Here’s how that old saying made it into my painting…

Funny enough, the hardest part of painting Big Lost Bend (24×30) was not the river the willows, or even the atmosphere. It was one little mama cow.

The black cow is only a small part of the painting, but she needed to be clear.  Too much detail (overworked) and she would pull the viewer away from the airy landscape. Too little, and she would look like a black ink blob.

As I worked on her, over and over again, my mind wandered between two familiar sayings: “The devil is in the details” and something my mother often said, “The little foxes spoil the vines.”

God—or the Devil—Is in the Details?

Most of us understand what “the devil is in the details” means. That something in life may appear simple at first, but the smallest and most easily overlooked parts are often where problems hide.

I decided to research that phrase, and was surprised to discover an earlier and much more beautiful version of the saying:

“God is in the details.” Aby Warburg

The phrase is closely associated with German art historian Aby Warburg. He used the German version as the motto for a university seminar in 1925. This idea expressed that excellence and deeper understanding are found by paying close attention to the smallest things, the details.

The familiar “devil” version was created later as a clever reversal of God is in the details.

It was a warning about when those details are overlooked, or maybe even overworked!

It wasn’t about replacing God with the devil, but rather to reveal different sides of the same truth.

Details can bring beauty, meaning, and life to something.

The irony is that details can undermine the whole when they are either ignored or pushed too far.

My mother’s pearls of wisdom, “The little foxes spoil the vines,” are from Song of Solomon 2:15.

A gentle reminder that sometimes seemingly small things can damage something larger and beautiful.

Knowing Which Details Matter

In painting, we strive to find this balance.

It means understanding which details matter, how much to say, and when to stop.

Finding this perfect balance has been on my mind a lot lately. In fact, I wrote more about it in my recent post, Painting Nature: You Don’t Need Every Detail.

Perhaps some would say that both God and the devil are in the details. But from now on, I’m choosing to focus on the good, on God. I’ll focus on the beauty and grace found in the smallest things.

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Less Can Say More

One of the most important lessons you’ll learn as an artist is this: nature doesn’t ask you to paint every leaf, every feather, or every blade of grass. In fact, the more time you spend outdoors painting nature, the more you’ll learn to simplify.

At first, that may seem backwards because painting details feels rewarding. You might think years of experience would mean adding more information. Instead, experience teaches us what can be left unsaid.

A Lesson From Robert Bateman

Years ago, I had the privilege of studying with wildlife artist Robert Bateman.  During one of our conversations, he shared a lesson I’ve never forgotten, and it was surprisingly simple:

You don’t need every detail. Add just enough, and your viewer’s eye will eagerly fill in the rest. ~Robert Bateman

Learning to See Differently

That sounds so easy. But it’s actually hard to grasp, especially when you’re learning. It’s only natural to believe that more detail makes a better painting. In reality, knowing what to leave out (editing) is often far more difficult than knowing what to put in.

The next time you’re out landscape painting, try looking beyond the obvious. Notice how the air softens distant forms, how shadows connect objects, and how one quiet edge can say more than a dozen sharp ones.

The same is true when you paint wildlife. Rather than focusing on every hair or feather, ask yourself whether your subject belongs to its surroundings.

Notice how the animal is touched by the same light and atmosphere as its surroundings. That’s where the poetry begins.

The Art of Editing

Editing is sophistication. It’s a skill that develops through years of observation, practice, and restraint.

The confidence to leave something unsaid doesn’t come quickly or easily. But when it does, your paintings will begin to breathe, sing. 

I’ve found that collectors often connect most deeply with paintings that invite them in, rather than tell them everything. A little mystery leaves room for their own memories and imagination.

Leave Room for Wonder

So the next time you’re tempted to add one more detail, pause for a moment and ask yourself if it truly serves the painting. Sometimes the most powerful thing you can do is leave it out.

When in doubt, leave it out!

Perhaps that’s one of the greatest gifts painting nature has taught me: Less isn’t less. Sometimes that’s where the magic lives.

P.S. I’ll be sharing more of these ideas in my upcoming feature in PleinAir Magazine. I’m excited to tell you more when it’s published!

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Years ago, while visiting my daughter in Missouri, I happened upon a quiet scene along a creek bank, a lone yellow canoe resting at the water’s edge. There was no one around, no noise, no explanation. I quickly snapped one quick photograph, not realizing at the time that I was capturing a subject I would revisit again and again.

What struck me wasn’t simply the canoe itself, but the story it suggested.

Over the years, I’ve returned to this humble yellow canoe several times. Each painting has been different, not because the subject changed, but because I changed. Over a decade ago, one interpretation of the yellow canoe explored the warmth of nostalgia and late summer light.

And over thirteen years later, the following version embodies mystery, atmosphere, and quiet reflection.

In some ways, I think of this canoe as my own personal version of Monet’s haystacks.

Monet returned repeatedly to the same subject, not because he was painting haystacks, but because he was painting light, mood, and the passage of time. Monet was the master of Impressionism and he taught us all so much!

I really enjoyed seeing some of Monet’s haystacks while in Paris and Giverny last May. Although, I personally don’t find an actual stack of hay all that inspiring to look at, but I sure had fun visiting Giverny and walking in Monet’s footsteps yet again! 

For me, ‘my’ solitary yellow canoe provides a familiar place from which to explore memory, atmosphere, and emotion. It challenges me to say something different with something that is familiar and nostalgic.

As artists, we often discover that we’re not really painting a subject at all. We’re painting a feeling.

And somehow, I suspect this little yellow canoe still has some more stories to tell.

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A while back, it was selected for the cover of the 2026 Sun Valley Local Business Directory, “Names and Numbers.” Yes, it actually is an old-fashioned phonebook!

However, after Valley Light was published on the cover, I became convinced that the painting’s strongest composition was a 30 x 30 format.

So I took the painting off the gallery wall, unframed it, measured and marked the canvas, and it was on the chopping block!

(See below)

As I was grasping the knife, the phone rang. Martin House Gallery called to ask if I had any larger works available for a collector.

I said no, but reconsidered. Then, I mentioned Valley Light and explained how I was cutting it down. Before making the cut, I sent them an image of the painting.

Their response was simple:

“Don’t cut it.”

So, I erased the crop lines with a little thinner and then began repairing the marks left behind. But one small adjustment led to another. I softened the distant hills, refined the trees, deleted a few cows, and improved the subtle atmosphere of rain and light moving through the valley.

In the end, the Valley Light was saved from the chopping block, and I believe it became stronger because of it!

Sometimes a painting knows what it wants to be long before the artist does! Fingers-crossed, she likes it in person!

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That’s a fair question. But it got me reflecting on something my dad used to talk about, the Flywheel Effect.

Why Art Careers Feel Slow At First

There’s a phenomenon often called the “flywheel effect,” one I’ve seen play out in many areas of life, including business, sports, writing, and of course, the art world.

What Is the Flywheel Effect?

Imagine a massive iron wheel that’s incredibly hard to move at first. You push and push, and it barely turns.

But each push adds a little momentum and eventually something shifts! The wheel begins turning with far less effort.

That’s when each push starts producing bigger results.

How the Flywheel Applies to an Art Career

Your art career works much the same way.

For you quietly build. Learning your craft, developing a voice, creating cohesive bodies of work, building a brand, exhibiting, sharing, and networking.

It can feel like nothing is happening. But every painting, every step adds momentum.

It may feel more competitive today, and in many ways it is. But there are also way more opportunities.

We have incredible tools now, online platforms, social media, and direct access to audiences all over the world! That did not exist not that long ago.

So, the challenge isn’t a lack of opportunity. It’s staying focused!

Why Focus Matters

At one point, I found myself building momentum in two different directions. I had my art career and my social media career.

I loved both. In fact, I was an early adopter of social media and was named one of the Top 100 Women on Twitter in its early days.

But then I realized something important.

You cannot effectively push two flywheels at once.

My wise mom used to say, “If you scatter your fire, you won’t hit the mark.” 

Over time, I have found this to be true. So, I chose to focus on my art. And that decision made all the difference.

When the Flywheel Begins to Turn

Over time, something begins to change.

• Your work becomes recognizable
• Your name comes up more easily.
• Opportunities begin to appear more naturally.

Not because of one big moment, but because of years of steady effort, pushing.

This cycle can describe a single painting, but over time, it is also how an entire art career is built.

That’s the flywheel starting to spin!

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It’s already time to think about summer plans! I’m excited to invite you to a two-day plein air painting workshop this summer in Sun Valley, Idaho. Where I’ll be teaching close to my own “Idahome!”

Sun Valley is one of the West’s most beloved destinations for art, nature lovers, and outdoor enthusiasts. With its dramatic mountain landscapes, open skies, and luminous alpine light, Sun Valley is a dream setting for outdoor painters of all levels.

Most of my workshops are taught abroad, so it feels wonderful to offer this special painting opportunity right here in my home state of Idaho!

Click here to see Lori’s artwork! 

Hosted by Kneeland Gallery, this workshop is designed to help you elevate your landscape painting. We’ll spend two full days painting on location in the beautiful Sun Valley area.

You’ll learn how to strengthen composition and simplify complex scenes by focusing on strong design. Then you’ll bring it all together with paint, using a limited palette while tuning into light, value, and color for stronger paintings.

*This workshop isn’t about creating masterpieces, but about making simple outdoor color sketches in a relaxed, no-pressure environment.

Artists of all levels are welcome to work in oil, open acrylics, watercolor, or gouache. I’ll be demoing with my Cobra oils, and possibly gouache too.

What to Expect

Over the course of two days, I’ll be offering:

• Painting demonstrations
• Individualized instruction
• Constructive, supportive feedback
• FUN!

We’ll be outdoors both days, and I’ll choose our exact painting spots based on the weather and conditions.

Workshop Schedule

9:30 AM – 3:30 PM each day

Day One:
We’ll meet at Kneeland Gallery at 9:30 AM for coffee and a relaxed meet-and-greet. After that, we’ll head out to paint on location (site TBA).

Day Two:
We’ll dive deeper into techniques and ideas, building on what we covered on day one—again, painting on location.

Workshop Fee

$325
A $100 deposit reserves your spot.

Space is limited so that I can offer a more personal learning experience to each participant.

Ready to Register?

Contact Carey Molter at Kneeland Gallery to sign up: 208-726-5512
You’re welcome to email me directly with any questions: lori@lorimcnee.com

Additional Info

• Lodging is not included

• Please plan to bring a sack lunch each day

• A recommended supply list and more workshop details will be shared after registration

I’m so looking forward to painting with you in the fresh air and big skies of Sun Valley. Let’s make something beautiful together!

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At first glance, small paintings look to be easier to paint than big ones, right? A little 6×6 feels like something you can squeeze in between larger projects. Less surface to cover and fewer brushstrokes should mean less time.

But that’s often the myth.

©2025 Lori McNee, “Frozen Dinner” 6×12, oil on canvas

Wide Open Spaces vs. Tiny Canvases

Big canvases always make me think of that Dixie Chicks song Wide Open Spaces: “wide open spaces, room to make a big mistake.”

That’s exactly what a larger canvas gives you. More room to roam, more room to adjust, and more room to recover when something goes sideways. Shapes can shift. Edges can soften. Whole passages can be redesigned without the painting falling apart.

Small paintings? Not so much. On a small substrate, every mark counts… and there’s nowhere to hide!

A Fox Painting Reminder

I was reminded of this recently while painting a little red fox on a 6×6 panel. I paint foxes often, so it should have been easy. Yet somehow, that tiny painting took 2 full days. Two days! (see painting to the right).

Trying to keep it loose and painterly while still making the fox believable was the real challenge. Even small “fixes” started messing it up, fast!

Eventually, I surrendered. I wiped off the fox and repainted it. And honestly? That reset was exactly what the painting needed. Everything came together quickly, and the painting, “Golden Thicket,” found its voice.

The Myth: “Small Means Easy”

A miniature painting isn’t simply a small version of a large one. Instead, small works often require more precision, more restraint, and sometimes a surprising amount of patience.

Why? Because when the canvas is small… everything gets amplified.

Why Small Paintings Can Be Tougher Than Big Ones

On a larger canvas, adjustments happen more naturally. There’s space to shift shapes, soften edges, and let areas breathe.

However, on a small painting, one tiny change can be the difference between “yes!” and “oh no…”

Here’s why:

1) Every Brushstroke Matters

On a 6×6, one brushstroke can become a whole statement. Because of that, corrections can’t be casual. Every mark shows, so each decision matters.

2) Edges Get Loud Fast

One edge that’s too hard can make the subject pop forward too much. On the other hand, too many soft edges can make it disappear completely. So, lost-and-found edges become even more important on small work.

3) Value Patterns Matter Even More

In small paintings, strong value organization does the heavy lifting. A clear value pattern guides the viewer’s eye. Clear values help create depth and a focal point.

Without strong values, the piece can feel confusing or busy, especially at a smaller scale.

4) Proportions Are Unforgiving

On a small painting, the tiniest shift can throw off the whole piece. For instance, the fox taught me a lesson… every time I “corrected” him, his ears kept getting bigger and bigger!

Starting over gave a clean reset, and the proportions snapped back into place.

5) Overworking Happens Instantly

Small paintings can go from fresh to muddy in minutes. The danger is that “fixing” often becomes the problem!

The Truth: Small Paintings Make You Stronger

As frustrating as tiny paintings can be, there’s a big upside. Small paintings sharpen your skills fast.

They force simplification. They train the eye. They teach better control of edges and values. Plus, they strengthen decision-making. Any hesitation reflects quickly on a small substrate.

The bonus is that small paintings are a safe place to experiment. New ideas can be tested, brushwork can be explored, and risks feel less intimidating than on a 40×30.

A Few Tips to Survive (and Even Enjoy) Tiny Paintings

If small paintings have been giving you trouble, these tips help:

• Keep shapes larger than you think you need. In other words, avoid getting fussy too soon.

• Choose one area to stay sharp. Then let everything else diffuse and breathe.

• Don’t chase detail. Suggest more, describe less.

• Stop sooner. Fresh is best.

• Walk away and come back. Fresh eyes solve more than more paint.

• If unsure, let it dry before “fixing.” Dry paint gives you a safety net.

A Quick Note About Pricing Small Paintings

One question often comes up: “If a small painting takes longer than usual, should I charge more?”

In most cases, the answer is no. Consistent pricing builds trust with collectors and keeps your pricing structure clean and easy to understand. After all, buyers aren’t purchasing your number of hours; they’re investing in the finished piece and the experience it gives them.

Here’s the funny part: pricing works a lot like painting.

On a small painting, every brushstroke shows… and pricing can feel the same way.

On a large piece, raising the price by $100 barely registers because it’s a tiny shift inside a big number. But on a small painting, that same $100 jump feels much louder, and collectors will notice.

That’s why consistent pricing for small work can be a smart strategy. It keeps the “read” clean for collectors and lets the art speak without the price becoming a distraction, like an extra bold brushstroke in the middle of a delicate passage.

The Takeaway

Small paintings may be small… but they are mighty. They can be stubborn, dramatic, and wildly demanding. At the same time, they teach big lessons, and when they finally click into place, they feel like a little gem.

So, if a miniature painting is giving you trouble, stick with it. More often than not, that tiny canvas is simply keeping you honest.

Because the little ones? They really do have nowhere to hide.

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My youngest son has a name for the people who arrive full of motivation with new year’s goals and work-life balance; he calls them resolutionists.

They show up with the best intentions, crowd the treadmills and classes for a few weeks, and then, suddenly, things settle down again.

Artists do this too.

January can feel like a loud month filled with big goals, bold declarations, and a sudden pressure to change everything at once. After 35+ years as a professional artist, I’ve learned that sustainable creative growth usually happens more quietly.

Instead of declaring sweeping resolutions, here are three gentle reminders for artists who don’t want to be resolutionists this year.

1. Keep Your Goals Small and Realistic

Yes, big plans and goals can be inspiring. But, mindful goals are the ones we actually return to.

Instead of overwhelming yourself with everything you should be doing, choose something simple and doable that fits into real life. Small, steady steps build confidence, and confidence builds momentum.

2. Be Thoughtful About Who You Tell

Sharing goals too widely can drain their energy and invite unnecessary pressure. Sometimes it’s better to keep intentions close or share them with one trusted, encouraging friend.

Quiet focus has a power of its own.

3. Celebrate Small Wins

Small victories matter more than we think.

For example:

Last fall, I finally bought myself a ukulele! I hadn’t played a musical instrument since I was 12, and it’s been something I’d dreamed of doing for years. My goal wasn’t mastery, but only to play a few Christmas carols for my grandkids. I did, and that small win felt good!

The same mindset applies in the art studio. Thoughtful choices, healthy habits, and steady work add up over time, even when those small goals don’t make for dramatic announcements.

A Quieter Way Forward

This January, maybe the goal isn’t to reinvent everything.

Perhaps it’s simply to be gentler and kinder with ourselves. Maybe the goal is simply about showing up at the easel and painting, and creating with kindness to ourselves. Creative growth doesn’t have to be loud to be meaningful.

If one of your goals this year is to create a healthier painting practice, I share my approach to solvent-free oil painting in my online course, Lori’s Fine Art Tips School—designed to support artists who want sustainability without overwhelm. Save 15% and use the coupon code Blog15, good through March 1, 2026.

Happy New Year!

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There’s a quiet beauty to winter that many people overlook. The magical grays, the muted colors, and the crisp light, it’s a season full of subtle nuances. Winter invites adventurous painters to slow down, observe, yet demands we work quickly before the chill sets in!

Winter plein air painting is challenging!

Over the years, I’ve painted around the world from the Arctic stillness of Norway to the wilds of South Africa, from the mists of Scotland to Alaska, the snow-capped Italian Alps, and beyond. I’ve experienced every kind of weather, and while rain might be the most inconvenient, and summer bugs the most annoying, snow and freezing temperatures present the biggest challenge and the most reward.

My Cold-Weather Secrets for Winter Plein Air Painting

Dress Smart and Layer-Up

This is the most important tip! Staying warm is essential to ward off hyperthermia or frostbite. The right kind of clothing can make the difference between a good and a miserable time.

Stay away from cotton, which traps moisture and dries very slowly. Stick with moisture-wicking layers like Morino wool or thermal base layers underneath insulated outerwear. Down is great for keeping warm, but not good in wet weather like rain or snow. Try a heated vest, Gore-Tex, and insulated outerwear to keep you toasty. Wear gloves designed for dexterity (like those for photographers or fishermen), so you can still grip brushes.

Pro tip: Stand on something! I use an old carpet square or an insulated car mat to keep my feet warm from the cold, the snow, or frozen ground.

And yes, hand warmers are a must. Toss some in your gloves and pockets.

Find the Sun!

In summer, find the shade, but in winter, find the sun!!

Use the sun strategically. Standing in the sun helps keep you warm, but if sunlight is hitting both your back and your canvas, the sunshine can trick your eyes. The glare may cause you to paint values too darkly, since your eyes adjust to the brightness. 

To avoid this, try to keep your canvas in shade, or at a 45-degree angle from the sun, while hopefully standing in the sun.

Angling your easel up and down, or using a small umbrella or a brimmed hat, can help.

And when the snow is bright, sunglasses are a lifesaver. They give your eyes a break, reduce strain, and help you judge values more accurately throughout the session.

Travel Light, Paint Small

Winter plein air painting is not the time for big canvases or too many tools.

Bring only the essentials: a few brushes, a small panel (5×7-9×12), and use a limited palette.

The Zorn palette of only white, yellow ochre, vermilion, and black is fantastic for winter scenes.

Lay out your paints before you head out, so you’re ready to go when it’s time to paint. Simplicity keeps you fast and nimble.

If You Use Water-Mixable Oils, Read This

I paint with water-mixable oils, but here’s a critical tip: do not use water when temperatures drop below freezing.

Instead, switch to fast-drying mediums like Quick Dry Medium options, specifically made for water-mixable formulas.

Some artists try alcohol to keep paint moving, but manufacturers strongly advise against it, and so do I.

“Snowy Day,” 20×20, oil on panel, was inspired by a plein air painting outing years ago.

Stay Close, Paint Fast

Work near your car or another warm shelter. That way, you can take breaks to warm up or regroup.

Keep compositions simple and small. You’re not aiming for a gallery piece, but you’re there to capture the atmosphere, emotion, and a memory.

If you’re heading out to a remote area, bring a painting buddy. If you are in snow country, check the weather conditions before heading outside.

Safety always comes first.

Let the Landscape Teach You

What may seem like a world of white is actually full of color: purples, blues, pinks, and even greens. Winter scenes challenge you to see the nuances with fresh eyes.

Winter light is soft and low, the edges are gentle, and the sky can change dramatically in minutes.

Painting in winter trains your eye for subtlety.

Pack Comforts (They Matter)

Don’t underestimate the power of small luxuries. A thermos of hot coffee or cocoa makes everything better. So do foot warmers, extra socks, and that trail mix, or a little bar of chocolate you forgot you packed.

A snow shovel, tow strap, and a tin can with a candle are always in my winter-weather safety kit!

Plein Air Painting is a Physical Discipline

Honestly, winter plein air painting is more like a sport! You’re in active gear, braving the elements, and making quick decisions under pressure. But that’s part of the reward.

There’s a special satisfaction in creating something beautiful in challenging conditions. Winter plein air painting builds skills, confidence, and deepens your connection with nature.

Final Thoughts: Find the Quiet Magic

If you’ve never tried winter plein air painting, I encourage you to give it a try, even if just once.
Start small and keep it simple. Let go of perfection and experience the moment.

You might find, like I did, that winter has something special to offer: a deeper connection with your surroundings and yourself.

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This important topic has been close to my heart for many years. In fact, I first wrote about it in 2012 in the popular article titled, 10 Steps to Develop a Series of Exhibition Paintings.

More than a decade later, I still believe that working in a series is one of the most important milestones in an artist’s growth. But my understanding of why has matured.

Why Professionals Paint in Series

After 35 years as a professional artist, I’ve come to see a distinct difference between emerging and seasoned painters. Amateurs often widely explore and experiment with different subjects and styles.

Curiosity is essential to an emerging artist’s learning. But at some point, a professional artist begins to focus.

A seasoned artist understands that a cohesive body of work tells a stronger story. A well-developed series feels intentional and connected. It carries a common thread of either color, subject, design, or emotion that makes a gallery wall look curated rather than chaotic. It’s the visual proof that the artist has found their voice and vision.

Finding the Common Thread

Creating a series doesn’t mean painting the same scene over and over; it means exploring an idea deeply enough to discover what ties it all together.

For some, that common thread might be a series of floral subjects, rural landscapes, or perhaps a grouping of bird paintings, or a series of encaustic or tonal paintings.

Sometimes it’s a harmonious palette or a mood that unites the work.

Whatever it is, that subtle connection becomes the heartbeat of the collection.

My Current Series: Bridging Wildlife and Landscape

In my most recent exhibition, I revisited my wildlife roots, a beloved subject that has accompanied me throughout my career.

This time, I’ve been weaving these wildlife subjects into broader landscape compositions, bridging the gap between wildlife art and landscape painting.

How to Begin Your Own Series

If you’re wondering how to start a cohesive body of work, I’ve shared practical guidance in my earlier article, 10 Steps to Develop a Series of Exhibition Paintings. It remains one of my most-read posts because it helps artists structure their creative ideas into a focused, professional collection.

As you prepare for your next season in the studio, consider choosing one idea, subject matter, emotion, or color harmony to explore.

Let your paintings speak to one another. Over time, that conversation becomes your artistic voice.

After all these years, that’s what I’ve learned: a series isn’t just a collection of paintings—it’s the story of an artist becoming who they truly are.

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