Soft days of autumn

View of Madison, Indiana, from the inn. It’s a quaint, arty little town about forty minutes up the river from Louisville. I wanted to get a photo of the sunrise in the morning but the whole river valley was fogged in. Couldn’t see a foot in front of myself.

The soft days of autumn seem to be sneaking up on us. From temperatures in the 80s a week ago, to lows in the 50s and even 40s now.  I love autumn with the smell of wood smoke and newly fallen leaves.  The golden sunshine and the reds and yellows of the leaves.  Everything seems to be winding down…but not quite yet.

This is the view from the Clifty Falls Inn. That is the Ohio River and Kentucky on the other side. Another week or two, and those hills will be ablaze with color.

My husband and I visited Clifty Falls State Park in Madison, Indiana.  This 1400 acre park sits on the banks of the Ohio river and boasts some beautiful views of the river scenes, foliage, and the town of Madison. There is some great hiking here, too.  Unfortunately, with the dry September, the falls weren’t running so we’ll have to plan a visit for another time.

The variety of pumpkins and gourds at the farm was amazing. I could have brought home three times as many. But they provide a little fall color for the season. And in the end, get tossed into the chicken pen. The ladies are very appreciative.

We just spent one night at the inn but it was a pleasant getaway.  On our return, it seemed as if the leaves had begun changing colors overnight.  We stopped to buy pumpkins at the Cornucopia Family Farm.  This was our first visit but apparently they have many visitors from a wide area.  Whole families were there for the hayrides and popcorn, children’s activities and, well, to buy pumpkins.  I have never seen so many varieties.  I wanted them all but had to restrain myself.

We discovered this beautiful little country church as we were looking for the pumpkin farm.

As we drove home on the country backroads, we saw little churches and just enjoyed the day.  There were several Amish buggies on the roads.  It was Saturday, after all.  Just so relaxing to be out and about.

Late garden harvest of loads of peppers and a few tomatoes. Plenty more peppers to pick, too!

Summer tasks are winding down here on the farm.  The garden has about had it but I’m a hold out for the last green bean.  Still have plenty of peppers to pick as well as the sweet potatoes.  And the zinnias which I grow for cutting are still vibrant. Some of them are taller than me!

Firewood. This is nice, dry and seasoned firewood and splits easily. The basement is already stacked but there’s plenty more wood to split.

It’s time to put away the fishing gear. Although, really, does the season ever end? The impatiens and coleus are getting a little leggy.

The leaves are starting to turn and drop.  We usually just grind them up with the mower for mulch.  And our stack of winter firewood is growing.  We share a log splitter with the neighbor which is great for gnarly old pieces of wood.  But the boys actually like to split the wood by hand with a maul.  There is a lot more skill to this than it looks, requiring just the right swinging rhythm and twist of the wrist.  It’s nice of them to come out and help the old man out once in awhile.

The zinnias that I use for cutting are still going strong. Some of them are taller than me! In the background are the desiccated stalks of the sunflowers that the goldfinches have stripped. And those poles on the left hold motion sensitive lights which help scare away the night critters. Sometimes.

The next month will find me out tidying up the place before it gets too cold.  Maybe sitting by the firepit with a hot beverage and a book.  I hope you have a quite place to retreat, too.  Enjoy the season.

The last rose. Well maybe, maybe not. Sometimes I bring this little beauty inside in the winter just to enjoy the beautiful perfume on a cold day.

Six ideas for pricing your artwork

What should you charge for your artwork, your hours, days, weeks and more of effort and agony?  This is a question that every artist considers, at least at some time during their career.  This is, of course, assuming that you are willing to part with one of your creations, your children.

The first painting that I ever sold was when I was in high school.  My art teacher was preparing our pieces for an upcoming state show for students.  The actual painting was an illustration of The Ballad of the Harp-Weaver. One of her friends had seen it at her home where she was matting the works.  On the recommendation of my art teacher, I was offered $50 for it which was a whole lot of babysitting money back then.

Needless to say, this set me on the path to thinking that I could actually make some money from something that I had created.  But it was a decade before I actually began to pursue my art in such light and sold it.

Pricing your artwork is a tricky proposition and one that attracts many opinions and much advice.  After thirty-five years in the business, these are some of the considerations that I use to price my paintings.

1  Materials and costs

Obviously any business person can tell you that you need to cover your costs.  This includes overhead, such as, rent, utilities, computer services and websites. Include your equipment to make your work – easels, kilns, brushes, even your vehicle if you need to transport it.  Materials like clay, canvases, paints, drawing materials count, too.

You need to eat and keep a roof over your head and pay the kids’ orthodontist’s bills so you must pay yourself a salary.  Hopefully, you can eventually do this solely with your art but you may need to take a part-time job here and there.  The whole point is that the more time you can spend creating, the more money you can make.

If you are not tracking your costs you need to start doing this right now.  You are in business so get a sales tax license and be professional.  After a year or two, you’ll have a pretty good idea of what you need to bring in to cover your expenses.  Everything above that is profit.

2  Size matters

Frankly, I think the bigger the painting, the more you should charge for it.  You may have more work in a smaller painting, but the show pieces are generally the largest.  Customers expect to pay more for size. Plus, you have more materials in them.

I created a chart which quickly gives me the ballpark figure for the size of painting that I have to what I should charge for it.  I may not always stick with this, but it gives me a starting place. Price calculator

3  Talent and skill

Be realistic.  Your mother may have told you how wonderful you are and what a great artist you are.  But, take a look around.  How does your work compare to others, especially in your area and medium.  I have seen so many artists who just come on the scene and start attaching really high prices to their work, only to be disappointed when nothing sells.

Maybe you are one of the gifted people who will command high prices right from the beginning, but most artists do not.  It’s always easier to raise your prices than to fumble around and lower them.

4  Location

Where you live and where you sell your work can have a significant impact on the fees you can charge for your work.  In big cities, especially the coasts, the audience is expecting to pay more.  Galleries and museums have their own overhead to cover and, of course, higher rents in metropolitian areas.

In most rural areas, it’s difficult to command the same price structure.  Cost of living and wages are lower, thus people expect to pay less.  For the most part, not always.

Art fairs are mostly entertainment but few visitors are going to shell out thousands for a painting at most art fairs.  This also includes street artists so set your prices accordingly.

There are some caveats with this theory.  With the internet, artists can live in low rent areas but sell across the country, indeed the world.  But again, most people are not going to spend big money on something they haven’t seen in person.

5  Awards and shows

If you are an award-winning artist and have lots of credentials as well as significant shows and exhibitions, you can command higher fees.  You have proven your worth and the customer can feel comfortable that they are buying something from someone with good credentials.  Do you belong to any special art societies?  List them on your resume or website.

I was fortunate that my work was exhibited in some really good shows when I was still pretty early in my career.  I didn’t even know how good they were then but am pretty proud to list them on my website now.

6  Age

No, not your age.  The age of the pieces you still have hanging around your studio.  If it’s something fresh, maybe a new style or direction, stick with your best prices.  However, if you’ve got that box of photographs that you took twenty years ago gathering dust under your bed, do yourself a favor and price them to sell.  Yes, they really may be worth what you originally priced them at, but if you sell them, then you will at least recover some of your expenses and can use the money for more materials to create new work.

I will sometimes host a studio sale where I’ll invite local and regional friends out for a weekend.  I’ll clear my studio of most furniture, set up all the paintings that I want to move, and put some really attractive prices on them.  I usually do this in the fall before holiday shopping takes off.  And I always have some music, food and beverages for an added attraction.  I picked up this idea from a potter friend of mine who would unload his summer inventory every autumn.

I have another friend who actually rented the high school auditorium and set up thousands of paintings to move.  He made $50K that weekend!  I don’t make nearly that much but it’s good to make some extra dough around the holidays and clear some room for new work.

Occasionally I will have an online sale but I don’t want to do that too often.  My patrons should realize that I charge a reasonable price and shouldn’t wait around for the sales.

7  Bonus point.   Be fair

Make sure the prices you list on your website are the same you’re charging in a gallery or somewhere else.  The quickest way to lose a gallery is to undercut their prices.  I give my galleries some leeway to negotiate prices or to bundle sales.  Everyone comes out happy.

These are some of my suggestions for setting prices for your artwork.  You’ll probably find some helpful or maybe you’ll create your own set of rules.  Whatever you do, remember to keep creating and have fun!

Something a little different

I’ve been taking a break for the past several weeks from working on my current series of paintings Intimate Spaces: Breaking Bread.  Although I tend to be pretty disciplined when I’m working on a big project, sometimes I need a respite.  Recently I’ve returned to some old themes, particularly western scenes and my travels.  Culling through a couple of decades’ worth of old photos, scenes that I may have skipped previously, now draw me in.  It doesn’t always have to be the entire picture, just a small portion of it.  And I always feel free to change things around.

Atrium at Longwood Gardens, du Pont estate, Pennsylvania. Acrylic on canvas, 16 x 20, impressionistic style, Kit Miracle

Here are a couple of my most recent paintings from my travels.  The first one is of the Atrium at Longwood Gardens on the du Pont estate in Pennsylvania.  Although I visited in March of that year, it was still beautiful.  The gardens under glass were particularly impressive. Touted as the most beautiful garden in America, I couldn’t disagree.

Garden Cherub, acrylic on canvas, 20 x 16. Pittsburgh, PA Kit Miracle

The second painting is from a different trip to Pennsylvania, Pittsburgh to be exact.  One of our favorite places to visit is The Strip District, a multi-block area of food shops and restaurants, fish markets and collectibles.  This particular shop had some very enticing items in the front of the shop, but as I walked through the store to the back, they had a garden shop with rusty gates and ironwork, birdbaths and outdoor trellises.  I loved this little garden cherub.  Now I wish I had purchased him but at least I could capture him in paint.

Both of these paintings are painted on red-toned canvases which peeks through, adding another layer of liveliness to the scenes.

In case you are interested, these are both available in my Etsy shop KitMiracleArt.  AND….I’m having a 20% off Labor Day sale through Monday.  Free shipping, too.

After School, 96th Hoosier Salon Exhibit

After School, acrylic on canvas, 30 x 30 Kit Miracle This painting is currently on exhibit at the 96th Annual Hoosier Salon show at the Indiana State Museum through October 25th, 2020.

I’m thrilled to have my painting After School on exhibit at the 96th Annual Hoosier Salon exhibit at the Indiana State Museum.

This painting depicts two girls having a snack after school.  I assumed that they were in band or cheerleaders as they were dressed alike.  I was attracted to the silhouette shape of the figures.  Despite the high contrast of the figures against the light background, the painting itself actually has a lot of color.  Notice the distinctive color outlines.  These are painted before the rest of the painting, however, sometimes I go back and reemphasize the colors.

The background is painted very loosely and doesn’t really include any details except the umbrella.  It’s always as important to know what to leave out as well as what to include.  More details, parking lot, would not have added anything to the painting, just more distraction.

This is another painting in my Intimate Spaces: Breaking Bread series.

After School, detail 1. Acrylic on canvas.

After School, detail 2

The painting is currently on exhibit at the Indiana State Museum.  The exhibit opens tomorrow, Saturday, August 29th with free admission.  It runs through October 25th.  You can find the Indiana State Museum at 650 W Washington St, Indianapolis.  There is so much to see at the museum it’s certainly worth the trip.  A great outing for kids and adults.  And it’s right next door the the Eiteljorge Museum of Native American and Western Art, too!

If you can’t visit the museum in person, here is a link to the exhibit online.  All the works are for sale, of course.

Pet menagerie

This post is about our menagerie of pets currently residing on the home place.  We’ve had several dogs, a few cats, and now a feathered friend.  Two of the pets arrived this year.

Cheeky the parakeet loves to have his cage rolled outdoors on nice days. In the shade, of course.

First there was the addition of Cheeky the parakeet.  This is the first time that we’ve had an indoor bird so a bit different from the flocks of chickens we’ve had.  Cheeky loves to have his cage rolled out onto the back porch where he can survey the yard.  He gets excited when he sees other birds but otherwise seems happy.  He particularly likes to have some grass and clover added to his feed.  And when he gets going, he gives the most interesting concert of warbles and chirps.

Leo at a few weeks old. Ready for adventure.

Leo begging to sit in my lap while I paint. Not happening. But look at those eyes!

Leo taking a cat nap in my studio, right under my easel.

Leo the cat is our newest addition in June.  I wasn’t prepared to have another cat after our old one died at the ripe old age of twenty-two.  But, well, he was really cute.  Leo has become a “mom” cat as he follows me wherever I go.  He particularly likes hanging around in my studio.  We initially had some disagreements on what he could climb on and what was off limits.  Some firm scolding and a squirt bottle seems to have solved that problem.

Mikey the border collie. I can hardly take a picture outdoors without him photo bombing it. At least a tail or head or something.

Mikey in his favorite chair on the patio. Doesn’t look comfortable to me but he likes it.

Finally, there is Mikey the dog.  Border collie to be more precise.  This is our second border collie.  They are very smart dogs but have really strong personalities.  They like to herd everything, including when I push the wheelbarrow around the yard.  He also photo bombs nearly every single outdoor photo that I take.  How does he know?  Mikey is a great guard dog.  His job this time of year is keeping the raccoons out of the corn patch.

So, that’s our pet family.  Not about art although I predict they will appear in some future paintings.  Mikey already has.

Bread, a new painting

Bread, acrylic on canvas, 16 x 20. The Food We Eat Series. Kit Miracle This series is all about food. We’re all a little bit obsessed, I think. But what is better than fresh made bread, still warm from the oven? Ah, the aroma. The crunch of the crust when it is cut.

Who doesn’t love the aroma of fresh bread?  The crunch of the crust and soft texture of the body?

This week as I was waiting for more canvases to be delivered for my latest series, I spent some time doing some smaller paintings.  This is another painting for The Food We Eat series.  I guess since we’re all isolated at present, my thoughts return to food.  Must be an animal thing.

My husband makes this lovely, crusty bread.  I’ve posted the recipe in a previous post.  It is very easy and so so delicious.  It makes great toast and bruschettas. I think he’s making French toast for breakfast this morning with the last of this loaf.  https://my90acres.com/2018/03/28/crusty-artisan-bread/

Bread, detail. It is often difficult to convey in the pictures that I post the brushwork and the texture of the paint. Just click on the picture and expand it to see. You will notice that I actually use very loose brush strokes for much of the painting. Again, as mentioned in my last post, the viewer’s eye fills in many details.

As I was waiting for a frame to arrive for a painting which needed to be delivered this week, I painted this and three other smaller pieces.  One plein air and two landscapes.  The frame never arrived, due to delays at the factory due to COVID.  So I had a good friend make a frame but that’s a story for another day.

Anyway, if you’re not doing anything today and you’d like to surprise your family, or just yourself, try your hand at some homemade bread.  You won’t be sorry.

Lunch at the Museum

Lunch at the Museum, Kit Miracle, acrylic on canvas, 30 x 24.

This is the seventh painting in my Intimate Spaces: Breaking Bread series.  A bold, vertical portrait, this painting certainly grabs attention.  I’ve been noticing that in addition to telling a story, my portraits often include a wry sense of irony.  Yeah, I just now figured that out but looking back at much of my work, I can see what often attracted me to the scenes initially.  Maybe it’s my quirky sense of humor but hey, it’s my work and I can do what I want.

Anyway, this scene was when I took my granddaughter to the Carnegie Museum complex in Pittsburgh a few years ago.  All that walking around to see dinosaurs and artwork and more is hard work.  We stopped for lunch in the museum restaurant.

I guess that the first thing that strikes the viewer is, “What are those things coming out of her head?”  This, of course, as any photographer will tell you is a definite no no in composition.  You don’t want trees sprouting from your subject’s head.  But here with those globe-shaped lights, it works.  Some rules are made to be broken.

Lunch – detail 1. A sweet portrait but not saccharine.

There is a lot of vertical in this painting.  Not only the canvas but the stripes, the lights, the straw for the girl, the wood on the table.  The head is not quite in the center but everything leads to the face.

Lunch detail 5. Those squiggles become chairs and tables on the outdoor patio, viewed through the window of the restaurant.

Lunch detail 4. Up close, the people in the background look like beans, but again, from a distance, they come together.

I particularly like the balance between the warm and cool colors.  Even within the cool areas, you can see quite a bit of color if you look closely.  It’s about one third to two thirds ratio of warm to cool.

Lunch, detail 2. I captured this little still life even in a portrait.

Another little still life. The loosely painted silverware and napkin come together when viewed at a distance.

Some people like to see a photo realistic finish on paintings but that is not my style. (Been there, done that.)  As a contemporary impressionist, I look to convey the message with as few strokes as possible.  Looking at my paintings up close often reveals a jumble of bold brush strokes.  But stepping back about six to eight feet, it all comes together.  This is done to deliberately allow the viewer to become a participant in the experience by filling in the details with their own eyes where there may actually be none.

Canvas prep and under painting. This abstract painting doesn’t necessarily follow the composition of the painting but is designed to give a little guidance. Look closely to see my initial sketch of the subject before I begin to paint.

I also like to paint on a toned canvas, often with a rough gesso base to add texture.  One of my favorite colors is a reddish tone which adds sparkle where it peeks between the brush strokes.  This is particularly good for landscapes that have lots of green.  However, the tones on this series of paintings are more somber, greys with some splashes of color.  The subject is then drawn on top before I start painting.  When my husband saw all the prepped canvasses in my studio, he thought I was switching to abstract painting.  Well….not yet.

July flowers in the garden

One of the smaller sunflowers. I think it is Ring of Fire but am not positive.

The heat has arrived and the humidity has never left.  I’ve been occupied with painting in the studio but the yard and garden are never far from my mind.  A quick tour around this week reminded me that I need to get out there and weed again.  Didn’t I just weed that?  Well, time to go around again.

Zinnias which I use for casual arrangements.

The garden is going well and starting to produce.  Green beans, squash, peppers.  The snow peas are nearly past and the lettuce and asparagus are long gone.  We had to replant the corn as the first plantings weren’t doing too well.  I think probably due to some wascally wabbits.  Anyway, the next crops of corn are coming along nicely.

The hostas are almost over. These are actually light purple.

So far, only some cherry tomatoes but the other varieties are heavy with fruit.  Won’t be too long.  And the eggplant has survived the flea beetles and are looking healthy.

I love the shape of the budding sunflowers. They are such interesting flowers with lots of geometric shapes.

But I always have a passion for flowers.  They grow all over the yard.  Many perennials and some are very old as they were here when we moved here decades ago.  But the garden will always have zinnias and cosmos for cutting.  This year I have six kinds of sunflowers in two long rows.

The new sunflower patch. I’m so anxious to see the whole patch in bloom.

Plus!….I added a new 30 x 30 foot patch to plant sunflowers.  This is just below the spring garden.  And, I planted it with the birdseed sunflowers, probably oiled sunflower seeds, as I felt they probably didn’t have any chemicals on them since they were for the birds.  By the time I got to this area, I was flagging after all the other gardening work.  I just sowed the seeds, scratched them in with the rake and called it a day.  I thought the birds and the rabbits would have them all.  But, to my surprise, they took off and are now blooming.  Yes, there are some weeds in there but plenty of flowers. It’s always fun to experiment with new gardening ideas.

All the sunflowers feed the birds (or whomever).

Purple cone flowers.

The last of the lilies.

Mystery flower. These flowers started coming up in my peonies a few years ago. I let them stay as the butterflies seem to like them. But I really don’t know what they are? Any help out there would be appreciated.

Travel easels for plein air painting

Homemade carry bag, the oil-acrylic easel, and the watercolor easel. The watercolor easel must be disassembled to fit into the bag. I can’t get both of the easels in the bag simultaneously, either.

Compare the oil-acrylic ease with the watercolor easel. The first is a bit taller than the latter when the legs are extended fully.

I thought I would elaborate a little more about the benefits of plein air easels and the differences.  Last week I mentioned the French easel which is made of wood.  It contains most of your equipment but it is heavy.  Also, the pochade box which is very attractive but limited to the size of canvas or panels you can use.

My main two plein air easels are both by Stanrite.  One is a watercolor easel which will tilt to many angles and has extendable legs. It has clips which will hold a board to which I’ve attached my watercolor paper.

Closeup of the watercolor easel showing the tilt adjustment.

Stanrite watercolor easel.

The other easel, and my go-to easel in the field, is for oils or acrylics.  It, too, has collapsible legs, plus it has fold-out spikes which can provide extra security by stabbing into the soil.  The easel will take canvases up to 18 x 24, maybe a little larger.  The two hooks will adjust to hold panels or canvasses of different depths, too.

The oil – acrylic easel showing the adjustable supports at the bottom and the clamp at the top. It, too, is adjustable.

Stanrite oil-acrylic easel showing the fold-out spikes to secure the legs to the ground.

Close up of the top clamp for the oil-acrylic easel

I have used these easels for years.  They each fit into a homemade carry bag (made from a pair of old blue jeans) which I can toss over a shoulder or attach to my bicycle.  Neither weighs more than a few pounds.

There are some new light weight aluminum French easels but they’re a bit pricey.  I probably didn’t pay more than $40 for either of these easels.

In the end, it’s all up to you and personal choice.  What works for me may not work for you but these are some nice options for travel easels.

Plein air painting – oil and acrylics, tips and tricks Part III

Plein air painting on the rim of the Grand Canyon. Duck on a Rock is the name of the formation. It was very, very windy that morning so I had to secure the easel.

My last post about plein air painting addressed how to do watercolors.  In this final post, I will address how to do oils and / or acrylics.

There are many similarities with painting plein air in oil or acrylics. Same supports – panels or canvasses, same (similar) brushes, same easel, etc.  The biggest difference is that oils take a long time to dry and use some volatile chemicals, such as, mineral spirits.  Acrylics are painted with water and dry in less than fifteen minutes.  This makes a big difference if you are transporting the canvasses.  Oil painting will smear and get everywhere, whereas, acrylic paintings will dry quickly and be ready to transport within minutes.

Although I painted in oils for over a decade, now I do plein air painting almost exclusively in acrylics.  Mostly for the ease of transport and quick drying times.

This is a typical French easel. It is a wooden carry box and easel all together. These have been around for over 100 years. There is also another smaller French easel called a half-easel. Both weigh quite a bit and, in my opinion, not too comfortable to lug around.

As always, my main concern in plein air painting is weight and ease of transport.  There are many wonderful easels but the most common is the French easel which has been around for over 100 years.  There is also the half-box easel and new aluminum easels which help a bit with the weight.  Another option is the pochade box, either homemade or purchased.  It seems everyone is trying to get smaller and smaller.  I have a pochade box which is a beautiful piece of art furniture, but not really practical for my needs.  I never want to get it messed up!

This is a beautiful little pochade box, similar to the one that I have. It is so exquisitely made that I hate to get it dirty. One needs to use a camera tripod to attach to the bottom as it doesn’t come with legs. However, you can just set it on a table or bench to use. The one that I have will hold a canvas up to 16 x 20 but that is not very practical for this size.

As usual, my main concerns are with weight and portability.  I use another light weight aluminum easel (Stanrite 100) this one with spikes which fold out, but the whole thing collapses to about 25 inches.  That I carry in the same homemade carrier as my watercolor easel.  And another backpack devoted to acrylic (oil) painting.  For some reason, Stanrite quit making these easels but I expect that is mostly because they last so long.  You can probably find them on Ebay or one of the resale sites.

The typical gear that I take with me for acrylic painting. Backpack, selection of brushes and paints. portable travel palette, sketch book, panels and canvasses, gloves, water. Not shown would be a container for water. For oil paint, there would be two containers of mineral spirits and a portable oil paint palette.

Many of the items that I carry with me are the same, but some are devoted to acrylic painting.  Paints, types of brushes, larger water jar, rags, etc.  For oils that would be oil paints, brushes, and two jars of mineral spirits (one for cleaning brushes and one clean).  Backpacks are cheap so just keep one packed for each of the type of work you wish to do.  I have made separate lists for each type of plein air art activities that I do to remind myself what to take.

Easel

Chair / stool

Umbrella / bungees

Bag

Paper

Support

Clips

Acrylic travel palette (Mijello)

Or…oil travel palette

Brushes -assorted

Paints – assorted

Water and cup

Or Mineral spirits (two jars)

Spray bottle

Pencils/pens

Sketch book

Tape / clips

Multi-tool / pliers

Paper towels / cloth rags

Sponge

Bug spray

Sunscreen

Hat

Camera / cell phone

Apron

Scissors / knife

Snacks

Business cards

Some folding green stuff (money)

Bandaids

 

My backpack will hold canvasses or panels up to 11 x 14 inches.  Larger canvasses will have to be hand carried or strapped onto your pack.  When I travel, I will keep a plastic bin to contain all my canvasses.

These are the reminder cards that I keep in my kits. They remind me of what I need to take. I’ve used these kinds of cards for many things, vacations, camping, etc.

Most of the other equipment is the same as listed in my previous post about watercolor painting.  Bug spray is a must to ward off mosquitoes or biting flies.  I once had a guy who was hauling manure and (I think) deliberately let some out near where I was painting.  Bungees help to anchor your easel or attach an umbrella.  Very disappointing to return to your easel only to discover it face down in the weeds.  Oh, well, such is the life of the artist.

And, yes, it is OK to tweak your painting when you return to your studio. Yes, there are some purists who think that is awful, but, hey, it’s your art and you can do what you like!

The main thing is to relax, enjoy yourself and have fun. It’s not a competition; it’s an adventure.

This is what can happen when you don’t anchor your easel on a windy day.

Using my beautiful little pochade box.

On a bluff overlooking the White River in Loogootee, Indiana.