Going Through the Painting Process, Studio Work

I get asked (a lot) if I always start a painting with a value study.  I won't lie - no not always.  When I'm outside, I quickly get caught up in the excitement of capturing a scene en plein air and get started.  If you have a smart phone, you can jump start this process by taking a photo, then changing it to grayscale.  This can quickly help you discover any issues the potential composition will have.  Yes that's right, it will almost always have something that won't work.  Seeing the composition in grayscale will help you see correct values.

But when I'm in my studio, I always start with a value study.  This is because I have the luxury of time in my studio.  There is time to look at the potential composition and work out any problems it may have.  There is time to decide on proportions and if the piece should lean toward light values or darker values.  The goal in my studio is usually to work toward creating a larger piece, therefore the process becomes more important.  When outside, I'm in the moment of discovery - this is part of the process.  Therefore the outdoor painting is treated as a study.

A value sketch to get the process started.

Let me walk you through the studio painting process.  As mentioned, first I start with at least several value studies, sometimes notans as well.  These monochromatic sketches are often substituted for one another, but they are two different things.  A notan is only black and white - no gray values.  It's an abstract way to look at your composition as either in light or in shadow.  A value sketch has varying values of gray that accurately represent the values seen in your reference material.  I will always do several value sketches.  If I'm uncertain if a painting should lean toward light or dark, or I want to see the abstract design in a composition, I will create some notans.

Pillsbury Snow Study, oil, 6x8   ©Kim Casebeer

After the monochromatic sketches are complete, I will make a color study.  The size of the study will depend on the desired size of the finished painting.  It may also depend on how much I'm changing things around in the design compared to my photo or plein air references.  If a lot is going to change and I'm unsure of how it will all come together, I'll do a small color study first.  This is typically 6x8 or similar.  If that works, and I think the final piece will be large, I will often create one more color study, perhaps twice the size of the first one.

I'm in the process of working on this snow scene of a local landmark called Pillsbury Crossing.  The crossing is where the bottom of Deep Creek becomes a solid rock bed, capable of being driven across.  There is a lot of overgrown brush along the creek.  I wanted to see if I could simplify it by opening it up, as well as giving it a heavy snow fall to cover more of the rocks.  We haven't had a heavy snow this year so making it up is necessary!  To try this out, I started with a 6x8 color study (after the value sketch).  I felt like it worked and could potentially be a large piece.  But I also know from experience that what works in a 6x8 doesn't always translate to, say 24x30.  I decided to double it, going to a 12x16 color study.  You can see the reference photo plus the two color studies in the image below.

The 6x8 color study, the 12x16 color study, and the reference photo in the bottom left.

I adjusted the rock shapes in the foreground, added a few more loose rocks in the water, broke up the snow banks a little more, and pushed the warm highlights a little more.  There are a few more adjustments I need to make now that I've let the 12x16 sit for a few days.  Overall, I feel like it will be successful larger.  I feel confident in doubling the size once more - to 24x30 or so.  I just made a new, alkyd primed, linen board and am ready to get started.  We'll see where this adventure leads!

Let's Hear It For Non-Resolutions!

By now, many of you have made a resolution or two.  And if you're like me, maybe you've broken one (or two).  For me, the euphoria that comes from the promise of a new year has worn off.  I'm still having fleeting thoughts that this year could be "the best year yet," but those thoughts keep getting over shadowed by anxiety.

When I started my New Year's resolution list, I immediately thought of all the lofty goals I wanted to achieve.  What shows I wanted to get in, how many sales I wanted to make, even what awards I would aspire to receive (right, like we have some control over that!).  I looked over my list.  Then I started to hyperventilate. 

It seems as a society we are so focused on "fixing" ourselves, rather than to believe in being ourselves!  As artists we aren't immune to the social pressures in which we're exposed.  I can't be the only one who finds spending too much time on social media can become stressful.  Don't get me wrong, I'm very happy for other artists finding success.  I am deeply grateful for the successes I have had in my career thus far and only hope the same for my peers.  Yet, seeing who got into which show, who sold a painting, and who won an award – it's easy to get caught up in what others are doing and start to believe that I need to do all of those things.  Not only is that adding unnecessary stress to my life, but more importantly, it's keeping me from being true to myself as an artist.

So I will ask this question, what if the New Year's non-resolution was to enjoy being ourselves?  An artist's greatest asset may very well be allowing their art to be a mirror of themselves.  You've probably heard the famous Judy Garland quote, "Always be a first rate version of yourself and not a second rate version of someone else."  I can not think of a better occupation to which this should apply than one in the arts.  Being a first-rate version of yourself should include discovering more about oneself and finding more joy in our daily lives.

I threw away my first resolution list and decided to make a non-resolution list that was fun not forced.  Here's what's on the list (in no particular order):

Prioritize time for daydreaming.

Read more about classic artists and find inspiration in their work.

Make time for warm up exercises.

Experiment with new media and techniques.

Sketch often.

Collect poems that speak to you and imagine them in paint.

Give yourself a plein air challenge when the weather is nice.

Spend time outside observing nature without painting or sketching.  Listen to the sounds, feel the wind and sun, and mentally record colors you see.

It's important to note that I intentionally didn't put anything on this list that made me even the least bit tense.  For example, I could easily have written "Sketch every day," but that felt like it would have been too forced so instead I chose "Sketch often."  That kept the fun not forced rule.  If you love and can't live without sketching every day then including that on your list would be fine.  Fun not forced is the ultimate goal here. 

I'm not suggesting that resolutions are all bad.  And setting goals can certainly be a positive thing.  But 2016 seems like the right time to look inward to find suitable goals, not outward searching for someone else's.  I would be interested to hear if any of you have gone the non-resolution route this year.  What would your 2016 non-resolution list include?

Announcing my Online Mentoring Program for 2016

This program will be limited to 12 students at a time.  

Free book, "Ideas for the Landscape Painter" included.

$250 Per Month /  Click to Sign Up

Do you want to read a pdf version?  Click here.

Hello and welcome to my mentoring program for landscape painters.  I’ve been teaching workshops for over 10 years - both studio and plein air.  During that time I have not only helped other artists learn how to improve their art, but I’ve also learned how to become a more effective teacher.  One of my biggest frustrations of teaching workshops is that after the workshop is over there are no guarantees that I will be able to keep in touch with each student to see how their work has improved and if they need additional help.  Often I see a student again, but perhaps a year has passed.  Some have improved a lot, and some students admit to not working much since the last workshop.  The only way to truly make a noticeable improvement in ones work is by painting on a regular basis.  I would love to teach a class that meets once or twice a week, but I live in a small town in Kansas and many of my workshop students live 2 or more hours away, even from out-of-state.  It’s not reasonable to think that they would travel to my studio each week.

That’s why I have decided to focus my teaching energy toward an online mentoring program this year.  These classes are set up as weekly, in-depth lessons that will make you a better painter by breaking down the process into smaller steps.  Instead of throwing everything at you at once because we only have 3 or 5 days, we focus each week on one aspect - line, values, composition, light, color, brush work, etc.  Yes a certain amount of patience is necessary because we won’t just dive in and paint.  But all of these steps are important.  They are what I believe in and they are what works.  I am not much of a sports enthusiast, but I have become a runner.  I’ve completed several half-marathons and would never dream of showing up at a race having never practiced.  Instead I follow a plan that adds miles to my practices each week until I build up to running 13.1 miles.  Building upon what we’ve learned previously is what routine practice is all about.  Same for musicians, actors, and yes artists!

Other advantages of this online mentoring program is that you can work in your own studio and at your own pace.  There are also no travel expenses.  If you have taken a few workshops, you’ve probably already figured out that the travel expenses are often greater than the workshop itself.

So what can you expect each week?

•   A video demonstration for each lesson that will range from 45 minutes up to 1 1/2 hours
    depending on topic.  The video will explain and demonstrate the lesson’s goals.  These videos
    will be sent to you by email each Tuesday by 6pm CST, and can be downloaded to your
    computer so that you can refer to them when you’re ready.
•   A written explanation of the lesson plan that you can quickly refer to while practicing.
•   A personal critique of your artwork and weekly lesson with suggestions for improvement. 
    Submit each completed lesson on the following Tuesday by email.  The critique will be returned
    by email by Thursday at 9pm CST.
•   A full outline of the course’s lesson plans will be provided at the beginning of the program.  It
    will include lessons on line, composition, value, temperature of color, intensity of color,
    brushwork and edges, creating atmosphere, types of light, and more.  We will also add goal setting 

    later in the program.

•   Each student receives a free copy of my book, "Ideas for the Landscape Painter."

Who can participate in the class?
You can participate in the class if you:
•    Have basic drawing and painting knowledge.  Even beginners can participate in this class as 

     we will go through ideas step-by-step and it’s on an individual basis.

•    Work in oil, pastel, or acrylic media.
•    Can carve out a consistent amount of time during the week for painting.
•    Have an internet connection and computer capable of opening and playing lengthy videos.
•    Have an email program and address to send and receive images for critiquing.
•    Have a digital camera or smart phone with HDR capable of taking a photo at least 2400 pixels
      on the longest side (8 inches wide at 300 dpi).

How do you sign up?
The online mentoring program is paid for on a month to month basis.  The fee is $250.00 per month and includes weekly lessons and critiques.  You may start at the beginning of any month as long as there is room in the program.  All you need to do is send me an email or call indicating you would like to start and I will send you an invoice.  A Paypal invoice will be sent out by the 20th of the month and is due on the 1st of the following month.  You can pay through Paypal or by check.  You can end your mentoring program at any time.

After paying for the first month, I will send you a list of suggested supplies, tips for taking good photographs, and ideas that will help you set up for a successful lesson.

Once you have paid for a month, the videos and lessons can be downloaded to your computer so they will always be available to you.  Each lesson is emailed to you by Tuesday 6pm CST each week.  If you are out of town or can’t get to a computer for a few days, you will still have the lesson and can start it once you are ready.  I know that life happens.  I have weeks where I travel and can’t get as much painting in.  I try to make up for this by spending more time painting in the studio the following week.  Don’t worry, I will work with you to make sure you can stay on track!

This program will be limited to 12 students at a time.

Free book, "Ideas for the Landscape Painter" included.

$250 Per Month / Click to Sign Up

Painting Lively Clouds Demonstration for Lori McNee and North Light Books

A New Book by Lori McNee and North Light Books

I'm very pleased to let you know about a new book written by Lori McNee and published by North Light Books.  Fine Art Tips shares demonstrations, techniques and advice from 24 artists, including myself.  I share a step-by-step demonstration on painting lively clouds.  My painting, Summer Renewal, is featured on the cover of the book!

This book is available on the North Light Book website.

Summer Renewal, oil, 30x40.  Featured on the cover of Fine Art Tips and heading to a gallery shortly.

New Book Just Published

Hello painters and collectors!  I have just self-published a little book full of information.  "Ideas for the Landscape Painter:  Taking Your Work from Concept to Completion and Beyond," is a 9" x 7" softcover book in full color with 80 pages.  It is a compilation of information I have gathered through experience, teaching, networking with other artists, and with those in the art business. It is packed with what I hope will be valuable tools, such as:

Information about the tools and materials I use to paint with both oil and soft pastel, and why using quality materials is important.

Why spending time planning your design in the beginning can save you time through the process. Plus samples and explanations on the difference between notan and value study, and how to effectively use each of these tools.

A discussion on color theory, and why questioning the intensity of a color is more important than whether that color is warm or cool.  Color didn’t fully make sense until I understood this!

Where to set up and what to take when painting outdoors.

Idea starters for getting the creative process going!

Plus more information about evaluating your work, varnishing, preparing to ship work, and creating a stand out portfolio.

This book will sell for $19.95.  You can mail a check, but I will have Paypal set up on my website soon to make the ordering process easier.  I'm getting ready to leave for the Plein Air Convention and will set it up after I return.