova Scotia), Grand Canyon, Zion National Park and elsewhere!  If you'd like to join us on a retreat, first, make sure you've taken a workshop with me, and then make sure you have signed up for my newsletter!

A week's work!

Questions About Plein Air Painting Workshops: Advanced Workshop

Photo by Terri Attridge

(Looking for the post on Questions About All-Level Workshops? Click here.)
(Looking for the post on Questions About One-on-One Private Painting Intensive? Click here.)

Many of you are already active plein air painters. Chances are, you're beyond needing a "basics" workshop. But maybe you feel your paintings could be improved, or you'd like to try my method of painting outdoors. This, then, is the second part of the three-part series of answers to questions I get about my plein air painting workshops, and it concerns workshops for painters with experience. As I have mentioned before, if you don't see a question that you'd like an answer to, please let me know, and I'll be happy to update this post. 

How do I know I'm ready for this workshop?

If you've taken a beginning workshop with me or another instructor, you probably didn't have time to learn anything beyond the basics. If you'd like to learn about different color palettes and how to use them, or the concept of color temperature and how it works in the landscape, or the finer points of handling edges and brush work, then this workshop is for you.

For this workshop, you should be comfortable with your gear and materials in the field. You should know the basics of value and design and color mixing.

Exactly what will be covered in this workshop?

In this workshop, I cover different color palettes for the landscape; how to see and capture color temperature; how to manage edges and brush work; and increasing our understanding of what makes a good painting. We may also have the opportunity to introduce the topic of outdoor-study-to-studio.

What do I need to bring for supplies?

I have a full supply list for oil and pastel on my web site. Please try to bring everything on the list. If you want to bring something different, please let me know, and we can discuss it.

I'm flying. How do I take my paints?

Oil painters, pack your paints in a non-crushable container (a large plastic container works), insert a copy of the MSDS (Manufacturer's Safety Data Sheet) in with the paints, and label the container "Artist's Oil Colors—Made with Vegetable Oil—Non-Flammable." Tape the lid on securely. Put this in your checked baggage. Do not take mineral spirits or turpentine on the plane! Arrange to ship this to your destination or locate a local art supply store where you can get it. Other items, such as brushes, easel, etc., you can either put in the checked bag or carry-on. Pastel painters, do NOT put your pastels in your checked baggage. Pastels are "carry-on only," and make sure you are present when the TSA officer opens your bag so you can give him direction in opening the bag. (I have a blog post with more detail here.)

How will I get my paintings home?

Pastel painters, just sandwich your paintings between two sheets of foam board, and interleave the paintings with glassine. Tape up this sandwich so nothing shifts. Oil painters, I recommend Handy Porters, resuable cardboard boxes that can hold up to four wet panels or two wet canvases. The boxes come in different sizes. When heading home, these can either be packed inside a second box and shipped home, or you can carry them on the plane. On the other hand, if the paintings are dry to the touch when you're ready to leave, you can simply stack them and interleave them with waxed paper and make a sandwich, similar to what I recommend for pastel painters.

How should I prepare for the workshop?

At this point, you should be painting outdoors regularly. I suggest you read my new book, Outdoor Study to Studio: Bring Your Plein Air Paintings to the Next Level, as we may have an opportunity to apply the practice I describe therein. Also, if you need a refresher or, if you haven't seen my approach to plein air and would like to do so, I recommend that you enroll in my Plein Air Essentials self-study, self-paced online course. My other book, Backpacker Painting: Outdoors with Oil and Pastel, is a good reference. I also have several videos through Northlight Shop.

Will I need to walk far?

Most likely, we will paint just a few minutes from the car. However, I do recommend that you wear good walking shoes. If you have mobility issues, please understand that you will need to carry your own gear unless you bring an assistant.

Can I bring my spouse or friend? My dog?

Most of our locations will having hiking and photography opportunities. If your spouse or friend likes to hike or take photos, they are more than welcome to join us on-location. In the studio, when we are doing critiques and lectures, they are welcome to join us if there is adequate seating and they sit quietly in the back. Unfortunately, dogs are not allowed in the studio or to be with you while we work on-location.

You mention retreats and mentoring.  What's the difference?

A retreat is just that:  A time for the artist to get away from the daily grind and join a few like-minded painters for some serious time painting and building friendships.  There's no formal instruction in a retreat, although I do daily critiques, offer to do demonstrations, initiate talk about art and provide an organized itinerary.  Mentoring is much different.  I offer to guide you through your craft and, if you wish to "go professional," through the business of art.  This is more of a long-term relationship founded on attending my workshops regularly.

In my next post, I'll talk about the one-on-one private painting intensive. In the meantime, if you're interested in taking a workshop with me, please see the following for my schedules:

Paint the Southwest (all-level workshops): www.PaintTheSouthwest.com/sched_reg.htm
Paint the Southwest (one-on-one private painting intensive for experienced painters): www.PaintTheSouthwest.com/sched_int.htm
Plein Air Painting Maine (all-level and advanced workshops in Maine): www.PleinAirPaintingMaine.com
General Workshop Listing (which includes workshops for art centers): www.MChesleyJohnson.com/workshops

Also, I host painting retreats once or twice year.   These are for past students only.  Although there is no formal instruction, there is plenty of art talk, critiques and camaraderie.  Retreats are small in size, we all stay in the same place, there's lots of painting time plus an organized itinerary.  By the way, they are always in scenic spots!  Past retreat have been to Isle of Skye (Scotland), Lunenburg (Nova Scotia), Grand Canyon, Zion National Park and elsewhere!  If you'd like to join us on a retreat, first, make sure you've taken a workshop with me, and then make sure you have signed up for my newsletter!

Ready for critiques!

New Year's Day Snow

High Desert Snow 6x12 Oil

As I write, we are digging out of a snowstorm.  Looking at where the snow hits my boots, I'd say we've had a good foot of snow—more than we've seen in some time.  We're grateful for the precipitation, as anyone should be who lives in the Southwest, but it does make it hard to get out and about.  Fortunately, we live just off a paved road, which is unusual in rural New Mexico, and I'm sure the town will get out at some point today and plow up to where tar meets gravel.  Once the sun rises, I'll grab my snowshovel and proceed to re-shovel the driveway and clean up the paths so we can feed the birds.  Meanwhile, we'll keep our fingers crossed that the power doesn't go out.  It bounced three times in the night.

With that in mind, I thought I'd share a few snow sketches from over the years.  (All of these are plein air; most are oil, since I find it easier to manage oil in the cold; and most are 9x12 or so.  Some are sold, some are not, but if you see a piece that interests you, let me know and I'll try to track it down.)  I do love to paint snow, and once this storm settles down, I'll head out to paint some of it.  I may have to build snowshoes for my easel, though.

As for New Year's resolutions, I have none to share.  I'm pretty good at staying motivated throughout the year, and to be honest, there is very little I would want to change.  Trina and I both lead a good life, are blessed with wonderful family and friends, and so are looking forward to a year of peace and prosperity.  We wish you all the same.

Flagg House in Winter

An Unexpected Snow

Birch Shadows

Birches Red Field

Birches Shadows

Bonito Lake Snow

Departure

Eastport View Blackberry Field

Fire in the Field

First Snow

Grand Canyon Sketch I

Grand Canyon Sketch III

Hillside Town

Ice Comes to the Lake

In the Shadow II

Lake Snow

Mitten Ridge with Snow

Snowy Street

Persistence of Blackberries

Santa Clara River

Sisters in the Snow

Snow at Herring Cove

Snow Field

Snow on Munds

Snow on Shiprock

Snowy Shadows

Sunswept Field with Snow

Walk Through Fire

Yellow House by the Sea

Questions About Plein Air Painting Workshops: All-Level

(Looking for the post on Questions About the Advanced Plein Air Workshops? Click here.)
(Looking for the post on Questions About One-on-One Private Painting Intensive? Click here.)

I often get questions about my plein air painting workshops. As much as I love to answer individual e-mails, I thought I'd answer some of the more common ones here. Because I teach three different types of workshops, I'll split them across three blog posts.

But first, let me outline the three workshop types:

• The all-level workshop. This is for any level of painter but especially for those who are new to plein air painting. I do, however, expect the student to know the very basics of painting. This is not a workshop for someone who has never painted before. In this workshop, I cover plein air painting essentials: gear, materials, how to handle the time factor, plus simplifying what we see. Time permitting, I also address value, design and color. 
• The advanced workshop. This is for painters who have painted outdoors but who would like to learn the finer points that I don't have time to address in the all-level workshop. In this workshop, I cover different color palettes for the landscape; how to see and capture color temperature; how to manage edges and brush work; and understanding what makes a good painting. 
• The one-on-one private painting intensive. This is for experienced outdoor painters who want to bring their craft to the next level. Completely customized to the student after a consultation, the program can also include business help and mentoring. 

Now, on to questions about the all-level workshop. (By the way, if you have a question that's not answered here, please let me know and I'll be happy to add it.)

How do I know I'm ready for this workshop?

First, since you're reading this post, I assume you're already interested in plein air painting. A desire to learn is essential. But besides that, you must have some very basic painting skills. It's hard to learn how to paint and how to do it outdoors at the same time! Painting outdoors adds to the problems you encounter in the studio. So, if you haven't painted yet, do yourself a favor and take a beginner-level painting class in the studio. Learn how to hold a brush, how to prepare the canvas, and how to mix the basic colors. If you're a pastel painter, make sure you learn the different ways you can hold a pastel stick and know the basic colors you need for success. Also important is learning to find a set of materials that is right for you. (For example, not every oil painter likes canvas; you may discover that you have more success with gessoed hardboard. Or, if you're a pastel painter, perhaps a traditional pastel paper like Canson Mi-Teintes works better for you than UArt sanded paper.)

Basically, if you have reached a point in the studio where you are comfortable with your materials and process, you are ready to learn to paint outdoors.

Exactly what will be covered in this workshop?

In this workshop, I cover plein air painting essentials: gear, materials, how to handle the time factor, plus simplifying what we see. Time permitting, I also address value, design and color.

What kind of easel do I need?

You need an outdoor easel—studio easels are too cumbersome. I use a tripod (ProMaster XC525) to hold my paint or pastel box. For oil, I use the Prolific Painter "Daytripper" model plus the 18" Upright Panel Holder. For pastel, I use the Heilman Designs "Backpack" pastel box plus the optional easel attachment. There are many other brands on the market for pastel or oil. Keep in mind that you get what you pay for—don't skimp. But whatever you get, make certain that the setup is stable and won't shake when you paint. If you use a tripod, make sure that the tripod has a metal head, not a plastic one. Plastic heads can never be tightened enough to eliminate the shake.

Another brand I like to use with a good tripod when painting in oil: The Guerrilla Painter 9x12 pochade box. Unlike the "Daytripper," which is not a pochade box and will not allow you to transport wet panels, the Guerrilla Painter box is a true pochade, and will hold four panels in the lid, as well as paint tubes, etc., in the bottom. With the "Daytripper," I use a Panelpak to transport my wet panels.

What do I need to bring for supplies?

I have a full supply list for oil and pastel on my web site. Please bring everything on the list. If you need to substitute an item with something you already have (e.g. cadmium yellow rather than hansa yellow), ask me and I'll tell if you it will work or not. Finally, pay special attention to the items that are specific to plein air painting.

I'm flying. How do I take my paints?

Oil painters, pack your paints in a non-crushable container (a large plastic container works), insert a copy of the MSDS (Manufacturer's Safety Data Sheet) in with the paints, and label the container "Artist's Oil Colors—Made with Vegetable Oil—Non-Flammable." Tape the lid on securely. Put this in your checked baggage. Do not take mineral spirits or turpentine on the plane! Arrange to ship this to your destination or locate a local art supply store where you can get it. Other items, such as brushes, easel, etc., you can either put in the checked bag or carry-on. Pastel painters, do NOT put your pastels in your checked baggage. Pastels are "carry-on only," and make sure you are present when the TSA officer opens your bag so you can give him direction in opening the bag. (I have a blog post with more detail here.)

How will I get my paintings home?

Pastel painters, just sandwich your paintings between two sheets of foam board, and interleave the paintings with glassine. Tape up this sandwich so nothing shifts. Oil painters, I recommend Handy Porters, resuable cardboard boxes that can hold up to four wet panels or two wet canvases. The boxes come in different sizes. When heading home, these can either be packed inside a second box and shipped home, or you can carry them on the plane. On the other hand, if the paintings are dry to the touch when you're ready to leave, you can simply stack them and interleave them with waxed paper and make a sandwich, similar to what I recommend for pastel painters.

How should I prepare for the workshop?

If you haven't painted outdoors before, give it a try. This will give you a leg up on the learning process. Also, I recommend that you enroll in my Plein Air Essentials self-study, self-paced online course and read my book, Backpacker Painting: Outdoors with Oil and Pastel. I also have several videos through Northlight Shop.

Will I need to walk far?

We will paint at the most a few minutes from the car. However, I do recommend that you wear good walking shoes. If you have mobility issues, please understand that you will need to carry your own gear unless you bring an assistant.

Can I bring my spouse or friend? My dog?

Most of our locations will having hiking and photography opportunities. If your spouse or friend likes to hike or take photos, they are more than welcome to join us on-location. In the studio, when we are doing critiques and lectures, they are welcome to join us if there is adequate seating and they sit quietly in the back. Unfortunately, dogs are not allowed in the studio or to be with you while we work on-location.

In my next post, I'll talk about the advanced plein air painting workshops. In the meantime, if you're interested in taking a workshop with me, please see the following for my schedules:

Paint the Southwest (all-level workshops): www.PaintTheSouthwest.com/sched_reg.htm
Paint the Southwest (one-on-one private painting intensive for experienced painters): www.PaintTheSouthwest.com/sched_int.htm
Plein Air Painting Maine (all-level and advanced workshops in Maine): www.PleinAirPaintingMaine.com
General Workshop Listing (which includes workshops for art centers): www.MChesleyJohnson.com/workshops

Lecture time in the studio for the all-level plein air painting workshop

Blue Earth Pastels – Some Tips

Sunset Mesa 8x16 Pastel

Recently, I was invited by Pastel Journal to write a series of articles on color for the pastel painter.  Because this "Color Decoder" column is a new idea, my editors and I had to do some tweaking to get it into its final form, which you can see in the current, February 2019 issue, in which I write about the color yellow.   At first, I thought about showing how different manufacturers handle a particular color, but in the end, we decided to just focus on the color itself.  Still, I felt it would be useful for readers if I used just one particular brand, for consistency's sake.  I decided on Blue Earth Pastels.

Why?  Blue Earth handles color in a scientific, logical way that makes choosing a stick of pastel very easy.  They take a pigment that is rich and pure, and then create a series of seven tints and shades plus a progression of four different intensities.  The pastels are made so that the values and intensities match from pigment to pigment; for example, a stick of orange from the 2nd row and 5th column will match in value and intensity a stick of blue from the 2nd row and 5th column.  One of the biggest problems facing a painter is matching these two properties among different colors.  With Blue Earth Pastels, so long as you keep the sticks in their proper places in the boxes, this problem is eliminated.  I felt that, with this degree of consistency of value and intensity, Blue Earth would be the perfect brand to use for my illustrations.

Of course, to make this system work, you need to buy all the sets.   You can't just supplement your existing menagerie of pastels with a stick of Blue Earth here and there.  Instead, I recommend the reverse:  Make your foundation set Blue Earth, and then supplement it with other brands as needed.   (I have all the Blue Earth pastels except the Quinacridone Red and Cerulean sets.  I hope to remedy this soon.)

I've been posting a few images from the studio as I work with the pastels, and I've been asked a few questions, which I thought I'd answer more fully here.

What paper do you use?  I use Art Spectrum Colourfix paper.  Its tooth isn't as aggressive as that of Wallis and UArt, so it doesn't "chew up" so much of these very soft pastels as other sanded papers do.  Also, I'm not looking for fine detail, so the soft pastels and the coarse tooth works perfectly for my goal.  I also use Canson Mi-Teintes.  For some reason, many pastel painters seem to dislike this paper, but I think it is a very good and inexpensive alternative to sanded papers.  For the Canson paper, I use a light touch—and I also use fixative throughout the painting process.  For the Colourfix, I don't use any fixative except at the very end.

Here are some detail photos of the above painting to show how the paper looks:

How do you manage the pastels?  I keep the pastels in their original boxes, and I arrange them on a side table in chromatic order.  You run the risk of confusing the order if you take out all the sticks to put them in something else.  Also, they're easy enough to remove from the foam as needed in the "heat of the moment."  To keep track of things, after I use a stick, I just rest the stick atop its proper spot in the box but don't push it down fully; it sticks up a bit, so I know it's a pastel currently in use for this particular painting.  (When I paint with other pastels, I pile them up in a little plate by the easel—this becomes my "palette."  I don't do that with Blue Earth pastels.)  You can see how I do this in the photos below.  Once I am completely done with the painting, I push the used sticks down into their pockets.

What about using them en plein air?  I don't.  I use them solely in the studio.  I like them in their boxes as they are.  If I were to take them outdoors, I would want a big box that could hold them all in exactly the same chromatic order as I have on my side table.  Another possibility is to take fewer; rather than seven values, maybe I'd just take four values.  With the four intensities, that would make sixteen sticks per color; then multiply that by the ten colors, and I'd have 160 sticks, a manageable number in the field.  I'd also add a few from the "Nearly Neutral" sets.

I'm looking forward to continuing the series of Color Decoder articles for Pastel Journal using my Blue Earth Pastels.

UPDATE:  I've acquired this box from Dakota Pastels to keep my full set of Blue Earth pastels in.  It makes it much easier to take into the field!