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Vanderhorst Plantation / The 17th Fairway / Wharf at Carrabelle

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The Vanderhorst Plantation   
Kiawah, South Carolina

This program was filmed in Kiawah, South Carolina during a teaching workshop. Roger's subject is the 100 year old tree covered drive leading to the plantation. Attention is paid to the light and shadows across the road ranging from the warm lights of the sun to the cool shadows that sculpt their way through the soft ruts of the drive. The owner gives Sarah a tour of the lovingly restored plantation house built by a Dutch family who raised indigo and cotton.

The 17th Fairway       
Ponte Vedra, Florida

Painted on location at TPC Sawgrass just after the PGA tour, Roger's subject is the famous 17th hole located on a small island. An underpainting of Burnt Sienna helps to create the warmth of the underlying grass upon which bright shades of green are applied. Sarah interviews golf sports expert and broadcaster Bob Bubka regarding the popular and highly competitive sport.

The Wharf at Carrabelle       
Carrabelle, Florida

Early one morning while the sun was still low, Roger painted on location
capturing the calm waters and pale light of the sky. Colorful accents were emphasized in the adjacent buildings roof and windows adding life to the scene contrasting with the soft greens of the background and harmonizing with the yellow sky on the horizon. Detailed texture is added to the rocks and seawall bringing that area of the painting forward. Sarah boards the unique Governor Stone, an 1877 Gulf Coast Schooner designated a National Historic Museum piece and later walks through the downtown.

Tiger Point Marina / Brunswicks Waterfront / The Yorkshire Terrier

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Tiger Point Marina    
Fernandina Beach, Florida

This marsh and boat yard scene was painted on location with acrylics. First, a careful drawing was made of the sailboats in the background and then the paints were applied using primary colors and a few earth tones. Sarah speaks with the owner of the marina and boatyard.

 

Brunswick's Waterfront     
Brunswick, Georgia

Roger begins by laying out the composition with charcoal and demonstrates the use of transparent colors and a very limited palette of red, yellow, blue plus white. Achieving the proper look of the ellipses in the tower is explained. Roger finishes the painting in the studio making the necessary color changes and adding small details. Sarah and her little dog Mic tour the waterfront to see where during World War II, sixteen thousand men and women worked to build 99 steel Liberty Ships.
The Yorkshire Terrier    
St. Augustine, Florida

Starting with a toned board of Burnt Sienna, Roger demonstrates a quick and effective technique for creating lifelike animal hair by using loose but carefully placed brush strokes. Sarah visits a veterinarian and talks with her about the advantages of adopting a rescue animal.

South Haven Lighthouse - Special edition

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South Haven Lighthouse        
South Haven, Michigan

This is a 38 minute special edition program with more features than the PBS television version allows due to time constraints. Roger explains issues of perspective regarding the walkway and an easy method for making beautifully realistic rocks and pebbles on the beach. Sarah visits the Michigan Maritime Museum and tours the Friends Good Will sloop.




 


The Diesel Locomotive / The Old Drilling Rig / Iron Ore Docks

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The Diesel Locomotive         
Hendersonville, North Carolina


Roger uses oils on canvas to paint a powerful image of an aging diesel railroad locomotive focusing primarily on the details of the bright yellow steps and heavy front wheels. Attention is paid to the subtle differences between the close values of the subject and how to achieve the look by using a limited palette. Sarah visits the Apple Valley Model Railroad Club housed in the old Hendersonville, NC train depot. Club members show the trains in operation and explain the intricate layout that fills the historic station making it lively once again.
The Old Drilling Rig               
Butte, Montana

Roger finds a weather worn drilling truck and sets up his easel to begin painting on location at the "World Museum of Mining". A solid drawing is complete and partial painting begun before the rain starts. Roger continues the process back in his studio using reference photographs to focus on color and light on the old vehicle an easy but effective techniques are applied to give the rusty surface a convincing look. Sarah explores one of the world's "most productive copper mines". She hears about old time mining days from a retired miner and enters one of the tunnels with a guide to experience what it was like to work by candlelight.

Iron Ore Docks                     
Two Harbors, Minnesota


Roger sets up his easel by the shores of Lake Superior and uses acrylics to paint a massive iron ore dock that is back lit by the sun. Composition and large masses and shapes are dealt with to create a strong image of the rusty structure. Sarah visits the town of Two Harbors and the historic Edna G. tugboat.
 


The Sheep Wagon / Devils Tower / The Button Factory

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The Sheep Wagon     
Devils Tower, Wyoming

Roger sets up his easel on location and pays particular attention to the perspective while he paints. The demonstration covers such subjects as the importance of placing lights against darks and reflected light. Sarah goes inside the wagon for a closer look and talks with the owner about the sparse amenities and what life was like tending sheep.

Devils Tower     
Devils Tower, Wyoming


Painted at the foot of Devils Tower, Roger uses acrylics first laying out the composition with a brush then blocks in the large patterns of the
surrounding hillside. He includes a sizeable tree in the foreground and talks about the use of transparent paints to get rich dark colors. Sarah meets Frank Sanders, an experienced rock climber and guide who has scaled the tower over 2000 times
.

The Button Factory     
Bellevue, Iowa

Setting up his easel on the bank of the Mississippi River, Roger works quickly to get the long shadows on the side of the old button factory in the quickly fading evening light using warm and cool colors over a toned board of Burnt Sienna. With fast drying acrylics Roger is able to layer the colors on the wall to create a stippled look of old cement. Sarah visits Lock Number 12 and talks with the Lock Master about its operation and the importance of the barge traffic on the river.

The Round Barn / Lake Michigan / Mountain Valley

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The Round Barn    
Lakeview, Ohio

Painting on location, Roger sets up his easel on the lawn and uses acrylics to paint a large round barn on a 4000 acre popcorn farm. Roger shows by example how perspective works on round objects by showing ovals at different heights during the painting. Sarah tours the meticulously constructed wooden barn built in 1908 by the present owners great grandfather. She learns about the practicality of a round structure set up for feeding cows.

Lake Michigan    
South Haven, Michigan

With acrylics Roger paints on location using a limited palette of red, yellow, blue and a few earth colors. Roger talks about the difficulties of painting outside but also the rewards it offers. Simplicity is the key feature of this painting using large shapes to begin with then refining those large shapes with just enough details to make it interesting. Sarah visits the Michigan Maritime Museum and gets a first hand tour of a Gill Net Fishing Boat used on the great lakes.
Mountain Valley    
Valle Crucis, North Carolina

In this painting, dealing with atmosphere and composition is the main focus. Roger sets up his easel on location by a mountain stream and uses only red, yellow and blue with black and white to create all the rich greens he needs. The constantly changing patches of sunlight on the landscape caused by the moving clouds gives an opportunity to choose which patterns on the sloping field and water might work best in the composition. Roger puts the finishing touches on the painting in the studio. Sarah visits the original Mast General Store in Valle Crucis with its exceptional variety of goods from the past.

Independence Mine / The TiPi / The Saddle

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Independence Mine      
Victor, Colorado


A trip to Victor, Colorado feels like a step back in time. Sarah visits a mercantile where the owners keep the fascinating history alive by describing the mining town and what it was like living there in the 1800's. Roger uses oils to paint the wooden head frame built over the historic gold mine. He begins with a toned board of Burnt Sienna, building the painting starting with darks and working towards the lighter areas. Roger takes ques from the landscape but changes the colors and values to better create a mood of strength.


The TiPi      
Hahns Peak Village, Colorado

Roger paints on location and demonstrates the all important blocking in process. The three primary colors are used in this painting, red, yellow, and blue plus white demonstrating how a variety of greens and other colors can be achieved with a limited palette. Later, Sarah and Roger board a train and ride up front with the engineer along the Royal Gorge Route leaving from Cañon City, Colorado.
The Saddle     
Pagosa Springs, Colorado


Roger sets up a western saddle in the bright mid-day sun and uses acrylics to paint the many shapes and textures that make up this subject. He begins with a toned board of Burnt Sienna and sketches the saddle using a brush, then using very dark values builds the composition later applying the lighter tones as the painting progresses. A soft out of focus background is used that will not detract from the saddle. Last of all the details and highlights are added. Sarah takes to horseback and tours the 80 acre tree ranch.

The Schooner / The Long Driveway / Mulberry Farm

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The Schooner       
Grand Marais, Minnesota


Sarah and Roger visit Grand Marais on Lake Superior where Sarah visits the North House Folk School to learn about the 50' schooner Hjørdis. Back in the studio, Roger works in acrylics to create an 18x24" painting of the boat along the rocky shore demonstrating a technique that will quickly and easily achieve a pebbled and pitted look on the rocks, finishing the painting with the lighthouse and sloop in the background.
The Long Driveway      
Roane, Indiana / Interview in Kimberly, Wisconsin

Roger paints on location using oils on a Masonite board toned with Burnt Sienna to create warmth in the painting as the green grass is applied over it. Dark tones are painted first then Roger lightens the composition as the painting progresses using the lightest tones for the road. Sarah visits the Jack Richeson Company where they manufacture oil paints from organic pigments milled and mixed in carefully monitored batches.

Mulberry Farm        
Hilbert, Wisconsin


Setting up his easel in a pasture, Roger lays in the basic shapes of a large diary barn, building the painting by layering quick drying acrylics to create the textures of the barn wood and grassy areas. Sarah talks with the owner about the friendly animals and educational tours for school children.


Wupatki Pueblo / Red Ryder / The Corn Crib

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Wupatki Pueblo       
Near Flagstaff, Arizona

Filmed in Arizona at the Wupatki National Monument, Roger uses acrylics to paint the 900 year old pueblo. He explains in depth the variations of cool and warm colors on the walls and surrounding rocks made by the facets of reflected light. Sarah talks with a young Hopi man who describes the history of the ruins and reminisces about his rich family heritage as they stroll through the pueblo.
Red Ryder       
Pagosa Springs, Colorado

Roger paints an old wooden school house on the property of artist Fred Harmon where a museum of Mr. Harmons work is located. This is where the famous Red Ryder comic was created. Many of Fred's fine western paintings are on display along with the very first Red Ryder BB gun. Sarah talks with Fred Harmon's son about his long career and tours the studio. Roger sets up his easel and uses acrylics to paint the brightly lit school house in the morning sun focusing on the use of light and shade to demonstrate the contrasting values bringing out certain areas of the painting.

The Corn Crib      
Mills River, North Carolina

Working on location, Roger begins the painting by sketching out the composition with a broad brush on a Masonite board using a limited palette of blues and earth colors, Burnt Sienna, Burnt Umber, and Yellow Ochre. Roger explains the importance of laying in the darks and working towards the lights.


Souix Moccasins / Antique Saloon Lantern / Rota the Lion

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Souix Moccasins      
Hulett, Wyoming


Sarah visits the studio and museum of artist Bob Coronato where he shows her his fabulous collection of rare Indian and Cowboy artifacts. Roger uses a reference photograph taken at the museum to paint a pair of Souix moccasins. Beginning with thin washes and then building up the image, he gives the look of leather with the beads being added last.
Antique Saloon Lantern       
Hulett, Wyoming

Artist Bob Coronato explains the complex process of creating etchings on plates and shows Sarah examples of his incredibly intricate work. While at Bob's studio Roger spots an antique saloon lantern and decides to paint a similar one in his studio as a still life. Proper lighting is a challenge so Roger demonstrates the importance of the set up in order to bring out subtle reflections of the glass chimney and brass base getting the most out of the subject.
Rota the Lion       
St. Augustine, Florida

Roger sets up his easel in the Lightner Museum after hours and paints the taxidermist lion, "Rota". She was given to Winston Churchill as a cub during World War II and became a mascot. Sarah talks with the curator about the lion and several other items in the museum. Finding it difficult to paint among the display cases, Roger starts the painting again in his studio demonstrating a technique with brushwork that gives the fur a lifelike look.

Alligator Creek / The Shed / Heritage Village

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Alligator Creek      
Clearwater, Florida

Painting a small waterfall and surrounding landscape at Roger's studio is the subject of this demonstration. He uses an "S" curve to accentuate an interesting composition which leads the eye to the foreground. Darks and patterns of algae on the rocks are refined and the white water added last. Roger gives a tour and history of his antique wooden railroad caboose.

The Shed          
Brooksville, Florida

Roger begins this painting by laying in very dark colors and values then builds the painting up using lighter and more intense colors finally putting on the bright green patches of sunlit grass. Roger describes his method for painting the rusty roof by first applying the blue color of the sky and then layering the rust colors over it to make a convincing look. Negative areas of sky are placed in the trees and finally small details are added in the shed and surrounding area.
Heritage Village        
Largo, Florida


Roger shows the advantages and use of a projector to place an image onto the canvas. He then paints on location inside the historic old house. With the fast changing light through the window, Roger gets a first hand look at the subtle color changes to the walls and surrounding area caused by light reflecting off different objects in the room, something a camera cannot always pick up. Roger takes the painting back to the studio for finishing touches. Sarah walks around the village looking at the historic buildings filled with period correct furnishings and views the antique vehicles on display.

The Torreon / Santa Fe / OZ

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The Torreon       
Lincoln, New Mexico

Filmed in Lincoln, New Mexico where the infamous Lincoln County War took place, Sarah gets a first hand look at the courthouse where Billy the Kid was held prisoner, escaped and shot two deputies. On a chilly morning, Roger uses acrylics to paint the nearby Torreon used by early Spanish settlers for protection against Apache raids. Roger demonstrates the use of warm and cool colors along with subtle values to create the round form.
Santa Fe      
Santa Fe, New Mexico


Artist David Darrow joins Roger in the Santa Fe countryside where they set up to paint a landscape. David uses oils while Roger uses acrylics discussing the difference in the two mediums and how they each approach the subject with composition and color. Sarah visits one of the well known galleries on Canyon Road and talks with the owner about Western art.

OZ        
Wamego, Kansas

Roger uses oils to paint a 100 year old feed store beside the railroad tracks in a small Kansas town. The harsh light of the midday sky makes this painting demonstration a good study in color, values, and contrast. Sarah visits the nearby Wizard of Oz Museum with the curator and walks through the delightful collection of memorabilia including a pair of ruby slippers.

Caladesi Island / The Garden / Blue Ridge Parkway

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Caladesi Island    
Clearwater, Florida

A beach scene on a grey day at Caladesi Island off the coast of Clearwater is where Roger sets up his easel to paint. Using acrylics, he focuses on the subtle colors of the sky in relation to the surrounding trees and beach to create harmony within the painting. Warmth in the painting was created by starting with a Burnt Sienna toned board, then using only the primary colors of red, yellow, and blue Roger shows how to mix the various shades. Arriving by boat with a friend, Sarah and Roger explore the island looking at birds, shells, and the beach on the Gulf-of-Mexico.
The Garden     
Flat Rock, North Carolina


Late one evening, Roger paints a garden scene at the Highlands Lake Inn in Flat Rock, North Carolina. He sketches the subject with a brush and begins with dark passages of the painting using large areas and shapes to define the forms. The sweeping perspective of the garden adds to the composition directing the eye to the distant house. Roger finishes the painting in his studio where he describes the importance of adding the finishing touches.

Blue Ridge Parkway     
North Carolina

Stopping at a viewpoint, Roger sets up his easel on the Blue Ridge Parkway to paint a distant landscape including a foreground of flowers. He begins by blocking in the large shapes and big patterns to establish the composition and then layers the variations of patterns to make up the numerous hills and valleys. Most of the texture in the painting is reserved for the foreground where intense colors are used.

The Hudson River / Grandfather's House / Clapboard Island

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The Hudson River          Rhinebeck, New York
Artist James Gurney, author of several books inlcuding Dinotopia, joins Roger as they set up their easels on the bank of the Hudson to paint a classic river scene, Jim using oils and Roger using acrylics. The two artists discuss topics of color and light as the quickly changing weather and approaching lightning storm moves in. Sarah interviews Jim about his best selling books and the imaginative creations of his illustrations and paintings.
Grandfather's House       
Ipswich, Massachusetts


Filmed in Ipswich, Roger paints a hundred year old house, walled garden, and tower where Sarah's grandparents and their six children once lived. Sarah reminisces about spending time there at the fairyland like estate which her grandfather designed and built. Roger begins his painting by sketching the scene with charcoal giving him the desired composition. He uses acrylics with an underpainting of Burnt Sienna adding warmth to the painting while he talks about the importance of values and color.

Clapboard Island        
Clapboard Island, Maine

Roger and Sarah spend several days on an 80 acre private island in Maine. Roger uses acrylics to paint a colorful scene with bouys that have been washed ashore. Light and shadow are important parts of this painting as well as perspective regarding the wooden steps. The painting is finished with the addition of wild flowers growing nearby. Sarah talks with the owner of the old style "summer cottage" which has seventeen fireplaces, numerous rooms and beautiful gardens.

Roosevelt & Rufus / Wooden Boat School / The Watering Can

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Roosevelt and Rufus      
St. Augustine, Florida


Roger sets up his easel at a stable in St. Augustine and uses acrylics to paint "Rufus " the carriage horse while the handler kindly tries to keep the horse still. This is a difficult painting scenario at best, however there is much to be learned from working on location and observing a subject first hand. Later Roger continues the portrait in his studio where a more refined and finished look can be achieved. Sarah takes a ride in a carriage through the historic sections of St. Augustine with Roosevelt, the guide and driver, who shares the rich history of the city.
Wooden Boat School       
Brooklin, Maine

Setting up his easel on a rather wet morning, Roger uses acrylics to paint the rocky shoreline by the school in the soft overcast light. The painting begins with a toned board of Burnt Sienna giving the piece an overall warm look. A limited palette is used to simplify the process of painting on location. Sarah tours the famous Wooden Boat School where students plan and build a variety of fabulous wooden boats of varying sizes.
The Watering Can       
St. George Penninsula, Maine


Artist Gary Akers joins Roger as they paint the same subject of a watering can with a background of daisys, Gary using watercolors and Roger using a limited palette of oils. Upon returning to his studio, Roger starts a new painting with a different watering can using acrylics on illustration board. Sarah visits Gary's gallery and talks with the prolific artist about his subject matter and method of painting using both watercolors and egg tempera.

The Guitar Maker / The Ojibwe Teepee / The Pumpkin

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The Guitar Maker
Tryon, North Carolina

Sarah visits Jay Lichty, the fine instrument maker who explains the steps in creating his hand made guitars and ukuleles. Using a reference photo and acrylics, Roger paints a portrait of the guitar maker working from a photo that was backlit helping to simplify details and also gives the finished piece a more dramatic look. He begins with thin washes of color and then builds up the many details as the painting nears completion.

The Ojibwe Teepee
Grand Portage, Minnesota

Roger begins this demonstration in the field
and reworks an entirely new painting of the
same subject back in his studio where he
simplifies and refines the subject even further. Sarah helps with the repair of an authentic Ojibwe Teepee built with large sheets of birch bark while visiting the Grand Portage National Monument.
The Pumpkin
Hilbert, Wisconsin

Roger uses a toned Masonite board of Burnt Sienna to create the simple shapes and texture in this painting. Begun on location, he can observe first hand the morning light then shows how to
make the texture on the wooden door and
rock wall look authentic. Later the painting
is finished in the studio. Sarah talks with a
farmer about the varieties and challenges
of growing acres of pumpkins on the
family farm.

Apalachicola / The Forgotten Coast / Marsh at Franklin County

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Apalachicola        
Apalachicola, Florida

Filmed in the panhandle of Florida, Roger paints an old fishing boat on location in the bright midday sun. The boat is in disrepair but has lots of character adding to its charm. Roger describes and demonstrates a technique for accurately drawing the sweeping lines of a boat using a figure eight. Sarah talks with a resident who grew up in the charming waterfront village and learns about early tourism and the fishing trade.
The Forgotten Coast       
East Point, Florida

Roger paints an old fishing shack in the small village of Eastpoint, just below Apalachicola. Starting with a Masonite board toned with Burnt Sienna, charcoal is used to block in the large areas of the composition. Attention is paid to the subtle colors of the early morning sky and the importance of placing lights against darks to create a strong image. East Point is where 90% of all oysters are harvested in Florida. Sarah visits one of the few remaining oyster processing plants and also nearby St. George Island to see the St. George Lighthouse.

Marsh at Franklin County      
Carabelle, Florida


A marsh scene is the subject of this program. Roger sets up his easel on the second floor of a marina for an interesting vantage point. He explains the importance of painting the large shapes first before any details are added. Roger also talks about creating a sense of atmosphere and depth as the landscape recedes into the distance. Sarah goes out on a charter boat to nearby Dog Island and talks with the skipper about the natural beauty of the area, including waterways, marshes, shell hunting and fishing.

The Great Egret / The Dairy Cow / The Sea Turtle

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The Great Egret
St. Augustine, Florida

Roger uses oils on a 24x36" linen canvas first
toning the background with a variety of greens to create an underpainting that will match the colors in his reference photograph. Working from dark to light, the trunk of the palm tree is painted. Roger demonstrates the placement of negative areas or "sky holes" seen through the palm fronds. Then he finishes the egret and the loosely applied brushwork on the foreground foliage. Sarah visits a naturalist who takes her on a boat tour to see a variety of birds and explains the importance of the estuaries.

The Dairy Cow
West Jefferson, North Carolina

Backlighting is the main lesson in this demonstration. A wash of acrylics is used to lay in the basic shapes of the cow then slowly built up from there with more color. A dark background is applied to give the backlit subject additional contrast. Roger finishes the painting by adding subtle color shifts to the face of the animal. Sarah visits a butchery, cheese factory and several art galleries in the attractive downtown.

The Sea Turtle
St. Augustine, Florida

Roger talks about the importance of organizing palette space, then using acrylics paints a turtle beginning with the dark areas of the shell. A small brush and a light touch are used for the details around the turtles head and eyes. The background is intentionally kept soft to further highlight the turtle.
Sarah visits a sea turtle rescue facility and talks with the coordinator about the rescue and rehabilitation of turtles by dedicated volunteers and veterinarians.


Cross Creek / Lanier Mansion / St. Marks Lighthouse

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Cross Creek
Cross Creek, Florida

This demonstration was filmed on the property of the famous author Marjorie Kinnan Rawlings in Cross Creek, Florida. Roger deals with light and shadow as it falls across the planes of the house. Painted on a toned board of Burnt Sienna he uses a limited palette of primary colors. First basic shapes are blocked in then Roger shows how to build each layer creating subtle differences within the larger shapes. Small details are added to the weathered siding, clothes line, and shrubs to finish. Sarah tours the Rawlings home with the park ranger and sees where "The Yearling" was written.

Lanier Mansion
Madison, Indiana

This garden scene was painted on location in acrylics using three main color areas of orange, green, and purple. Sarah visits the 1844 Greek Revival mansion with its elegantly furnished rooms and unusual spiral staircase then takes a carriage tour of the town.

St. Marks Lighthouse
St. Marks, Florida

This is an enjoyable lesson about painting a lighthouse on location. Roger breaks down the composition into thirds and explains the importance of starting with a good layout. Some muted colors are used expressly so the brighter tones of the blue water, the red roof, and the white lighthouse will have more impact by comparison. Later Roger puts the finishing touches to the painting back in his studio. Sarah finds one of those quaint and vanishing general stores that carries everything you need in the tiny town of St. Marks.


Amish Farm / Mississippi River / St. Augustine Lighthouse

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The Amish Farm
Shipshewana, Indiana

Painted in the heart of Amish country, it's not always easy to work on location as Roger finds out whan a large dust devil sweeps through the area blowing easels and equipment into the air. Despite the setbacks the painting continues. Roger talks about the influences of warm and cool lights on the side of the barn with the ever changing light. The importance of adding a few simple strokes of intense yellow-greens on the fields are explained which complete the painting. Sarah visits a large outdoor market in Shipshewana where she talks with an Amish man about their lifestyle.

Mississippi River
Natchez, Mississippi

In the early morning hours, Roger sets up his easel on the banks of the Mississippi where the panoramic format of the painting is chosen to fit the vista. The focus is on creating atmosphere and a feeling of distance in the piece and how to achieve it in this simple yet challenging subject. Sarah walks around Natchez, spends time in Memphis on the famous Beal Street and later tours the 16 miles of roads at the Vicksburg National Military Park.

St. Augustine Lighthouse
St. Augustine, Florida

Roger paints on location using acrylics and a limited palette of primary colors. He shows how to use tape to make a clean edge on the lighthouse in order to blend the light and shadows without interfering with the background sky. Roger also explains a technique for achieving the onvincing texture on the buildings shingles. Sarah walks up the 219 steps to the top of the lighthouse and goes inside the huge Fresnel lens.


Portland Head Lighthouse / Cape Porpoise / Split Rock Lighthouse

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Portland Head Lighthouse
Portland, Maine

Roger sets up his easel on the rocky cliff by the lighthouse and works on a small study of the scene. Sarah takes a closer look at the lighthouse and talks with the director about its history. Back in his studio, Roger creates a 24x36" painting demonstrating how he prepares a canvas using modeling paste and shows a technique with acrylics for creating interesting rock textures.

Cape Porpoise
Cape Porpoise, Maine

During the early morning light, Roger uses acrylics while sitting on the harbor dock to capture the light and reflections in the harbor. The painting is finished back in his studio where he demonstrates the use of color and value to create the distant look of trees and houses along the shore. Sarah talks with a
lobersterman who has just come back from checking his traps.

Split Rock Lighthouse
Two Harbors, Minnesota

The lighthouse keeper takes Sarah on a tour telling her about its history and demonstrating the unique clock work mechanism of the Fresnel lens. Roger sketches on location and then back in his studio uses acrylics to paint on an 18x24" canvas. First he blocks in the large patterns creating a good foundation on which to lay in the details of the lighthouse and flowers.


Burning Man-Center Camp / The Burning Man / Tavares Boat Show

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Burning Man - Center Camp
Black Rock City, Nevada

Filmed in Nevada during the famous Burning Man Festival, Roger paints a scene inside the crowded center camp tent putting the focus on light and quickly changing color as the early morning sun glows through the canvas. Surrounded by activity, he works quickly to capture figures in motion. Sarah rides on the fantastic "Neverwas Haul" vehicle and talks with the designer about the festival and his incredible two story Jules Verne looking mode of transportation.

Burning Man
Black Rock City, Nevada

In this episode Roger works on a landscape painting of the huge wooden Burning Man sculpture which will be burned at the end of the nine day festival. His focus is on the early morning light and how to deal with color as it recedes into the distant desert. Sarah interviews an artistic group who created a large flame throwing stainless steel structure for the event representing neurons in sculptural form.

Tavares Boat Show
Tavares, Florida

Painted on location at an antique boat show, Roger uses acrylics in the quickly fading light of day to create a classic boat on the lake. The importance of selectively choosing what to put in and what to leave out of a painting is demonstrated. Sarah tours the boat show and gets to ride in an amphibious car on the road and into the lake.


El Galeón / Shore Bird Murals / Church on the Hill

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El Galeón       
St. Augustine, Florida

For this 36x36" painting, Roger uses oils and begins by showing an easy method for toning the canvas. Light, shadow, and reflections give the ship its form. Roger demonstrates and shares his oservations about painting convincing water. Finally the rigging details are added to finish the piece. Sarah tours the ship and talks with "Captain Pedro Menéndez" about life aboard the 170 foot vessel in 1565.
Shore Bird Murals        
St. Augustine, Florida

Roger paints twenty-four 4x8' murals of shore birds and demonstrates the use of rollers and sponge brushes to help speed the work along. Commercial sign paints are used for longevity with over exaggerated colors to help the paintings "read" well from a distance. Sarah visits the rookery at the St. Augustine Alligator Farm, a favorite location for nesting birds safely perched in the treetops above the alligators.
Church on the Hill       
Philipsburg, Montana

Sarah and Roger visit the quaint downtown area in the historic mining town of Philipsburg, Montana. Roger finds a scene he wants to paint later using a photograph back in his studio. He demonstrates in oils on a 24x30" canvas the step by step process of working from dark to light and finishes by adding details to the houses and church on the hill.

Red Dairy Barn - parts 1 & 2  / The Pottery Studio

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The Red Dairy Barn - Part 1
Wahland, Tennessee

This plein air painting from the foothills of the Smoky Mountains begins with a layout and composition sketched in charcoal then the painting builds in
layers with acrylics. Roger shows how to adjust colors and values to create a distant look for the mountains with brighter colors coming into play in the foreground.

The Red Dairy Barn - Part 2
Wahland, Tennessee

The program continues in the field and then Roger finishes the painting in the studio with small details of cattle, fences and the minor adjustments that all paintings require. Transparent and opaque colors are discussed and how they effect the painting. Sarah takes a tour of the farm nestled in the foothills of the Smoky Mountains.

The Pottery Studio
Zirconia, North Carolina

Roger uses acrylics to paint the studio of potter David Vorhees in the mountains of North Carolina. The plein air painting is then completed in the studio for its finishing touches. Sarah watches David work on the pottery wheel and talks with him about his
wood fired kiln, later seeing the finished pottery emerge after firing.


Gloucester Dory Boats / The McKenry Farm / The Nassau Lighthouse

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Gloucester Dory Boats
Gloucester, Massachusetts

This program features a studio session with Roger as he paints three colorful dory boats in oils. Light and shadow are discussed along with corresponding reflections on the water. Color is what creates the impact of this painting so the intensity is kept brilliant for the most part however subtle shades are introduced to keep the overall painting vibrant. Sarah walks along the waterfront visiting the Fisherman's Memorial in the town square of Gloucester.

The McKenry Farm
Wahland, Tennessee

Painted on location in acrylics on a farm in Tennessee, Roger works with color and light starting with large areas and shapes establishing the foundation of the piece and later adds details to the barns. The distant atmosphere of the mountains is kept soft to create the linear perspective necessary to the painting.

The Nassau Lighthouse
Nassau, Bahamas

We travel to the Bahamas where Sarah meets a dedicated street artist and buys a painting. Back in the studio Roger completes a painting of the lighthouse working from a photograph. Particular attention is paid to the light and shadows created from the warmth of the sun and the coolness of the sky on the shadow side of the ighthouse. The dark foliage and trees play an important part by
giving the painting the harsh contrast it needs on such a bright sunny day.


Matanzas Waterfront / Sand Point Lighthouse / The Beaver Dam

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Matanzas Waterfront
St. Augustine, Florida

Roger demonstrates a method for composing different subjects of kayaks and children onto a beach scene in photoshop to get just the right look before painting begins. A limited palette of primary colors is used and a technique for quickly creating the pebbles on the beach is explored. Sarah takes an Eco Tour in a kayak through the estuaries around St. Augustine learning the importance of the grasses, mangroves, and birds that inhabit the shoreline.

Sand Point Lighthouse
Escanaba, Michigan

In the early morning hours, Roger captures the soft look of light in this painting. Blocking in the large forms first to establish a mood, Roger continues to build layer upon layer with smaller details of beach rocks and brightly colored flowers. Sarah tours the lighthouse built in 1867 with its rich history and cozy interior.

The Beaver Dam
Grand Marais, Minnesota

Water, reflections, and contrasting forms are the focus of this demonstration. Roger paints on location starting with large basic shapes and refining them as he goes. Since acrylics dry quickly, the layering and glazing process is made easy in the field unlike oils which take time to dry between coats. Sarah tours the artistic town and watches the dragon boat races being held in the harbor.


Roses of the Biltmore / The Honey Jar / Apple Time

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Roses of the Biltmore
Asheville, North Carolina

Roger paints a decorative flower design on a plywood table top for their motor home. The demonstration includes a method for creating leaves with one stroke of the brush. The roses are quickly and effectively created using a smiliair technique. Sarah visits the Biltmore Estate Rose Garden and talks with the rosarian who cares for more than 200 varieties of roses.

The Honey Jar
Travelers Rest, South Carolina

Sarah visits a bee keeper and learns how the
honey gets from the bee to the jar, from harvesting to extracting it from the hive. Roger sets up a jar of honey with a light behind it in order to get the most out of the colors and reflections. The painting begins using a two color background of yellow and blue to help convey the glowing look of honey.

Apple Time
Hendersonville, North Carolina

Roger sets up a specially lit box to help explain the complex facets of color, shadows and reflected light on two apples. Sarah visits an apple orchard, picks apples off the tree and talks with the owner about the many tasty varieties grown on the property.


Costa Maya / Gill Net Fishing Boat / The Carousel Horse

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Costa Maya
Costa Maya, Mexico

On their cruise, Sarah and Roger visit the small town of Mahahual with its streets made of white sand. Traveling with the bare minimum of materials, Roger sets up on a beach chair demonstrating how painting is manageable even in challenging situations. This is a lesson in observation and how to paint the dynamics of breaking waves spilling over the shoreline rocks.

Gill Net Fishing Boat
Cornucopia, Wisconsin

Roger uses easily correctable charcoal to lay in the subject. The importance of grouping objects together in the composition is demonstrated. Only after the large masses of color are established is the detail applied. Since Roger is using acrylics and drying time is fast, features such as the portholes and rusty areas on the hull are applied without the fear of colors becoming muddy. Sarah visits a family run fishery where they process Whitefish caught fresh from Lake Superior.

The Carousel Horse
Burlington, Colorado

Sarah rides the fabulous antique carousel featuring 46 large hand-carved and painted wooden animals crafted in 1905. Roger uses acrylics back in his studio creating a soft background that will keep the horse in sharp focus. Photographs don't always translate well into paintings so changes are made from the reference photo of the flower on the horse to better suit the painting.


Fatty's Antique Auto - Parts 1&2  / 1931 Cord

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Fatty's Antique Auto - Part 1
Amelia Island, Florida

In his studio, Roger uses acrylics to paint a 30x40" canvas of an antique car once owned by famous silent screen star Fatty Arbuckle. Starting with a toned background of Burnt Umber, the basic lay in of the numerous car parts is painted one at a time until most of the canvas is covered. Sarah talks with the cars current owner about the history of the car and the habits and personality of Fatty Arbuckle during the Concours d'Elegance.

Fatty's Antique Auto - Part 2
Amelia Island, Florida

Keeping the background simple without distracting from the automobile, Roger continues work on the painting and starts the process of adding details. He discusses the challenges and solutions of adding the look of chrome with its many reflections. At the Concours d'Elegance in Amelia Island, Sarah talks with NFL football coach Dick Vermeil about his beautifully restored 1920's racing car.

1931 Cord
Auburn, Indiana

Roger and Sarah visit the Auburn, Cord, Dusenberg Museum where Roger sets up his easel in the museum to paint a fabulous antique automobile. The basic colors of the car are applied to the Masonite panel before any reflections and details are added. As the painting progresses, Roger describes the process of achieving realistic looking reflections from the chrome headlights and spoke wheels. The museum director takes Sarah on a tour of the museum where many of the Auburn's were designed, engineered, and sold years ago.


Locomotive 2152 / The Hay Bales / The Withlacoochee River

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Locomotive 2152
New Haven, Kentucky

Roger and Sarah visit the Kentucky Railway Museum. Roger uses acrylics to paint a rusty antique locomotive with a limited palette of red, yellow, blue and Burnt Sienna. He eliminates the background to keep the focus on the textures of the engine and builds the painting by covering the area of the train with Burnt Sienna to give a base coat from which to build. Finishing touches are added in the studio. Sarah gets a first hand look in the train shop at the enormous locomotive once used by Teddy Roosevelt during his campaign for the presidency.

The Hay Bales
Bowling Green, Kentucky

Sketching the layout with a brush, Roger takes his acrylics to create this scene with simple basic shapes. He shows how to block in the major areas and then adds the refining details of light and shadow. Sarah meets with a stained glass artist in his studio. He takes her through the many steps of cutting glass and leading windows.

The Withlacoochee River
Yankeetown, Florida

Floating along the river, Roger and Sarah put down the anchor at a picturesque spot where Roger decides to paint. Using only three colors, red, yellow, and blue plus white, the amount of color decisions is simplified. Too many colors often become more confusing than helpful when painting outdoors. On their way back to home port, Sarah observes the wildlife including colorful roseate spoonbills, osprey, and alligators on the riverbank.


The Badlands / Cascade Falls / The Ingwersen Barn

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The Badlands          Badlands National Park, South Dakota
Sarah and Roger drive through the rugged and rocky landscape of Badlands National Park where an ancient sea once covered what is now the Great Plains. In the studio, Roger uses acrylics to paint a stark landscape and after completing it decides to include sunflowers seen on their drive creating a more interesting foreground.
Cascade Falls       
Grand Marais, Minnesota

Sarah talks with artist Neil Sherman in his Grand Marais studio about his passion for plein air painting even during the snowy winter months. Neil and Roger paint at the Cascade River State Park. Roger creates a 18x24" canvas of the falls back in his Florida studio demonstrating the techniques he uses for the rocks and rushing water.

The Ingwersen Barn      
Sister Bay, Wisconsin


The studio of well know portrait artist, James Ingwersen is visited. Sarah talks to him about his long career and love of portraiture. Roger sets up his easel in the backyard and paints Jim's barn and silo demonstrating the need to work quickly to keep up with the fading afternoon light. The painting is finished in Roger's studio where small details and refinements are made.

Summer Roses / The Bird House / Emert's Cove

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Summer Roses
Clapboard Island, Maine

Oils were chosen for this studio painting. The cool light reflected from the sky gives the fence its soft shade of blue which contrasts favorably with the warm pink of the roses. A dark background is placed in the painting to help highlight the pale roses. Roger uses an impressionistic approach to this painting and shows how to suggest the flowers without the need to create lots of detail. Sarah visits a charming old rose garden on Clapboard Island.

The Bird House
Zirconia, North Carolina

Using acrylics, Roger paints a bird house on a fence post explaining techniques for creating texture on the light and shadow sides of the wood. For contrast, dark leaves were added to the light side of the bird house and conversely light leaves were added on the
dark side. The painting is started in the field and finished in the studio where Roger adds a small bird and other details. Sarah visits the mountain studio of Rolf Holmquist, builder of artistic bird houses.

Emert's Cove
Pittman Center, Tennessee

Painted on location with acrylics, this landscape focuses on the subject of contrasting and intensity of color in relation to distance. More intense colors are placed in the foreground and recede to less intense colors in the background giving a sense of depth to the painting. The cattle were added in the studio to create another point of interest. Sarah enjoys a walk through the nearby covered bridge and down to the Little Pigeon River.


THE PAINT ALONG - special edition

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The Paint Along #1
Shallow Waters

During the "Paint Along" I take a painting from start to finish showing each single step along the way, not one brush stroke is left out. Subjects covered in this 70 minute program are types of brushes, setting up a color palette, composition, explanation of transparent and opaque paints. I end the demonstration by showing how to make reflections on water then varnish the finished piece.


Castillo de San Marcos / Inside Passage / Skagway

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Castillo de San Marcos
St. Augustine, Florida

Roger sets up his easel at the fort using a 24x36" linen canvas. First he blocks in the large shapes to establish values and colors. Unlike oils, the quick drying acrylics can more easily be built up with
various layers of paint creating the look of stone. Roger returns on another day to finish the large painting with accents of sunlight, details on the palms and the addition of a few figures giving it scale. Sarah talks with a park ranger about the rich history of St. Augustine and the Spanish fort built of native Coquina stone.

Inside Passage
Ketchican, Alaska

Sarah and Roger cruise to Ketchican where they visit a state park featuring huge hand hewn totem poles. Back in the studio, Roger paints a view of the Alaskan shoreline on a 24x30" linen canvas. Using oils and a limited palette of three colors, red, yellow, blue plus white, he shows how to mix all the varied shades of greens and earth tones that make up the painting.

Skagway
Skagway, Alaska

Roger works in his studio and uses oils to create an 11x14" painting of a rainy day street scene in Skagway. A brush is used to lay in the composition while explaining one point perspective and the vanishing point. Only three colors are used for the painting, red, yellow, blue plus white. Sarah boards the narrow gauge White Pass and Yukon Railroad for a steep ride up through the mountains to the Canadian border.


Sod Roofed Cabin / The Steam Tractor / Lochsa River

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Sod Roofed Cabin
Polson, Montana

Roger paints on location at the Miracle of America Museum. Using acrylics he starts by blocking out the composition with charcoal then roughly blocking in the large shapes first for the paintings foundation,
an essential step before refinement and details are added. Roger finishes the painting back in his studio with the addition of a couple of hounds and machinery for interest. The founder of the museum shows Sarah the inside of the cabin built in 1898 with its dirt floor and furnishings from a previous century.

The Steam Tractor
Polson, Montana

Sarah takes an exciting ride on a huge antique steam tractor at the Miracle of America Museum and talks with the founder about the uses and mechanics of steam engines. Roger paints the tractor back in his studio using oils and shows step by step all the brush strokes involved in creating details and a weathered look for the old metal farm vehicle.

Lochsa River
Lolo Pass, Idaho

Sarah and Roger spend time by the Lochsa River in Idaho where in 1805 the explorers Lewis and Clark traveled. Sarah and their dog Mic take time in the campground to visit other campers who travel with pets. Roger uses oils to paint in the late afternoon hours with quickly changing shadows before the sun sets. Trying to place darks over lights in oils can create chalky results so Roger demonstrates working with dark tones and following up with lighter ones. He puts the finishing touches on the painting back in his studio.


The Biltmore Gardens / Mountain Lake - Part 1 & 2

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The Biltmore Gardens
Asheville, North Carolina

Roger uses oils on a 20x30" linen canvas and shows how to efficiently layout brushes, paints and palette. The composition is layed in using a brush and followed by blocking in the large shapes. The painting is left to dry before the details of the trellis and flowers are added. Sarah talks with the gardener about the Biltmore Estate's four acre walled garden and the seasonal plantings that take place. Later she walks through the conservatory looking at orchids and tropical plants.

Mountain Lake - Part 1
Lake Lure, North Carolina

Setting up his easel on a dock by the lake, Roger captures the light and mood of the day. He focuses on how to simplify the subject yet still achieve convincing reflections in the water. Values of light and dark in the painting are adjusted to create the look and harmony of the piece. Sarah joins friends on a pontoon boat to explore the clear mountain lake.

Mountain Lake - Part 2
Lake Lure, North Carolina

Roger continues with the painting by adding distant reflections on the lake and refining the boat house with shadows and accent colors. Back in the studio, Roger puts finishing touches on the painting including some negative areas in the trees. Sarah visits Chimney Rock State Park to see incredible views of Lake Lure from 2200 feet.


St. Thomas Courtyard - Extended version

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St. Thomas Courtyard
St. Thomas, Virgin Islands

On a cruise to the Virgin Islands Roger spots a courtyard scene he wants to paint back in his studio. This extended session explores how to choose and simplify a complex photograph by eliminating unwanted obstacles exposing the artistic vision within. Only three colors plus white are used to create the painting simplifying the process even further. The use of one point perspective and shadow placement is discussed in depth in this 50 minute demonstration. Sarah takes you through lively downtown Charlotte Amalie filled with vacationers.



The Yellow House / The Shrimp Boat / The White Rose

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The Yellow House
Cayman Islands

Sarah and Roger visit the Cayman Islands and in the early morning hours, Roger sets up his easel on the beach. Using acrylics he decides on the layout for a pleasing composition after several changes. By carefully choosing the colors, Roger creates a light and airy tropical look for the yellow
cottage against the brilliant blue Caribbean sky. Sarah tours the downtown shopping area and boards a 16th century style frigate ship for a pirate adventure.

The Shrimp Boat
Tarpon Springs, Florida

Roger paints two weather worn shrimp boats in Tarpon Springs, Florida demonstrating how to create the many rich textures both on wooden and metal hull boats. He also shows how to achieve the realistic looking reflections in the water. Sarah tours the unique Greek fishing village, samples a Greek salad, and boards a sponge boat to see how sponges are harvested.

The White Rose
Wilmette, Illinois

Acrylics are used in this painting of a small white rose done on location in the gardens at the Bahá'í House of Worship in Wilmette, Illinois. Roger explains the effects of color when light is passing through objects such as leaves and petals and keeps the painting loose to give a painterly look. Sarah visits the unique architecturally designed building and learns about the Bahá'í Faith.


Ponce de Leon Hotel / Dinosaur National Park / Hackberry on Rt. 66

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Ponce de Leon Hotel
St. Augustine, Florida

Roger uses oils on a linen canvas to paint a 30x30" rainy day scene. A dull grey-green undertone is applied to the canvas to help establish the mood. Much of the painting is light in tone with little color to give a sense of the rainyatmosphere. Roger finishes with details of the hotel, statue, and watery look of the walkway. Sarah visits the elegant hotel
built by Henry Flagler in 1885, now home of
Flagler College.

Dinosaur National Park
Utah and Colorado

Sarah and Roger explore an unpaved road in the park and visit the ancient Petroglyphs. Back in his studio, Roger uses acrylics to paint a stony cliff face near the entrance to the park. He uses thin washes to create texture in the finished piece.

Hackberry on Rt. 66
Hackberry, Arizona

On a 24x36" linen canvas, Roger uses oils to paint a rusted automobile they discover when visiting a roadside stop on Route 66. The painting is thinly blocked in using mostly middle tone values with lighter and darker tones placed on top. Sarah walks around the roadside museum of Americana with its soda fountain, old cars, gas pumps, signs and other mementos from the 50's era and before.


The Fly Fisherman - Part 1 & 2  /  Todd's General Store

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The Fly Fisherman - Part 1
Pisgah Forest, North Carolina

Using oils on a 30x40" linen canvas, Roger begins the painting by toning the surface with a warm tone and draws the composition using a brush. Since painting dark areas of oils over lighter tones will result in chalky looking colors, Roger first lays in all the darks before applying the details. Sarah visits a fly fisherman who demonstrates many styles of casting in the Davidson River.

The Fly Fisherman - Part 2
Pisgah Forest, North Carolina

Roger continues the painting with the addition of lighter areas in the trees and rocks. The figure on the rock is carefully drawn in place where light against dark brings out his profile. Finally the addition of warm and cool colors are painted along with lights and darks to represent varied reflections, ripples, highlights and shadows on the water. Sarah talks to an expert who shows her the art of tying the flys used in catching the elusive fish.

Todd's General Store
Todd, North Carolina

Roger sets up his easel and palette of acrylics by the side of the road to paint an early morning scene. This demonstration deals with quickly changing light, shadows, drawing, perspective, and mixing accurate colors from observation. Sarah sits on the front porch and talks with a young guitarist about his skills and listens while he plays an original composition.


Glacier National Park / Vintage Airstream / Buffalo

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Glacier National Park
Montana

Sarah and Roger visit the park and marvel at the spectacular mountain scenery and the handsome lodges including the Many Glacier Hotel where Roger photographs the subject he will paint in his studio. For this large 24x48" painting, Roger uses oil paints and discusses the importance of brush strokes along with composition, color, values, and achieving a sense of space and depth.

Vintage Airstream
Tampa, Florida

Sarah visits a large RV show and talks with the president of the Airstream Company about the features of their travel trailers. Roger uses acrylics on location to paint a vintage airstream demonstrating the importance of getting a good start by accurately drawing and then carefully observing and placing the many color variations and reflections on the aluminum siding. The trailer is further enhanced by contrasting it with the dark background of trees.

Buffalo
National Bison Refuge, Montana

Sarah and Roger travel to the National Bison Refuge, one of the oldest wildlife refuges in the nation. There they make the long one way drive through the refuge stopping to view buffalo along the way. Back in the studio, using a reference photograph from the trip, Roger chooses acrylics to paint one of the buffalo showing an easy but effective technique to represent the fur of the animal. He explains how warm and cool colors help give a sense of form to the buffalo.


Roses of the Biltmore / The Honey Jar / Apple Time

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Roses of the Biltmore
Asheville, North Carolina

Roger paints a decorative flower design on a plywood table top for their motor home. The demonstration includes a method for creating leaves with one stroke of the brush. The roses are quickly and effectively created using a smiliair technique. Sarah visits the Biltmore Estate Rose Garden and talks with the rosarian who cares for more than 200 varieties of roses.

The Honey Jar
Travelers Rest, South Carolina

Sarah visits a bee keeper and learns how the honey gets from the bee to the jar, from harvesting to extracting it from the hive. Roger sets up a jar of honey with a light behind it in order to get the most out of the colors and reflections. The painting begins using a two color background of yellow and blue to help convey the glowing look of honey.

Apple Time
Hendersonville, North Carolina

Roger sets up a specially lit box to help explain the complex facets of color, shadows and reflected light on two apples. Sarah visits an apple orchard, picks apples off the tree and talks with the owner about the many tasty varieties grown on the property.


Matanzas Waterfront / Sand Point Lighthouse / The Beaver Dam


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Matanzas Waterfront
St. Augustine, Florida

Roger demonstrates a method for composing different subjects of kayaks and children onto a beach scene in photoshop to get just the right look before painting begins. A limited palette of primary colors is used and a technique for quickly creating the pebbles on the beach is explored. Sarah takes an Eco Tour in a kayak through the estuaries around St. Augustine learning the importance of the grasses, mangroves, and birds that inhabit the shoreline.

Sand Point Lighthouse
Escanaba, Michigan

In the early morning hours, Roger captures the soft look of light in this painting. Blocking in the large forms first to establish a mood, Roger continues to build layer upon layer with smaller details of beach rocks and brightly colored flowers. Sarah tours the lighthouse built in 1867 with its rich history and cozy interior.

The Beaver Dam
Grand Marais, Minnesota

Water, reflections, and contrasting forms are the focus of this demonstration. Roger paints on location starting with large basic shapes and refining them as he goes. Since acrylics dry quickly, the layering and glazing process is made easy in the field unlike oils which take time to dry between coats. Sarah tours the artistic town and watches the dragon boat races being held in the harbor.

 

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You can also call 904-347-0561 to place your order by phone.

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