When I was starting out as a painter, I wanted to be part of a supportive and like-minded community of artists that I could connect with on a REGULAR basis, but I never really had that other than the very occasional meeting with an artist friend or the input from family, which was usually pretty biased!

I wanted a truly supportive, non-competitive, but honest community of painters. This little online community is such a place. Learning from each other’s journey, trials and successes is a great advantage of these lessons.

Join me now and I’ll send you all of the free mini lessons you see below. Just register your account (free) and you’ll immediately get access once you log in. I’ll send you an email every week or so with the announcement of any new free mini lessons.

91-Show Me Your Red
90-Points to Remember About Foregrounds
89-Overlapping Shapes
88-Pushing and Pulling
87-Simple Secrets to Painting
86-In Service of a Focal Point
85 - How to Accurately Match Color in Pastel
84-Safety First
83-Trust the Process
82-Resistance to Thumbnails
81-Keeping Safe and Clean
80-Still Life in Pastel
79-Paying Attention to Grey
78-Framing Angst
77-Why Do People Buy Art?
76-The Price and Value of Art
75-What Andrew Taught Me
74-Turquoise and Transitions
73-So Much to Paint, So Little Time!
72-Summer Tree Time Lapse
71-"Finding Light" Time Lapse
70-March Q&A
69-Dedication, Friendship & Art
68-Art Elements Show- A Chat with Jeff White
67-What's Working & Why
66-Return to Oaks Bottom
65-Monterey Mini Painting
64-Winter River on Pastelmat
63-How to Paint a Still Life in Pastel
62-White Vase on a White Background
61-What's Working? Forest Silence by John F. Carlson
60-How to Make Your Own Dust Catcher for Pastels
59-How to Paint a Patterned Vase in Pastel
58-How to Render Glass in Pastel
57-Being a Good Workshop Participant
56-Carlson's Theory of Angles
55-The Magpie: Why It Works
54-Reminder to Self: Make Better Paintings
53-A Tree is Not a Tree
52-Don’t forget it’s just a shape!
51-What to Leave In, What to Take Out
50-Primary Color Cubes
49-Seeing Mona
48-Those Pesky Greens!
47-Stuff to Avoid
46-Composition Basics
45-IAPS Road Trip!
44-The Johnny Depp Factor
43-What's In a Name?
41-Erasing Pastels
40-Seeing A Vision
39-Taking It Abstract
38-Just Holes?
37-Grand Gradations
36-Chasing Magic
35-Permission Granted and the 3 P’s
34-The Big Finish
33-Finding a Groove, then Grooving
32-A Case for Drawing
31-The All Important Focal Point
30-Willamette River Pastel & Oil
29-Taos in the Morning
28-Sparks Lake
27-Keep Track of Those Colors!
26-Vistas & Vineyards
25-Traveling with Pastels
24-Do Your Pastels Need a Home?
22-Making Time to Paint
23-Searching for Style
21-What's On the Edges?
20-What Should I Paint?
19-Eleven Tips For Getting Into Juried Shows
18-To Blend or Not to Blend?
17-Color Interaction & Reaction!
12-Simultaneous Contrast
15-Your John Hancock
14-Focusing on the negative!
13-Mini-Demo: Pastel Painting Video
16-More Simultaneous Contrast
11-Oil Painting Demo
10-​​​​​​​Seeing Planes in Light
09-Color On the Edge: Shadow Meets Light
08-Inventing Color
07-Setting Up Your Spot!
06-Pushing Color
05-Aerial Perspective
04-Photo Reference: Don't Be A Slave to It!
03-Don't Be Boring: Use Spacing & Intervals
02-Making Values Work: Basic Value Patterns
01-Good or Bad? What Makes a Good Photo Reference?

“My working process is a simple one; I start on location, sketching, photographing and painting. Some of these field studies make their way to the studio.

In the studio I use all of that visual information and combine it with the sense or feeling I had for a location and create what is inevitably an abstraction of sorts in that it is not merely a copy of a photo but an interpretation of place. I hope that you enjoy the work!”