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!

The post The Flywheel Effect in Art and Why Success Feels Slow at First appeared first on Lori McNee - Fine Art & Tips.

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!

The post Plein Air Painting Workshop with Lori McNee in Sun Valley, Idaho appeared first on Lori McNee - Fine Art & Tips.

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.

The post Small Paintings: Nowhere to Hide appeared first on Lori McNee - Fine Art & Tips.

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!

The post Are You a Resolutionist? Gentler Artist Goals to Start the New Year appeared first on Lori McNee - Fine Art & Tips.

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.

The post Winter Plein Air Painting: My Cold-Weather Secrets appeared first on Lori McNee - Fine Art & Tips.

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.

The post Why Professionals Paint in Series appeared first on Lori McNee - Fine Art & Tips.

The secret isn’t just in choosing bold pigments, it’s in how you use them.

• Warm vs. cool

• Light vs. dark

• Sharp vs. soft edges

These are a few tricks all great autumn paintings use. But each artist leans on them differently. Most often, the strongest paintings tend to lean on one of these techniques more than the others. That emphasis gives each piece its unique feeling and structure.

Here are 3 painter-tested ways to make your autumn colors pop in your paintings without overworking the color.

1. Warm vs. Cool: Let Temperature Create the Glow

The most effective way to make warm fall colors stand out is to place them next to cooler tones, like a blue sky, a violet shadow, or cool green foliage. Cooler colors, when contrasted, give warmth a reason to glow.

Isaac Levitan – In Golden Autumn,
the golden trees shine next to a cool river and pale sky. The color isn’t overly saturated, but it is cooler than the warm trees.

Charles Warren Eaton, one of my favorite artists, uses rich variations of gold in the land and trees, set against a cool blue sky. The temperature difference between the sky and land makes the entire scene glow quietly.

My painting, Autumn Afternoon (6×12), uses oranges and yellows that pop beautifully against the violet ground and green shadows. Even the dark cottonwood trunks add to the effect with their dark-tinted bark.

Painter’s Tip: Use cool tones in the sky, shadows, or background to let your warm foliage do the work. Don’t crank up the saturation—just create the right environment.

2. Light vs. Dark: Use Value for Strong, Clear Contrast

Sometimes what makes color pop isn’t actually the color, it’s the value. Placing bright trees against dark forests, or pale skies behind dark trunks, creates structure and clarity.

Robert Moore, my talented friend, creates aspen trees that shine because they’re set against deep, dark backgrounds. The value contrast makes the yellows feel brighter and more defined.

Wolf Kahn
 uses large, dark shadow shapes to anchor his glowing yellow trees below.

Painter’s Tip: Squint at your painting. Do your trees stand out in value, or are they blending in? Consider using strong light/dark contrast to highlight your subject.

3. Sharp vs. Soft: Edges and Atmosphere

Autumn color can feel flat if every leaf and tree is fully defined. The solution? Use a mix of sharp and soft edges, and build atmosphere through layering.

George Inness
painted fall with softness, muted colors, blurred edges, and thin layers that give a feeling of mist and depth. The colorful trees contrast against the more muted tones, which make the fall colors pop.

Fritz Lindström  Höstfärger
uses bright oranges that are softened with loose brushwork, and vertical tree trunks cut sharply through the chaos. The distinct edgework of the trees contrasts with the calm, pale blue water. This creates distance from the lively, hot colors in the foreground.

Bruce Crane whose moody autumn scene glows with earth tones and foggy light, is another master at creating atmosphere. Note how he balances harder edges and soft transitions, and thin layers. This balance of edgework gives space and emotional weight to the foreground color.

Painter’s Tip: Use harder edges in your focal areas, and soften others to suggest space and atmosphere.

Putting It into Practice

Lori McNee – Autumn Red Barn, gouache
This small gouache study was part of a lesson in my online workshop. Though simple, it demonstrates how even a quick painting can come alive when you use the three painterly contrasts:

• Warm vs. Cool: Golden trees and grasses glow against a pale blue sky.
• Light vs. Dark: The red barns and tree masses create visual weight and clarity.
• Edge Variation: The edges between the trees and sky are slightly sharper, helping the shapes stand out and giving structure to the soft composition.

With minimal detail, this piece still feels full of light and atmosphere because the contrasts are doing the heavy lifting.

Want to learn how to paint scenes like this? I teach this approach in my online gouache landscape workshop. Click here to learn more.

Final Thoughts

To make autumn colors pop in a painting, it takes more than bright pigments. The real power lies in the contrast between warm and cool hues, light and dark, as well as softness and sharpness. The artists we’ve examined each leaned into one of these techniques more than the others, creating their own distinct sense of fall.

I hope this inspired you!

The post 3 Ways to Make Autumn Colors Pop in Your Paintings appeared first on Lori McNee - Fine Art & Tips.

As a painter, I usually rely on my own photo reference material. Most of my wildlife paintings begin with field photographs, plein air sketches, and studies of moments I’ve witnessed in nature with my own eyes.

For the “Silent Vigil,” I had a concept in mind: an ethereal scene of bull elk after the rut. I envisioned a high horizon and a grouping of males. This idea was inspired by an encounter I still recall, stumbling upon them while hiking. It was that electric moment when everything went still. The elk all froze in watchfulness. I held my breath, wondering which of us would flinch first. A wonderful memory, but without my usual photo references, I needed a way to bring that magical vision to life.

That’s where AI entered the process. I used it sparingly, as a scaffolding tool. I prefer this word over “template,” because scaffolding is temporary, as it supports the final structure but never replaces it.

How AI Helped Me

I fed it prompts, and it generated ideas for me. I then extracted individual elements from the AI-generated images: elk groupings, mist, a hint of a mountain, and distant trees.

AI is just another tool in my toolbox. I use it thoughtfully like a camera, Photoshop or Procreate, but the art itself can never come from a machine. It’s the artist who brings memory, soul, paint and brush to the canvas. ~Lori McNee

Honestly, the AI images were rather naïve and poorly rendered. But it was never my intention to copy them directly. Instead, I let them spark the mood and aid with the design. I worked back and forth with the prompts until the atmosphere I carried in my mind began to take form on canvas.

Guiding Questions

To refine the vision, I asked myself some key questions:

• Time of day or lighting? Morning haze felt right. I wanted overcast skies, with a soft warmth.
• Overall color mood? Silvery blues, greens, and lavenders balanced with subtle earth tones, more tonalism than high drama.
• Surrounding landscape? Snow underfoot, a hint at the last of autumn, a treelined backdrop, distant ridges, and a faint sky.
• How many bulls? Five or Six? I ended up with 4 because it felt powerful, grounded, regal, steady, and watchful, but not overcrowded.

  

AI didn’t answer these questions. It simply mirrored my ideas back to me, allowing me to test combinations before committing to brush and paint. From there, my own hand, intuition, and years of artistic discipline carried the painting forward.

I also drew inspiration from artists like Chauncey Ryder, whose unique trees, tonalism, and atmospheric simplicity resonate with me.  Also Morton Solberg, whose wildlife paintings dissolve into misty, spiritual environments, along with hints of the talents of Roy M. Mason, and lastly, George Inness, whose ability to merge realism with mood has long influenced my own work.

A Tool, Not A Replacement

Just as I was an early adopter of social media and blogging, becoming one of the Top 100 Most Powerful Women on Twitter as a trailblazer in the digital art space, I see AI in a similar light. It is not a replacement for the artist. Instead, it is another cutting-edge tool to explore, test, and integrate with discernment.

I will continue to use AI sparingly. It will never replace me as an artist, nor can it experience what I felt in that moment on the trail. Like the camera, Photoshop, Procreate, or plein air sketches, it is simply another tool in my repertoire.

The AI-generated images I used as inspiration were not strong artworks on their own, and they weren’t meant to be. They acted like a rough sketching partner, helping me test mood and layout quickly. From there, I relied on my own eye, my experience painting wildlife, and my memory of bull elk after the rut to bring the vision to life.

In the end, AI was just another tool in the toolbox. Used with discernment, it can spark ideas, but only the artist’s hand and soul can transform them into something uniquely human.

The Result

The result is Silent Vigil, a painting that holds both the tension and serenity of that encounter: elk standing in a brief stillness after surviving hunting season and the chaos of the rut.

“Silent Vigil” is now available through Illume Gallery.

PS. You might enjoy a close-up look at “Silent Vigil” in this IG reel

 

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The post How AI Helped Me Shape a Memory into a Painting appeared first on Lori McNee - Fine Art & Tips.

We painted on location, soaking in the rugged beauty and golden light of late summer in Big Sky Country. (Check out my IG Reel below of me painting on location).

 

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The weekend opened on Friday, September 5th, with a warm reception and sale where collectors mingled with the artists while enjoying delicious refreshments. (See IG Reel below)

 

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The following day brought the excitement of a Quick Finish Event as our guests watched while we completed new paintings on the spot, followed by a drawing for purchase of the fresh works at 2:00 pm.

The energy, camaraderie, and creativity that filled the gallery that weekend truly embodied the spirit of the Wild Women.

The exhibition continues to hang at Illume Gallery into October 2025, and we invite you to experience the beauty of the West through the eyes of these talented Wild Women:

Elizabeth Robbins · Cindy Baron · Kim Lordier · Lori McNee · Romona Youngquist · Shanna Kunz · Stephanie Marzella · Suzie Baker

If you’re in Montana this fall, make sure to stop by Philipsburg—you won’t want to miss it!

Before wrapping up, I’d love to share a special post by my dear friend and fellow Wild Woman, Kim Fancher Lordier. Her beautiful reflection, “Grit, Grace & Gratitude,” captures the heart and spirit of our Montana adventure — the camaraderie, the challenges, and the joy of painting the West together. Read Kim’s story here.

PS. Here’s a fun day at work in Montana!

 

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This home studio was originally a bedroom, but it’s now more than just four walls! It’s a special place where inspiration flows freely, and it’s where I’ve filmed many of my online art courses. From plein air paintings hanging on the walls to the handy studio storage and custom wall easels, every inch of this space supports my work as a fine artist and art educator.

Tap to watch the reel:

 

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Whether you’re a fellow artist, a collector, or simply curious about what goes on behind the scenes, I hope this art studio tour inspires you with ideas, like my workstation, storage racks, and more, for setting up your own studio.

If you’d like to learn more about how I work—or join me for an online course—you’ll find everything at art.lorimcnee.com.

Let me know what you’d love to see next… and remember, the best easel is the one that gets you out there painting!

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