Cool Weather = Warm Colors | 7 Fall Trees to Help Welcome Autumn

“Autumn is a second spring when every leaf is a flower.” — Albert Camus

Fall trees possess a magical quality that makes them endlessly inspiring to artists. Here, seven pastelists share seven paintings that capture the breathtaking beauty of autumn. Enjoy!

Tom Bailey | Fall Trees and Portraiture

Fall Trees | Pastel Artist | Tom Bailey | Artists Network

The Lookout (pastel,16×20) by Tom Bailey


Some paintings of fall trees take on a feeling of portraiture, as in Tom Bailey‘s The Lookout. “One tree, like a solitary human figure, can convey everything from an inspirational hero to [an] abandoned victim,” he says.

His placement of this tree is meant to “reinforce the feeling of being alone and watchful. Subtle paths of light, line and color lead the eye toward the stark trunk and set the tree farther away from the surrounding landscape.”

Nancy Nowak | Bring on the Warm

Fall Trees | Pastel Artist | Nancy Nowak | Artists Network

Morning Has Broken (pastel, 12×16) by Nancy Nowak


“My intention was to bring out the full spectrum of warm fall colors in the leaves,” says Nancy Nowak of Morning Has Broken. “By painting the trunks and shadow areas a cool blue — the complementary color of all those lighter shades of orange — I was able to intensify the richness of those warm tones and make them sing.”

Teresa Saia | Capturing Fall Light

Fall Trees | Pastel Artist | Teresa Saia | Artists Network

Inner Glow (pastel, 20×20) by Teresa Saia


Inner Glow by Teresa Saia is based on a photo taken along a creek in Santa Fe, N.M. “The photo was mainly in yellow and greens, but the light pattern was fabulous. I wanted to capture the light as it bounced and filtered through the cottonwoods.”

She painted on a piece of mounted UART 320 paper. She toned the surface with an acrylic wash that she applied loosely using a “hot” mixture of transparent red oxide and cadmium red light.

Mary Denning | Interpreting Fall’s Shapes

Fall Trees | Pastel Artist | Mary Denning | Artists Network

Autumn Glory (pastel, 14×14) by Mary Denning


Mary Denning says she generally pays attention to overall shapes more than details. She also takes an interpretive approach to color, as seen in Autumn Glory. “I think of a painting as a chance to play with color and consider what will make it ‘pop,’ she says.

“So, reds end up redder and yellows yellower,” continues Denning. “Colors run into one another in a random frenzy. The presentation is, therefore, more whimsical than factual.”

Judy Evans | Fall’s Reflections

Fall Trees | Pastel Artist | Judy Evans | Artists Network

What the Rains Brought Down (pastel, 25.75×18.5) by Judy Evans


It was late autumn when Judy Evans was walking in her favorite woodlands looking for inspiration. “I thought it might be too late to find it,” she says. “Then I looked down — not up — and there it was, not in the trees, but floating in a puddle.”

Evans used black sanded paper for What the Rains Brought Down to create the ultimate contrast. And, trees are still a part of the painting, seen reflected in the water.

James Kasperek | Stop While You’re Ahead

Fall Trees | Pastel Artist | James Kasperek | Artists Network

Fall (pastel, 30×40) by James Kasperek


“I focus not so much on subject matter, but more on design, light and color,” says James Kasperek of Fall.

“The most challenging aspect is knowing when to stop,” he adds. “I strive to say just enough for the viewer to feel what I’ve felt about the subject, while still leaving it fresh, loose and open for individual interpretation.”

Susan M. Story | Embrace Diversity

Fall Trees | Pastel Artist | Susan M. Story | Artists Network

Woodland Sundance (pastel, 12.5×19.5) by Susan M. Story


“Every tree is unique,” says Susan M. Story. “The older they get, the more interesting their character as they become gnarled and textured,” as in Woodland Sundance.

“When I look at tree limbs, they remind of a person’s legs and arms,” explains Story. “Our joints are similar to the bulbs and crotches on a tree, where other branches and twigs will grow with a change in direction or angle.”

She adds, “We all grow, influenced by our environment.”

Ready to Paint Your Own Fall Landscape?

In the preview below of Liz Haywood-Sullivan’s video workshop, Landscape Painting in Pastel: Fall Color, the artist discusses the importance of establishing value relationships for a bright fall landscape. Enjoy!

You can paint along with Liz throughout all four seasons by streaming her videos on

What is your favorite season to paint or draw? Tell us in the comments below!

The post Cool Weather = Warm Colors | 7 Fall Trees to Help Welcome Autumn appeared first on Artist's Network.


Advice for Using Intense Color

Autumn Art Colors That Are Powerful But Not Overwhelming

This painting by Bob Rohm shows art colors that are intense but not overwhelming.

This painting by Bob Rohm shows art colors that are intense but not overwhelming.

I’ve always loved the varied and intense colors of fall. With the season just starting, I realized it is the perfect time to share with you this stunning oil painting by artist Bob Rohm entitled Morning Color.

It’s a wonderful example of how intense your art colors can be. Yet there’s no reason why they can’t be perfectly appropriate in an otherwise muted landscape.

Why Intense Colors Work

The yellow cottonwood trees Rohm painted here seem especially vibrant compared to the cool grayish-purple tones of the surrounding trees and mountains. The cool hues dominate the painting. That allows the warm golden leaves to appear all the more intense.

To maximize color intensity, Rohm recommends using the background hues to enhance — not compete with — a composition’s more vivid hues. He suggests, “Only one color family should be dominant.”


Afternoon Clouds by Bob Rohm--autumn art colors example.

Afternoon Clouds by Bob Rohm

Warm, Cool, and Highlights

There are three components of managing intense color. Using the color and balancing it with either warm or cool shades, and using highlights to snap the viewer’s attention into focus.

In this sunset painting, Rohm uses complementary hues of blue and orange with two streaking white highlights to achieve intense color. It feels powerful but not unrealistic or artificial.

Explore Color This Season

I think of autumn as a time of renewal: renewed focus on my passions, picking up half-done art projects with a reawakened sense of creativity and a time to steep myself in what I love, which is color.

All the paintings I am planning for the immediate future put color at the center of it all. If you feel the same way, I have a unique offer for you in celebration of the start of the fall season. Color: Landscape Painting Techniques for Success is a video workshop guide from Ian Roberts.

It steers our love of color in all the right directions with fun and easy ways to understand color theory and how to put it into your next real life painting. Get your copy of Color and enjoy now–with 30% off in celebration of the forthcoming first day of fall.


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Drawing Materials and Methods: 5 Tips from Top Artists

How does a light source affect the translucence of an object? Which eraser is right for your drawing? We’ve got the answers to these questions and other key drawings topics from top artists.

Here are 5 drawing tips sure to take your skills up a notch. Enjoy!

1. Pay Attention to Light When Drawing Transulent Objects

Drawing Materials | Artist's Network | Margaret Davidson

Illustration by Margaret Davidson.


Translucent objects are tricky to draw because their appearance changes depending on whether the light is shining on a form from the front or side or shining through it from behind. A translucent object will often appear opaque when lit from the front or side. This is demonstrated in the drawing of grapes above.

The light falls between the two groups of grapes, so the front cluster is lit from behind, while the back cluster is lit from the front. The back grapes show highlights and shadows in the same intensity and positions as they would if they were opaque.

The front cluster, however, shows the translucence of each grape, with the interior seed faintly visible and a small amount of light leaking into the cast shadows.

Margaret Davidson

2. Be Mindful When Using Erasers

I find it makes a difference what order you employ various erasers when using more than one type in a single drawing. If I try to erase a deeply inscribed line with a kneaded eraser first, the line becomes even more resistant to subsequent attempts by a plastic eraser.

I avoid using the smaller pointed plastic erasers on large areas, since they can embed the pigment into the paper. I’ve found the larger plastic erasers better suited to such tasks.

– Dan Gheno (Read more drawing material tips from Gheno here.)

3. Use Frisket to Keep White Backgrounds Pristine

In order to keep the background clean while I work, I use Badger Foto/Frisket Film, a low-tack product that airbrush artists use to stencil out spaces. I cover the paper with the frisket and trace the outline of the image on the film with a Stabilo pencil.

Using an X-Acto knife I cut out the area where I will draw the image, plus an extra quarter of an inch all around the shape. This keeps the paper in the non-image area protected throughout the drawing process.

I can smudge and blend as much as I want and not worry about my hand rubbing on the white background. After the drawing is done, I removed the low-tack frisket and have that pristine background.

David Morrison


Drawing Materials | Artist's Network | David Morrison

Bird Nest Series, No. 9, by David Morrison, 2014, colored pencil, 20 x 14. Private collection. Image courtesy the artist and Garvey|Simon, New York, New York.

4. Interested in Printmaking? ‘Just Do It’

Printmaking is so rewarding. There’s that element of “chance” you don’t have with pencil on paper.

And, anyone who loves to draw will especially love drypoint. it’s basically drawing — drawing with chance as your collaborator.

Ellen Heck


Drawing Materials | Artist's Network | Ellen Heck

Girl With Heart Wings, by Ellen Heck, 2014, woodcut and drypoint, 14 x 9.

5. Stay in Control with Engraving as Your Medium

Engraving was developed in the Middle Ages, making it one of the oldest printmaking processes. The artist creates lines by cutting into a copper plate using a tool called a burin. It requires patience, strength and practice.

Curved lines are created not by pushing the burin in a new direction, but by turning the plate while pushing the burin straight ahead. It is a highly linear process. And, shading is accomplished largely through hatching and crosshatching.

Richard Pantell (Read Pantell’s explanation of intaglio printmaking drawing here.)

To learn more from these accomplished artists, be sure to peruse through past issues of Drawing magazine. Happy drawing, artists!

Bonus Tip: Drawing Materials

In the video tutorial below, artist Brent Eviston shows how you can use just one good pencil to create a vast range of values and lines in your drawings.

The post Drawing Materials and Methods: 5 Tips from Top Artists appeared first on Artist's Network.

Strokes of Genius 10 Winners Announced

Congratulations to the 116 artists selected for North Light Books’ drawing competition Strokes of Genius 10: Inspiring Subjects. If you see your name below, please check your email for instructions on next steps. You will receive an email from us with the subject line “Strokes of Genius 10 Winner Notification” no later than September 22nd, 2017.

Artist’s First Name     Artist’s Last Name                      Title

Carrie Alderfer Contemplation
Jennifer Arthur Hooded Merganser
Holly Bedrosian T Rex
Paul Birchak Carnival
Chris Breier Erie Canal -­‐ Lockport, NY
Tracy Butler Old Farmhouse
Robert Caldwell Ristle-­‐tee, Rostle-­‐tee, now,now,now (Raven)
Svetlana Cameron Sofia
Patricia Caviar Garden Refuge
Connie Chadwell “Easy Listening”
Connie Chadwell Ballerina
Anda Chance The Chop Shop
Stephanie Chang Walking toward light
Mary Chen Forlorn Eyes
Kathy Christian Sitara
Emily Christoff -­‐ Flowers Listening to Mozart
Mike Clapton Needle In The Hay
Pamela Clements Historical Sight
Penny Collins THE HANGED MAN
Colleen Corlett Gorgous George
Cade Cunningham Make a Wish
Barbara Dahlstedt You Can Make a Difference
J. Adam Davis The Dreamer
Mario DiGennaro Silver Tea Set
Kathy Dolan After The Rain
Ron Dunn Larissa -­‐ Cheers!
Carolin Fernandez Free Spirit
Tanja Gant Calista
Ginger Gehres Squabble
Jeff George Note to Self
Marsha Gilger The Bachelor Pad
Hans Guerin In Her Fur Shawl
Gemma Gylling BFF’s -­‐ Save The Elephants
Linda Lucas Hardy It Don’t Make Sense But It’s So Much Fun
Linda Lucas Hardy Pull to Open
Paul Harman Light of a New Day
Jane Hart Ragdoll
Veronica Haskell Lisboa Fountain
Kathy Hildebrandt All That Glitters
Kathy Hildebrandt The Making of Mona
Steven Hill Metallic Sunrise Narrows Canyon
Paul Howe Power
Darren Hughes Marcell’s Morning Blues
Darren Hughes Tawny Frogmouth


Karen Hull Up the Creek
Joel Iskowitz Inspiration of the Lincoln cent
Kate Jenvey Eye to Eye
GeorgeAnn Johnson Lioness Engagement
JuliAnne Jonker Portrait of a Roman man
Phil Kidd The Fall of Man
Anthony Klinger-­‐Cooley Cold Wind
Elena Kolotusha Family ties
Elena Kolotusha I am a Wild thing
Zhiwei Kong My Backpack
Jesse Lane Adrenaline
Catherine Lidden Reclining Nude
Liu Ling Xiao Fang
Mark Loughney High Roller
Yael Maimon Black Cat #5
Yael Maimon Little Red Riding Hood and the Big Bad Wolf #3
Yael Maimon Little Red Riding Hood in the City
Yael Maimon Orange Cat
Suzanne Marcil Clearly Together
Pete Marshall Fantasia Royale
Jody Martin Being Lincoln
Paco Martin Dominguez Mandarins and paper
Angela Matuschka Winter Squirrel
Glen Maxion Summer Notes
donzell mcdonald City Living
Kathleen McDonnell Along The Pond#2
Mark Merchant His Divine Grace
Tara Merkt Eye of the Beholder
Terry Miller No Weather For Sailing
Terry Miller Old Lace
Margaret Minardi Alternative World
Margaret Minardi Last Living Thing
Dale Marie Muller Fold
Andrew Mutch Hampden Reflection
Joe Myers CHIMP
Karie O’Donnell Sarah Entangled
helen oh Dancer
Susan O’Neill Woman in Turquoise
Randy Owen Arkhipov
Chris Page Devan I
Nancy Paquet Body Language
Luis F Perez Death of a Bumble Bee 1
Luis F Perez Toro de Lidia 3
susan perrish Heritage
Audrey Phillips Electric Blue
Susan Cone Porges August Morning, 11 O’Clock at Quarry Rock
Andrew Purdy Bone Yard


Andrew Purdy Urban Patina
Dan Pyle Pageant
Carolyn Quinn-­‐Hensley Cabaret de le Boheme
Ann Ranlett Safety
Randy Redetzke Harleena
Terri Rosenblum Baboon
Susan Rubin Lupine
Ferhat Salgin Serenity
Gayla Salvati Study In Stripe
Elissa Sampson Playing Games With My Heart
David Sandell God and Soldier
Diana Sarkar Conner
Brent Schreiber Listen 21
Bill Shoemaker The Little Rascals
sarah simmonds BLOSSOM
Davis Smith Counting My Blessings
Daniel Sorensen Ciara
Anne Strutz Bunker
Kamaraj Sugumaran I am a day artist
Vicki Sullivan Kinima
Anselmo Swan Coffee Cup
Caleb Tay Blending In
Katherine Thomas Classics
Lucy Tolkunova Dreaming
Cathryne Trachok Leaning In
Melissa B Tubbs Budny Boys
Melissa B Tubbs Howell Home
Sandra Weiner Giraffe Love
Dexter Welcome “The Composer ii”
Mike Wharton Early Thaw
michelle Wiser Armadillo
wei yan Listening


The post Strokes of Genius 10 Winners Announced appeared first on Artist's Network.

Get Inspired by These Fantastic Fall Pastel Paintings


Fall pastel painting by John Hartman

John Hartman’s Place by Mike Kelly

And How to Avoid Fake-Looking Garish Colors

Autumn is one of my favorite times of year! Especially in the outdoors. The landscape comes alive with so much color–and that is a well-known challenge for many artists creating fall pastel paintings because we don’t want overblown, garish colors that look artificial. But those reds, oranges, and yellows of the landscape do need careful handling.

Here’s a gallery of exceptional fall pastel paintings–so you can see how to do it right along with a few pointers to carry with you. And if you are as excited by the season as I am, take the opportunity to immerse yourself in it before winter comes with Landscape Painting in Pastel: Fall Color with Liz Haywood-Sullivan. This video will inspire your creativity and give you easy, accessible painting and art projects to allow you to make the most of the season! Enjoy!



Bonnie Zahn Griffith with Storm From the West, fall pastel painting

Storm From the West by Bonnie Zahn Griffith

Harmony But Variety

See how the colors in the fields are harmonious with the colors of the hills and sky? Be mindful of allowing yourself a variety of colors but keep them from clashing and within each color — blend shadow shapes and texture so the painting feels lively.

Fall Colors by Susan Grinels, fall pastel painting

Fall Colors by Susan Grinels

Bold Wins

Sometimes you have to just unleash the color. Grinels avoids garish by keeping the colors bright but not clashing. There is also a folk-art aspect to the work that gives it permission to push the color palette as that style is known for patchwork swaths of color.

Yandoit, Autumnal Colors by Joanne Seberry

Yandoit, Autumnal Colors by Joanne Seberry

Increase Depth

You call always notch up the sense of depth and distance in your painting with additional color values—two or three different shades will do it.. 

Fall Marsh by Leslie Smith, fall pastel painting

Fall Marsh by Leslie Smith

One Exceptional Thing

The contrast of the golden sunlit field against that equally jewel-blue water? It’s enough to make Smith’s painting sing. Don’t think you have to overload. Edit and choose carefully and you will make something masterful.


The post Get Inspired by These Fantastic Fall Pastel Paintings appeared first on Artist's Network.

About to Exhibit Your Art for the First Time?

The Devil’s in The Details

Congratulations! You have an opportunity to exhibit your work and you want to be sure you’re ready. Over my artistic career, I’ve exhibited in a wide range of settings from small local venues to museums and galleries across the country and abroad. And, as the commercial goes, “I’ve learned a thing or two along the way.”

Here’s a checklist to keep handy when preparing to show your work. Note that this advice is focused on two-dimensional art, but much of it applies regardless of what medium you use.

1. Your Artist’s Resume/Vita

Artist Working on Computer | Artist Resume | Preparing for Art Exhibit | Artists Network

Photo courtesy of Getty Images


Like it or not, you have to have a resume listing your artistic achievements available to the public when you have an exhibit of your work. This is also a necessary component of your website, blog or even your Facebook profile.

If you are relatively new to this, an artist’s resume is not at all like a typical job resume where you list your address, date of birth, education, places you’ve worked and what you did there.

Instead, you are listing the dates of your previous shows including solo and group exhibits, any articles written about your work, honors, awards and grants you received, residencies you participated in and any other honors you’ve received as an artist.

Given there are people out there who think art teachers and students are not serious artists — and some of them run art galleries — you may want to leave those details out of your resume. Even though it has nothing to do with the quality of your work, listing your day job, whatever that may be, is not likely all that important to include on a resume for exhibitions.

Moreover, listing things like, “First place at the state fair” or “I had a show at Jacob’s Water Bar and Spa” can also work against you. What works better is to use a general statement, such as “(Your name here) has exhibited his/her work regionally (nationally, if that’s the case) and received many awards and accolades for (his or her) art.”

Keeping your resume simple isn’t a cop-out for your lack of experience, but rather it’s a way of letting your artwork speak for itself.

Keep Up with Experience

Your exhibition resume can take different forms depending on your experience. If you’ve had a lot of experience showing your work, but you haven’t been keeping track of the names, dates and places, you have to start making the time to sort those things out.

Then, get your experience on paper and on the web. Remember, having an artist’s resume is valuable PR for showing and selling your work.

Believe it or not, however, listing too much experience is also a pitfall because no one is going to read multiple pages detailing your lengthy career. The fact is, people have a very short attention span in our fast-paced world.

Even if you have an extensive background, think of your resume as a summary or capsule of your accomplishments that fit on a single page rather than compiling a complete list of your shows over the past decade or so.

You can always include, “A complete list of my exhibitions is available upon request.”

2. Artist’s Statement

Artist Statement Satirical Cartoon | Tips for Your First Art Exhibit | Artist Statement | Artist Network | Dean Nimmer

Cartoon by Gary Hallgren


Facing the dreaded artist statement is no easy task. And, in my opinion, it’s probably one of the most hated professional obligation artists have to grapple with!

But no matter how hard it is to try to say what your art represents in a public statement, you can’t squirm your way out of this one. In a sense, you just have to grin and bare it.

Clearly, it’s not all that reasonable to think you can be completely objective about the meaning and substance of your own art without making unending drafts which wind up in a wastebasket. I’m in total agreement with anyone who says, “If you want to know what my work is about, just look at it! “

I’ve written two books on art, and you would think writing a statement on my own work would be a piece of cake. But no, it’s just the opposite. I have written approximately 40 versions of my own statements from the time I was a grad student to the one I use now for gallery shows. And, I still hate them all.

You just have to accept the fact it isn’t really possible to summarize who you are as an artist but just do the best you can.

Ask a Third Party

Many times it’s better to have someone write about your work from their perspective than it is to go it alone. And this method to an artist’s statement is completely fine. You’ll see this approach in catalogs produced for gallery shows where an art critic, historian or fellow artist writes about the work of the artist displayed.

This tactic gets an “A” for getting you off the hook and making the writer of the statement somewhat accountable for how it goes over. Regardless, there’s no way to control what people think about your art or what’s written about it.

At least you’ll know there are artists just like yourself who are frustrated trying to express what they want to say about their work. That’s not to say writing an informative and meaningful statement about your work is not feasible. Just remember to keep it short, honest and as clear as you can. Lengthy, flowery and poetic proclamations are doomed at the starting gate and will drive readers away.

Lead by Example

It can be helpful to read other artist’s statements that may inspire an approach you haven’t thought of. I recommend doing a web search for “artist statements” and “famous artist statements” which yield a lot of samples. Here are two sources, I recommend: “8 Artist Statements We Love” and “Art and Art Statements — Quotes by Famous Artists.”

I had 50 artists from across the spectrum write short statements about their abstract work in my book, Creating Abstract Art. The results show the diversity of thinking among artists practicing the same genre of work. And, not any two of the artists say the same thing. I recommend reading the ones in my book and those on the web that ring true for you, then put that into your own words.

3. Framing Your Work

In my opinion, one of the worse reactions someone can have when viewing your art is to say, “I really like the frame you put on this piece.” Thank you, but did you happen to notice the painting in the middle of the frame? If that’s ever happened to you, don’t blame the viewer, but start reconsidering your framing choices.


Art Frame | Don't Choose Ornate Framing | Preparing for Art Exhibit | Artists Network

Photo courtesy of Getty Images


The frame you choose should present your work without drawing attention. In my opinion, you shouldn’t waste your money or time choosing a frame or mat just because you think it looks impressive.

Frame shops like to push unnecessary and pricey frills like ornate gold leaf details, museum glass and densely colored mats that likely do more harm than good. Framers have a bottom line business to support. And, I respect that.

But don’t let them talk you into buying superfluous trimmings or anything overly decorative that takes attention away from your art. Frames can be simple and elegant without hogging the stage.

Ornate by Nature

The idea of keeping the frame simple is not necessarily consistent with the job of gallery and museum directors who must respect the origins of the art itself. For example, most artworks depicting religious iconography in the Renaissance and Baroque periods were specifically made to impress the viewer much as did the spectacularly ornate cathedrals that presented these artworks to their parishioners.

In addition, many legendary artists actually made their own frames — that were works of art in their own right — and were married to the paintings inside their borders.

In fairness, I have to mention the controversial example of the “simple is better” dictum played out by the Museum of Modern Art directors in the 1980s, who decided to reframe the entire contemporary art collection with one simple frame design that was supposed to keep the viewer’s attention on the artworks and not the frames. I have to admit, I personally don’t agree with that decision even if it makes me look like a hypocrite.


Tips for Preparing for an Art Exhibit | Dean Nimmer | Abstract Art | Artists Network

Illusion 11 by Dean Nimmer


Like the art itself, the choice of a frame is a subjective decision. I don’t think one prototype fits every situation, and it certainly doesn’t match everyone’s tastes. Indeed, the choice of the right frame is up to you and you alone, and I hope to give you a perspective from both sides of the coin.

The post About to Exhibit Your Art for the First Time? appeared first on Artist's Network.

Paint Along 39: Create Drama with Weather Effects | LIVE with Johannes Vloothuis

WEB SEMINAR: Create Drama with Weather Effects!

TIME: 1:00 to 5:00 PM EST
DATES: 3 Saturdays: September 30, October 7 & October 14
The class may extend more than 4 hours
WHERE: From the comfort of your home
You do not have to attend the sessions live. Everything gets recorded and can be downloaded at no extra cost.

Registration for Paint Along 39: Create Drama with Weather Effects LIVE online workshop coming soon!

Painting Lessons to Create Drama in Your Landscape Paintings with Weather Effects

Do you want to create landscape paintings that are unique and attention-grabbing?

Go beyond ordinary scenes to create extraordinary landscape art with this live online workshop from master artist Johannes Vloothuis! In this workshop, you will learn to convert mundane photos into exciting paintings by adding dramatic weather effects such as falling rain, snow, and fog. Learn painting techniques to enhance your art know as you join hundreds of friendly artists during 12 hours of painting fun distributed over three Saturdays. Johannes will start his paintings from scratch, and finish them in real time while you watch over his shoulder. You’ll learn detailed painting tips as you hear him think out loud. And if you want, you can do the same painting along with him from the comfort of your home!

Sample Create Drama with Weather Effects Paintin

Sample Create Drama with Weather Effects Painting, by Johannes Vloothuis

What Is Included in this Online Painting Workshop?

In addition to phoro references, you will receive drawing templates before each class, which you can trace onto your painting surface. And, during each session you will receive verbal techniques, color combinations, professional secrets, and painting instructions to guide you along the way. One painting demo will be in oils, another in watercolor, and another in pastels. Register now to create beautiful landscape paintings with weather special effects.

Painting demonstrations will include the following landscape subjects:

  • An impressionist cityscape with wet streets and pouring rain
  • A see-through shallow pond overlooking a hill with beautiful foliage
  • Fog in the distance in a deep forest

You do not have to attend the live courses. Everything gets recorded and can be downloaded at no extra cost.

Registration for Paint Along 39: Create Drama with Weather Effects LIVE online workshop coming soon!

Some Reviews from others courses from Johannes Vloothuis:

  • “I’m new to the online class process and was interested in whether or not any instructor would be able to give personal assistance. Wow! I was happily surprised to find that not only did I get a great class that was loaded with info, but also I asked questions and received answers directed to me. I love these classes. Review by Mary
  • “Excellent class for the Landscape artist.” Review by Mike
  • “There is always something new to learn.” Review by Darlene
  • “I see my work improving.” Review by Mary
  • “Excellent. Jo always manages to come up with new information for us.” Review by Frances

About Johannes Vloothuis:
Johannes Vloothuis has exhibited his work all over the world including Saint Petersburg, Sao Paolo and The National Watercolor Museum in Mexico City. He has won several awards such as the top award in the country of Mexico for watercolor and teaches oils, watercolor and pastel. Johannes has taught over 17,000 artists of all skill levels, including professionals via his online courses. The prestigious, Pastel Society of America listed him under, “Master Artists.”

Missed the previous online seminars? Click here to purchase the WetCanvas Live! recordings from


What is an online seminar?

    • It is a live, online event that you view on your computer at a specific day and time. Think of it as a workshop right in your living room.
    • Our events are scheduled on Eastern Standard Time (EST), so if you are in a different time zone, you will need to take scheduling into account — for example 1 PM EST = 12 PM CST, and so on…

What are the technical requirements for participating in an online seminar?

  • You need a computer and a reliable broadband connection, as well as a Web browser (e.g., Firefox, Safari, Internet Explorer).

What can I do during an online seminar?

  • Hear the presenter deliver the workshop (via phone or VOIP)
  • See visuals from the presenter’s computer (e.g., PowerPoint, web browser, or any document they wish to share)
  • Ask the presenter questions in real time

What if I have any technical problems getting into the seminar?

  • We have technical support on hand to help you. Nearly 100% of our attendees don’t have any trouble after we assist them. You can sign on at least 10 minutes before the session is scheduled to begin, giving you time to ask questions if you have any trouble.
  • Our seminar system will work with both Macs and PCs.

What happens if I miss something during the seminar?

  • We record our seminars and offer them for sale at following the close of the course.


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