June 09 Lesson 1: Copying Works of Art

This first issue discusses the valuable experience of copying works of art. It includes a step-by-step demonstration and high-resolution images of Schmid’s painting, “Fallen Pine.”

Richard Schmid                            “Fallen Pine”                         12x16

July 09 Lesson 2: April Demonstration Day

This second issue contains over 16 images of the various stages leading up to the completion of Schmid’s painting, “Captain John’s House." This issue is one not to be missed!

Richard Schmid                 “Captain John's House”                16x20

August 09 Lesson 3: The Mancini Exhibit - Fieldtrip to the Philadelphia Museum of Art

This third installment is a very special issue. It features the great Italian painter, Antonio Mancini and how his work influenced Richard. Included in this article are audio recordings of Richard speaking about Mancini. This article also covers the trip to the Philadelphia Museum of Art and the lessons that were shared from Richard within these museum walls. You will be able to hear first hand some of the talks he gave inside the museum and in his studio. Featured paintings in this article include Schmid’s, “Boy with Flower”, and numerous paintings of Mancini's.

Schmid and his Pupils

September 09 Lesson 4: Peony Demonstration

This lesson contains over 85 images showing each stage in the development of “North Garden Peonies.” This sequence of images gives insight into the developmental process of building a painting. You will see how Richard began and how he played out the middle game, which lead to the completed painting below.

Richard Schmid     “North Garden Peonies”  18x18    2006

October 09 Lesson 5: The Power of Selection

This article builds upon August’s lesson, “The Mancini Exhibit,” which explored the concept of “Painting what you see, not necessarily what you know.” October’s article, “The Power of Selection,” takes this idea a step further and explores the endless strength in choice as a means of communication in your art and asks: Now of all the things before you, what will you choose to paint?

It features numerous images of Richard’s paintings for your study as well as a sneak peak of a few images and writings from his new book, The Landscapes!

Richard Schmid       “Apple Blossoms”   8x16

November 09 Lesson 6: The Garden Demonstration

This lesson contains over 45 images showing each stage in the development of "Adele in our Garden.” This sequence of images gives insight into the developmental process of building a painting. You will see how Richard began and how he played out the middle game, which lead to the completed painting below.

Richard Schmid     “Adele in our Garden”  9 x 12    2009

December 09 Lesson 7: Painting in a 'Key Signature' - The High Key Demonstration

This lesson discusses the various 'key signatures' that can exist in a painting. In particular, it highlights rendering subjects as high-key paintings and includes a demonstration from Richard of the process of painting a high-key study from a full-value subject. This lesson also features examples of other high-key paintings for use in your personal study and explores the reasons behind painting in a high-key manner.

Richard Schmid     “High Key Study”     19x19

Shown here is Richard working on the high-key demonstration

January 10 Lesson 8: Visualizing Your Subject as a Painting…
Interpreting the Scene in Terms of Paint [Part 1]

This first part of this lesson series discusses the importance of the preliminary stages of a painting, as decisions made at this point will determine the entire course of the work. It explains the thinking process Richard goes through before he starts a painting, and stresses the value in painting studies as a way to solve problems. Also included are two demonstrations of how to paint ears, and details regarding ear anatomy.

Katie Swatland         Ear Sketch Demo #1

February 10 Lesson 9: Visualizing Your Subject as a Painting…
Interpreting the Scene in Terms of Paint [Part 2]

“If I have a strong enough mental picture of what I wish to see on my canvas, that image will also be a picture of the technique required to paint it.” – Richard Schmid

The second part of "Visualizing Your Subject as a Painting" focuses on the surface quality of paintings. It emphasizes visualizing the scene in terms of brushstrokes and explores different ways of manipulating paint to describe what you see. Included in this lesson are sequential images and the thought process behind Richard’s painting below.

Richard Schmid   “Begonia Sketch”

“Trust what you see when you squint down…”

This lesson focuses on the versatile tool of squinting and explores the power behind its use. Also included in this article are over 75 images showing each stage in the development of “Orange and Violet Pansies.” This sequence of images gives insight into the developmental process of building a painting. You will see how Richard began and how he played out the middle game, which lead to the completed painting below.

Richard Schmid          “Orange and Violet Pansies”          Oil on linen          12x20

April 10 Lesson 11: Spring Cleaning

          This article is a special installment, highlighting Victor Wooten’s theories and their relation to painting. It focuses on the correlation between Music and Art and explores the aspects of the painting process. Weaved throughout this edition are answers to frequently asked questions proposed by readers. The benefits of working on a lead primed surface are explained, as well as techniques for working over a painting that has dried.

         Also included are high-resolution images of Richard’s paintings that help illustrate key concepts and a special feature of his writings from Notes From the Hayloft.

Richard Schmid         “Blue Cottage (Version Two After Rain)          Oil           20x30

May 10 Lesson 12:

Materials and Tools
Part A

Re-coating a Primed Canvas with Lead Ground

          This lesson focuses on optimizing your working surface by re-coating an existing primed canvas with a lead ground, custom designing it to suit your needs.

          Contained in this lesson is a detailed procedure describing the process of re-coating primed canvas with white lead. This is a great way to fix canvas that fails to meet your standards and improve upon it by creating your own custom, ideal painting surface! Re-covering a canvas with lead will fix absorbency issues, uniformity within the working surface, and also allow for full control over the surface texture. Safety concerns and precautions of working with lead are also discussed. 

June 10 Lesson 13: Portrait Sessions at the Putney Barn; The Art of          Chess Study

Katie Swatland        “Sonata in A Minor”     Oil on linen   16x20

Two Possible Plays For Study

            This installment highlights two portrait sessions from different Saturdays at the Putney Barn, documenting Richard's works from these days. Included are high-resolution images of the various stages of Richard's paintings. The demonstrations are great examples of the various ways in which Richard approaches painting a head and will serve as helpful study tools.

Richard Working on his Painting

July 10 Lesson 14: The Lily Demonstration

      In 2006, on July 22, Richard gathered the Putney Painters for an impromptu afternoon demo at the barn to paint freshly picked garden lilies. This lesson will document the day's events and show Richard's demonstration. Contained in this lesson are over 20 images showing each stage in the development of his lily painting. This sequence of images gives insight into the developmental process of painting from life in a single session.   

Richard working on his lily painting

Join in watching over the master's shoulder as he paints these colorful garden flowers!

August 10 Lesson 15: The August Garden Demonstration

          This lesson documents the demonstration Richard gave in his garden on an afternoon in August of two thousand and nine. Contained in this installment are over 30 images showing the sequential stages to his alla prima sketch. Also included are quotes from Richard explaining his thought process behind giving demonstrations. Join in the adventures of this lovely garden afternoon!

Shown here is Richard giving a demonstration in his garden. The spectators from left to right include: Andrea Scheidler, Katie Swatland, Dick MacNeil, Carol Arnold and her daughter, Rachel Arnold.

"Color Management Explained and Demystified"

What is color management, and why do I need to be concerned with it?
How can it help me?

         As artists, we often need to send images of our works to clients for potential sales, to magazines for print, and to galleries for review. In addition, we need salable prints that are an accurate representation of our original works and most simply, on occasion, need accurate reference photographs from which to work. This is why accurate color representation is crucial, and why it is extremely important to have an understanding of color management and the associated tools and procedures for obtaining successful results.

         In response to an abundance of requests, September's lesson will focus on color management issues in relation to your camera, computer monitor, and printer—including calibration and profiles.

         In addition, this article will include important tips for taking accurate photographs of your paintings, reference photos, or any other important business related images where capturing accurate color is crucial. It will explain the benefits of working in a RAW camera format, the importance of custom in-camera white balancing, correct exposure, and will recommend two essential tools to aid in achieving color continuity between numerous devices.

October/November 10 Lesson 17:

"Tips and Tools for Taking Archival Quality Photographs of Your Artwork"

Richard in his studio at his Photography Station

         This article explores the possible options and procedures that are currently available for photographing artwork and offers suggestions for setting up a photography station in your own studio. It explains the pros and cons of various media formats, including 35mm, large format cameras such as 4x5 and 8x10, and corresponding digital options. Also contained in this installment is a detailed explanation of the system I currently use, as well as an in-depth description with pictures of Richard’s current setup!

December 10 Lesson 18:

"October Landscape Day"

Richard Sketching in the Field

         This lesson spends the day with Richard at one of his favorite painting spots in the fields of the Putney Barn. On this day in October, Richard sketches the house and trees on the property and discusses the art of landscape painting. This installment recounts the day’s events and includes over 20 sequential images illustrating the various stages his painting underwent. Also included are detailed descriptions of his color mixtures, his paint application techniques, and reasons behind his choices. 

“The Whole world is open with all its treasures.
The simplest objects have their beauty. Every garden presents innumerable fascinating problems. Every land, every parish, has its own tale to tell. And there are many lands differing from each other in countless ways, and each presenting delicious variants of colour, light, form, and definition. Obviously, then, armed with a paint-box, one cannot be board, one cannot be left at a loose end, one cannot ‘have several days on one’s hands.’ Good gracious! What there is to admire and how little time there is to see it in!”—Winston S. Churchill

January 11 Lesson 19:

“Harnessing the Power of the Palette”

Part I:
Exploring the Nature of Light


Katie Swatland     “Afternoon in Ogunquit”     Oil on linen 14x18 

         The start of a new year is a perfect time to dive deeper into our color tubes and develop a more thorough understanding and appreciation of the colors on our palette. “Harnessing the Power of the Palette” is a series dedicated to the exploration of color and light.

          To understand color is to first understand light. Therefore, the first part of this series on the palette will focus on the nature of light and how it behaves. It will take an intimate look at color from the source - light - and examine how and why we see it. In addition, it will explore pigment as a substance and how it is used to imitate light. This combined physical knowledge of light and pigment will give new insight into our paints, forcing us to use and think of them in new ways. This intimate exploration of our surroundings offers the ability to harness greater control over expressing what we see in terms of paint.

You will never look at your subject, or your paints, in the
same way again...

February 11 Lesson 20:

"Harnessing the Power of the Palette"

Part II:
The Limitations of the Palette

Richard Schmid          "Soul Memory"          Oil on canvas   8x16

       Last month, the nature and behavior of light was explored from a scientific point of reference. Given the discussions about particles and lightwaves, you may have even thought you had opened up a section of a physics textbook, rather than an article about art! Approaching the study of light in this way is essential for the artist in the same way as studying the physics of sound and the mechanics of a piano is to a master pianist—it is all part of learning the craft. Harnessing this fundamental knowledge will bring a more refined approach to your work and aid in improving observation skills.

       In this next section on the palette, more practical applications will be presented to this somewhat abstract thinking about light and color. The palette and the inherent limitations of working with pigments will be explored. In addition, ways to approach painting relationships to effectively portray what you see will be covered, including advice and a demonstration from Richard on how to paint the illusion of light.

March/April 11 Lesson 21:

"Demonstration Day at the Barn"

Lessons in Painting

Richard Schmid and Albert Handell

          In October of 2007, the Village Arts of Putney hosted a demonstration day featuring Richard Schmid and Albert Handell. The featured subject was a floral and fall leaf still life. This lesson recounts the days events and features the step-by-step demonstration from Richard, including images of the finished piece.

Richard Schmid Discussing Matters of Painting

         In this lesson Richard discusses the importance of the set-up and offers advice for how to prepare a painting surface for multiple painting sessions. In addition, Richard discusses taste and selection, and emphasizes the importance of maintaining authenticity in a painting.

May 11 Lesson 22:

Materials and Tools

Part B
Varnishing Paintings

Tips and Tools for Intermediate and Final Varnish

         Varnishes are used to bring out the freshness of color, and afterwards, when a painting is finished, to protect and preserve the surface. Final varnishing is critical and vital to ensuring that a painting endures a long life.

         In this lesson, varnishes and their properties are explored, including tips and tools for using and applying intermediate and final varnishes. In addition, Richard shares his experience with varnishing and demonstrates his procedure for applying a final varnish.

June 11 Lesson 23:

"The Waterfall"

Part I:
Working in the Field

           The first part of this series will focus on the initial field session for Richard’s painting, “Buttermilk Falls,” recently exhibited in New York at the Salmagundi Club’s American Master’s show.

Richard Schmid         “Buttermilk Falls”     Oil on linen 12x23

            Contained in this lesson are over 30 sequential images showing the developmental field stages of this painting. You will discover how the painting was started, and witness the foundational layers that lead the way to the complete piece. In addition, Richard offers helpful tips for working in the field. The art of painting an object in motion from life, such as water, is also discussed.

Richard at Work in the Field

July 11 Lesson 24:

"The Waterfall"

Part II:
Critiquing a Work and Deciding its Destiny

            It is a common occurrence to begin a painting from life and be unable to bring it to a desired level of finish in one session. Often, subjects are intricate and demand a multitude of sittings. Unfortunately though, it is sometimes impossible to return to your subject for a second or even a third sitting. The model may be unavailable, the flowers may have died, the weather might have changed, the snow may have melted, or perhaps travel plans do not allow for a return visit. There are many reasons to run out of precious time with your chosen subject. What is an
artist to do?

            The second part of this series is dedicated to the destiny of these uncompleted pieces and offers suggestions and solutions for how to bring them to a desired level of finish. It explores how best to critique your own work, and offers techniques for gaining a fresh perspective, both in the field, and back in the studio.

            In addition, photography, and its inherit limitations are discussed, and ways to overcome them are presented. Throughout the lesson Richard offers his advice and expertise on these topics. He discusses the difficulty of finishing a piece in the studio that was started from life, and offers suggestions for how to successfully overcome these challenges. High-resolution images of selected works by Richard are included throughout the lesson to reinforce concepts.

Aug/Sept 11 Lesson 25:

"The Waterfall"

Part III:
The Final Chapter

Richard Schmid     “Buttermilk Falls”     Oil on linen     12x23

             The last installment of this three-part series will dive into the final stages of Richard’s painting, “Buttermilk Falls.” Richard discusses some of the challenges he faced upon returning to the studio, and presents his solutions that paved the way to the completed piece.

           Richard explains his use of edges, and their importance in creating movement in a painting. You will see the final painting undergo revisions, as Richard explains his compositional decisions, and describes how he painted his additions convincingly. To further illustrate concepts, Richard references his previous waterfall paintings, which are included as high-resolution images for use in your personal study. Shown below is one example.

Richard Schmid            “Yukon Waterfall”            Oil on canvas 28x22

           This is a truly exciting lesson, full of Richard’s insight and explanations on his thought process for turning a field work into a completed piece⎯this is one not to be missed!

Oct 11 Lesson 26:

'A Closer Look'

Subtle Examinations...

Richard Schmid                    “Poudre River Rapids”  (Detail)                       Oil on panel

        Out of pure excitement, sheer fear, or frantic desire to capture a subject, it is very easy to haphazardly rush through a painting. Things such as tree branches, leaves, and stems are some of the first things to fall victim to quick and careless brushstrokes. These thoughtless strokes can often arise simply out of an eagerness to get to the more ‘important’ or ‘interesting’ parts of a painting - but it is these subtleties that can add great strength to a piece, and require your undivided attention!

            This lesson will explore the importance of slowing down, and the joy that lies in careful consideration of the subtleties. Richard and Nancy comment on the significance of attentive observation, and emphasize how selectively chosen, subtle nuances can greatly enhance what you wish to say about your subject. Nancy explains how the simple act of asking good questions can be of great help and act as your own personal guide through the painting process. High-resolution images are included as examples to illustrate concepts and demonstrate ideas. In addition, Richard offers further insight into his painting, “Poudre River Rapids,” by pointing out key areas of interest and explaining his observations and the choices he made that helped to tell his story. 

November 11 Lesson 27:

Materials and Tools

Part C

Customization on a Grander Scale

01 Canvas Preparation

        There are few things more exciting than facing the boundless possibilities of a blank canvas, especially one with an exquisite surface upon which to paint. A superb working surface can make all the difference and act as a helping hand through the painting process, providing an ease of execution and a fluidity that can make it feel as though the painting were just painting itself! 

        A great surface can enhance the flow of paint, increase the vibrancy of the oil colors, as well as add interest to the surface quality of a piece. It is well worth investing the extra time to customize your working surface.

        When we last explored the topic of priming canvas, the focus was toward re-coating pre-cut pieces of oil, or lead primed canvas with another custom layer of lead ground. This lesson is an extension to, “Materials and Tools, Part A” and centers on priming entire rolls of similar canvas. It will demonstrate the ease at which large canvases can be re-coated within the confines of limited space, and show how it can be stored in order for it to properly dry and cure. In addition, it will further explain the benefits of working on a custom designed surface, and provide high-resolution examples of surface textures and paintings to give you further ideas and a better feel for what is possible. The benefits and safety concerns of working with lead are also revisited and summarized. 

Richard Schmid                     “Ice Cream Shop"                    Oil  8x12

December 11 Lesson 28:

Materials and Tools

Part D

Paint Handling on a Lead Primed Surface

Richard Schmid               “White Pine”               Oil on linen 12x20

        Thus far, two lessons have been dedicated to canvas preparation, and emphasis placed on the importance of a good surface on which to paint. The benefits of working on a custom primed lead ground have been explained and illustrated through the use of examples, but little has been covered regarding the working properties of this type of canvas. 

        Painting on a lead primed surface is unique, and can present challenges if you are unfamiliar with its behavior. It is common to experience a bit of a learning curve with this type canvas, especially if you are switching from using a more absorbent kind. Successful and manageable working conditions on a lead primed canvas or panel requires a bit of knowledge and experience in the way oil paint can be used and applied. Compared to more absorbent commercial canvases, painting on you own hand-made lead primed surface can feel like slick and slippery business. 

        This lesson will explain and illustrate ways oil paint can be used on a lead ground, and assist in unlocking the invaluable working properties that this surface provides. It will present suggestions for application that yield favorable painting conditions, and recommend ways to avoid ending up in pools of muddy paint. High-resolution images are included as working examples. In addition, this installment will revisit the painting featured in Richard’s instructional DVD, White Pine, by highlighting a few key developmental stages that further demonstrate manageable paint application techniques. To assist in your studies, included is a high-resolution image of the final piece to be used in conjunction with the video.  

Richard Schmid             “Nancy Painting”               Oil on linen  18x24

January/February 12 Lesson 29:

The Still Life

Conversations Beneath the Shade of a Maple Tree

01 Richard At Work

          This lesson takes place underneath the shade a maple tree behind the Putney Barn, as Richard paints a branch of an apple blossom tree. This installment shows the various developmental stages that lead to the completed painting below. High-resolution images of the intermediate steps are included, and serve as a great tool in studying and understanding the surface quality of the painting, and the paint application techniques Richard employed in describing this branch of blossoms and leaves.

Richard Schmid                  “Apple Blossoms”                Oil on linen      91⁄2 x 151⁄2

         In addition, Richard discusses in detail his thoughts on the art of painting the still life, and explains the kinds of things he keeps in mind when choosing and composing his subjects. Examples of his paintings are included to illustrate concepts. This is an exciting lesson, containing helpful insights into one of the most cherished subject matters...the still life.