It’s pretty nice, after years of hard work, to be in a place as a professional artist where I’ve reached a level of self-confidence and assurance knowing that every time I touch a paint-loaded brush to canvas, it is a masterstroke. The failures and struggles of the amateur have been left far behind. Well, that does seem to be the perception of those outside the artist’s studio. The phrase “perception is reality” is certainly a lie and not one I embrace or have experienced. I was raised in a household of rules, one of those rules being, “If you begin a project you better do it to the best of yo ..read more

It’s my third art instruction DVD. In this DVD I teach and demonstrate the benefits of separating the values of a painting from its color. This technique will greatly enhance the paintings of artists who struggle with value and color…and that’s many of you. When I speak of values, I’m referring to every shade of gray from white to black. Control and manipulation of values sets the mood for every painting created. Values establish the mood, color enhances it. In this DVD you’ll discover my entire painting process. Following its teaching will revolutionize your work. I promise. (Click image for ..read more

I first met Andy almost 40 years ago when participating in a Midwest Gathering of Artists show in Carthage, Missouri. And now, here we are all these years later partnering together, along with Tim Breaux, in the formation of the American Heritage Art Gallery. Andy’s talent was obvious from the first time we met, and even more so today. How his career has blossomed, even flourished, is something to behold, some work selling into six figures. From the beginning, he had great ability in capturing a person’s likeness, while also telling a story about them. So, one year he created a painting of all ..read more

Planting a tree can be hard work and with it comes the belief that the effort exerted will yield benefits. A tree will add beauty to the world, shade in the summer, color in the autumn, rest in the winter, and joy in the spring. Sometimes trees are planted as a memorial, an enduring legacy of someone or something important. Joseph Orr believes in planting trees, lots of them…well, not necessarily the kind of tree you’re thinking of, but trees within the art world. One of the trees he planted in 1990, along with three others, was the founding of the National Oil and Acrylic Painters Society (NO ..read more

John MacDonald, a brilliant landscape painter and thoughtful writer and teacher, has offered some very interesting observations about five roles you can play as a painter. Somewhat like an actor, the talented artist has the ability to switch roles as needed. Whether you create as a Poet, Reporter, Storyteller, Designer, or Virtuoso, is really up to you, but is determined by your conceptual intent. It’s been a thought provoking series, I hope you have enjoyed it and gained an appreciation for the roles you can play as an artist. This week we conclude the series by speaking of the Virtuoso artis ..read more

John MacDonald, a brilliant landscape painter and thoughtful writer and teacher, has offered some very interesting observations about five roles you can play as a painter. Somewhat like an actor, the talented artist has the ability to switch roles as needed. Whether you create as a Poet, Reporter, Storyteller, Designer, or Virtuoso, is really up to you, but is determined by your conceptual intent. This week we discuss the Reporter’s role. (Click images to enlarge)   Reporter John MacDonald in his analysis of the Reporter, one of five categories or roles in which painters can maneuver, des ..read more

During many years of teaching, I have emphasized to my students that CONCEPT is the first consideration when beginning a painting…What do you want to communicate to the viewer, and how best can that be communicated? When the concept is clear, it gives direction for the work to follow. John MacDonald, in one of his recent newsletters, asks the question, “What kind of painter are you?” He says it’s important to be able to address that question because it will help answer two other important questions: “What is the intention for your painting, and what is your painting about?” He breaks those int ..read more

It’s been a long journey; it all began in 1990 with a simple picture, discovered in a book of England, given me by my parents. As with many of my paintings it doesn’t take much stimulus to spark the imagination, in this case, just a simple white structure overlooking the ocean. One might ask, “Why?” That’s difficult to answer; it’s emotional and deeply rooted, probably due to my English heritage, having been born in southwest England overlooking the ocean. Additionally, not only the subject but its point of view and composition with those contrasting diagonals and horizontals, had an important ..read more

I am fortunate to have been given, several years ago, some 50-70 year-old American Artist magazines. Browsing through one of them recently, I came across an article about direct painting…meaning, paintings created directly from life or nature. In light of the current fascination with, and gushing acceptance of all things done en plein air, the writer of the article brings a little sanity to the topic. I think you’ll find it helpful.  All images shown in this article were done en plein air by this select group of artists. (Click images to enlarge) John Pototschnik – “Home in the Woods ..read more

Recently I’ve completed several small color studies in the studio, four of which are shown here. They are all possible candidates for enlargement, but like selecting a new shirt, picking just one can prove difficult. This is where you come in. Would you please vote for your favorite…JUST ONE…and list it below in the comment box? I have presented this same request on my social media sites and the feedback has been helpful. You, the readers of this blog, are the final piece in the selection process.         These small color studies are done on 100 pound, archival, gessoe ..read more