Why This Works: Wildlife Gives Interest to Landscape

In this series, plein air painter and instructor Jeanne Mackenzie takes a look at new paintings by contemporary artists and points out why they succeed as painted images. This week, Nancy Woods Daniel’s “Blythe Ferry Winter Day.”

Three Important Skills Every Landscape Painter Needs

There are three divisions of learning that every landscape painter needs to master in order to paint well. What are they? Find out here.

Why This Works: Color Harmony, Cohesion Through Brushstrokes

In this series, plein air painter and instructor Jeanne Mackenzie takes a look at new paintings by contemporary artists and points out why they succeed as painted images. This week, Doug Gorrell’s “River Mist.”

Why This Works: Less Is More Sometimes With Color

In this series, plein air painter and instructor Jeanne Mackenzie takes a look at new paintings by contemporary artists and points out why they succeed as painted images. This week, Steve Miller’s “Off the Gov’t Pier.”

Why This Works: Quiet Solidness, Good Light Source Info

In this series, plein air painter and instructor Jeanne Mackenzie takes a look at new paintings by contemporary artists and points out why they succeed as painted images. This week, Fen Rascoe’s “Waiting on a Truck.”

Building the Perfect Easel (Reasonably) Easily and Affordably

David Jamieson and his wife, Mindy, wanted their own easels (they usually just grab one from the school they run, Vitruvian Studio, in Chicago). But they didn’t want to buy a flimsy one or an easel with too many complicated bells and whistles, so they built their own. How’d it go?

Why This Works: Connect Your Darks

In this series, plein air painter and instructor Jeanne Mackenzie takes a look at new paintings by contemporary artists and points out why they succeed as painted images. This week, Eileen Guernsey Brown's "A Winter's Day."

Why This Works: Not Every Branch, Twig, and Leaf

In this series, plein air painter and instructor Jeanne Mackenzie takes a look at new paintings by contemporary artists and points out why they succeed as painted images. This week, Kathryn A. McMahon’s “Beaverdams Pond.”

Why This Works: Muted Chroma, Powerful Values

In this series, plein air painter and instructor Jeanne Mackenzie takes a look at new paintings by contemporary artists and points out why they succeed as painted images. This week, Dana Zier’s “Pryor Overlook.”

Why This Works: High Horizon Line for Compelling Composition

In this series, plein air painter and instructor Jeanne Mackenzie takes a look at new paintings by contemporary artists and points out why they succeed as painted images. This week, Thomas Caleb Goggans’ “Shoshone Turquoise.”

Why This Works: Aerial Perspective and a Good Lead-In

In this series, plein air painter and instructor Jeanne Mackenzie takes a look at new paintings by contemporary artists and points out why they succeed as painted images. This week, Paul Keysar’s “Bath County Fog.”

Choosing From Column A

Artists often return to a particular subject matter when they don’t think it has been sufficiently explored. For Richard Maud, one of those motifs is the columns of the Alameda, in Seville, Spain.

Why This Works: Mountains as Sky Family

In this series, plein air painter and instructor Jeanne Mackenzie takes a look at new paintings by contemporary artists and points out why they succeed as painted images. This week, Lena Rivo’s “Arrabida Natural Park."

Carl Bretzke’s Top 10 Reasons for Attending the Plein Air Convention

Don’t take it from us — hear it from one of plein air painting’s stars. The Plein Air Convention & Expo (PACE) is the place to be in April.

Why This Works: Low Key Allows Orange to Pop

In this series, plein air painter and instructor Jeanne Mackenzie takes a look at new paintings by contemporary artists and points out why they succeed as painted images. This week, Walter Bartman’s “The Golden Hour.”

Why This Works: Format, Key, and Aerial Perspective

In this series, plein air painter and instructor Jeanne Mackenzie takes a look at new paintings by contemporary artists and points out why they succeed as painted images. This week, Susan Paterson’s “PEI Skies.”

My Favorite Place to Paint: Julie Jilek and the Mysteries of High Cliff

From ancient burial mounds to one of the most striking geological features of the United States, Julie Jilek’s favorite place to paint has much to intrigue the painter. But Jilek also loves it because of her personal history.

Why This Works: The Sailboat’s Story

In this series, plein air painter and instructor Jeanne Mackenzie takes a look at new paintings by contemporary artists and points out why they succeed as painted images. This week, “Long Island Inlet,” by Rosanne Kaloustian.

Why This Works: Figures as Supporting Players

In this series, plein air painter and instructor Jeanne Mackenzie takes a look at new paintings by contemporary artists and points out why they succeed as painted images. This week, “Horizon,” by Paul George.

Why This Works: Using Both Symmetry and Asymmetry

In this series, plein air painter and instructor Jeanne Mackenzie takes a look at new paintings by contemporary artists and points out why they succeed as painted images. This week, “Big River Calling,” by Tom McGregor.

Connect With Us

412FollowersFollow
51FollowersFollow
5,208FollowersFollow
2,403SubscribersSubscribe