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Online Painting Lesson

Order of Operations

with Joshua Been

$50.00USD

Enter the mind of master artist Joshua Been along California's inspiring coastline.

Learn why using an efficient 'order of operations' for various subjects is vital to improving both your painting skills and the joy that you get from each painting.

This lesson is for every artist who wants to paint in a fresh painterly style while understanding the key elements of value, shapes and edges and how they describe form, light and viewpoint.

Step-by-step guide

Follow along away from the screen — this lesson comes with a printable step-by-step chapter and an interactive guide you can read online.

Download the step-by-step PDF guide Read the interactive guide →

Learn About

  • Designing with limited values
  • The importance of preliminary sketches
  • Creating real depth with value
  • The anatomy of light and form
  • What is the viewer looking for?
  • Simplifying a complex scene
  • Finding the most efficient order of operations
  • Being more descriptive with form structure

When does the lesson start?

Whenever you’re ready! The lesson is available online any time, and your access to the lesson never expires.

How long is this lesson available to me?

As long as you need! Your access never expires, so you can come back again and again.

Can I download this video?

Sorry, no you can’t download the video. This is to avoid piracy. You’ll always be able to view the video on this site though.

Course Info

  • Oil or Acrylic
  • Beginner - Advanced
  • 73 Minute Online Video
  • Unlimited Access
  • Full self critique system
  • Bonus resources, photos
  • 100% Moneyback Guarantee

Teacher

Joshua Been, born in 1974, had no shortage of outdoor adventures that cultivated his appreciation for the natural world. Drawing since he could manage a pencil, he was captivated by animation and cartooning. After graduation, Been relocated to the Los Angeles area where he worked for several years in the entertainment industry as a Character Animator and Visual Development Artist. Cartoon Network, and Disney TV were some of the studios where he found work. It wasn’t long, however, before Been craved a more liberating artform, and enrolled in some figure painting classes at the California Art Institute. He now lives and paints in Salida, a place known as the “Heart of the Rockies” and teaches workshops throughout the US.

Joshua Been
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Joshua Been
Meet your teacher

Joshua Been

Joshua Been, born in 1974, had no shortage of outdoor adventures that cultivated his appreciation for the natural world. Drawing since he could manage a pencil, he was captivated by animation and cartooning. This interest remained with him throughout high school and an active duty enlistment in the US Army.

Been then went on to pursue his BA in Fine Art at Fort Lewis College in Durango, Colorado. As a Magna Cum Laude graduate from this small liberal arts college, Been found interest in more than just art classes. He was active in theatre and performing arts, while studying Earth Sciences as well. This interdisciplinary foundation is evident in the intricacies and truthful fascination of his landscape as well as his figurative work.

After graduation, Been relocated to the Los Angeles area where he worked for several years in the entertainment industry as a Character Animator and Visual Development Artist. Cartoon Network, and Disney TV were some of the studios where he found work. It wasn’t long, however, before Been craved a more liberating artform, and enrolled in some figure painting classes at the California Art Institute.

While simplifying his life in order to pursue the more nomadic life of a painter, Been moved back to his native land in Colorado. For a short time in order to get his feet on the ground in CO, Been taught art and design to inmates at the Buena Vista Correctional Facility. He now lives and paints in Salida, a place known as the “Heart of the Rockies” and teaches workshops throughout the US.

 

More Info

Joshua's Lessons: https://mypaintingclub.com/teacher/joshua-been

Joshua's Website: http://www.joshuabeen.com

Richard Robinson

I had the good fortune to meet Joshua in 2019 while painting along the Californian Coast. I was impressed by the sheer depth of his skill in both painting and teaching. I love his creative entrepreneurial spirit and recommend every painterly painter to learn from his teaching.

Richard Robinson

Teacher and student paintings

Teacher Painting

Value Sketch

Teacher Painting

Value Sketch

Teacher Painting

Teacher Painting

Teacher Painting

Teacher Painting

Garapatta

Teacher Painting

Garapatta

Resource Photo

Teacher Painting

Resource Photo

Bridge 12 x 24

Student Painting

Bridge 12 x 24

Artist: Darla Calhoon

Garapatta painted by Genevieve Reinke, Oil on Paper, 40x30 cm

Student Painting

Garapatta painted by Genevieve Reinke, Oil on Paper, 40x30 cm

Artist: Genevieve Reinke

Sketch for Serenity

Student Painting

Sketch for Serenity

Artist: Laurena Beirnes

Serenity

Student Painting

Serenity

Artist: Laurena Beirnes

The Keel cliffs at Achill by Mairo Piroue

Student Painting

The Keel cliffs at Achill by Mairo Piroue

This piece has a lot of corrects, but not a lot of BANG. Looks like a great spot to paint, and upon first discovery this, or something like this, would also likely be my first go at it. This critique will be great reasoning for returning to a spot time and time again to see it in all the ways that it shines. So, while this is a fine piece for many reasons, and has many areas of stellar rendering, it has a few things as well that are hindering its performance. The mountains all are of similar height. Even if they look just like this, vary them more. The one most left, take it off the top of the canvas, for instance. That might be enough. Doing this just made the whole cove feel more intimate, deep, yet ponderous. I must say, the wave sparkles, and brings life into this piece, and the whole painting could be zoomed in on just it. That's what I mean by returning to a place and painting the finer points of the area, as opposed to this, what is the entirety of the inlet. Perfectly ok, to do this, but is a overview of the experience, a broad-brush of the subject. There's another painting zooming in on where the water meets the land on the far left. Another where you've chosen to really pop that spire out from the cliffs on the left. All of those are worthy compositions, where sky is not mandatory at all. A great piece overall. Cheers.

Along Hwy 1 by Nancy Newton

Student Painting

Along Hwy 1 by Nancy Newton

The linear perspective and atmospheric perspective are both showing a high level of understanding. Great job with the foreground having the highest saturation in color, this really is effective in bringing it forward in the painting. The middle ground, the land just across the bridge may be exaggerated slightly in this regard, it could go more saturated and have slightly more contrast in the light and shadow, thus anchoring it more solidly in the middle. The background is wonderful beyond this overlap. In the foreground the shadows in the rocks could be darker, and this would pull it even more strongly forward. These are slight tweaks to your already solid understanding of this concept of atmospheric perspective. The next stage for you to concentrate on is edges. I'm seeing most of your edges as too same or similar across the painting. This is actually a great foundation for exploration while the painting is wet. On your next session, get it to this point, then try out one or two super sharp edges in your area of focus. Then try softening edges where there are similar values overlapping similar values. Just as in all of the other foundational Visual Language Elements, it's not one edge that does anything, but a relationship of all edges painting wide. To have sharp, there must be examples of soft, and vice versa. Cheers!!!

Garapatta, oil, canvas, 30 cm x 60 cm by Elena Sokolova

Student Painting

Garapatta, oil, canvas, 30 cm x 60 cm by Elena Sokolova

You've done an amazing job with the colors/values, and the shapes are also quite effective in selling the illusion of space. The thing you should be working on in your work is edges. There needs to be more variety in the relative sharpness or softness in this poetic visual language element. The most effective one in your piece is where the orange iceplant overlaps the dark cliffs below the bridge, but it's sharp where it needs to be softer and soft where it should be the sharpest. Where the lit sides of the rocky spires of the foreground overlap the dark cliffs, the edges need to be sharpest, as this is a very rigid material. Where the iceplant overlaps the darker cliffs, the edge should be firm but softer than the rock overlap edge. Where the shadow of the rocks in the foreground overlap the dark cliffs, is an opportunity to be a lost edge. Deliberately losing the edge all together gives a painting an arty feel which makes people want to give you money. They can't help themselves. It also gives the viewer amazing insights as to the material nature of what is overlapping what, helping the read, and adding to the poetry.  Cheers, and very well done!!

On the Salmon River, Idaho by Nancy Sands

Student Painting

On the Salmon River, Idaho by Nancy Sands

This is my type of painting. I've had the Salmon River on my bucket list of stuff to float and paint for years. Great sense of space due to effective rendering of the atmospheric and linear perspective. The distant water looks great, where it is smoother and more reflective. It looses its watery effect as it gets closer due to overworking it a bit. With water often less is more. A layered rendering is best, and for this reason requires some forethought. Just as in the video, I set things up, then do the white water, white caps, or surf last. Look for a slight gradation across the surface, a green to deeper green, or blue to deeper blue, keeping the gradation slight, but obvious. Then place white caps etc. on top of these, and be careful to not place them everywhere, but place them in very specific places to help describe the banks, or rocks, or other information. Let none be in there that are unnecessary. This is how to edit with INTENTION. Think this out at length while in the process. Where the water meets the land is one of the most important elements in paintings like this, so this information should be spelled out very well for the viewer, as this is what they look for. This is extremely well done here, so cheers to that!!

Coastal Drive by Laurena Beirnes

Student Painting

Coastal Drive by Laurena Beirnes

 Great feel for the perspectives, both linear and atmospheric. Each layer of distant terrain ought to have it's own distinguished value/color relationships, even if you are pushing it. By pushing it, I mean making room between the values for more relationships. This is a fairly complicated idea, but once you put it into practice a few times it becomes more second nature. There are choices that are specific to each problem, but to get that middle ground terrain to read a bit better, you'll need to create relationships in those values that distinguish it from the really far and from the more close. At the moment, the values there are almost indistinguishable from the distance, and the foreground elements are much darker, popping them forward. In this case, you'll want to darken the middle terrain values, both light and shadow elements, so they have more contrast than the background, but not as much as the foreground. CHEERS!!

Path by Oliver Hatton

Student Painting

Path by Oliver Hatton

Great piece full of subtlety. These kind of pieces where the lighting is diffused, overcast skies, fluorescent lights, etc. are a hard sell where I'm from because people love their sunshine. You've done a great job in the feeling of space due to the shape awareness, and understanding of linear and atmospheric perspectives. Truthfully, I don't have a lot of suggestions, but a pitfall in paintings like this is a lack of truly dark darks, and exploiting any and all opportunities to lose and find edges between shapes of similar value. Punch a couple darks in there behind those lighter trees on the left and right, and play up the lost and found edges along their trunks. Doing this is so arty, and poetic. I think that will take this piece over the top!! CHEERS!!

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Product Reviews

I really enjoyed this. Joshua Been's order of operations for different subjects was logical and helpful. The California inspiration was beautiful.
Carlos Rivera
I really enjoyed this. This helped me think about efficient painting processes.
Lila Moreau
Loved this one! Understanding why order matters improved my workflow.
Amir Patel
Concise, yet thorough demo of the thought process of painting on location. The picture-in-picture edits which show the canvas, the scene and sometimes the mixing palette were very helpful. This instruction is an excellent addition to just a few of the lessons in Joshua Been's small, but deep book on visual language.
Veda Lewis
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