Here are a last few words of advice for Xanthippe Cleavage-Heaver on preparing her show "The Bridges of the Hudson".
By about four months out from the show you should have all twelve paintings going and a hopefully some of them are finished. Now you set them up in your studio where you can look at the lot of them. I have a shelf running the length of my studio for this purpose. I can look at a big group of paintings at once.
I learned how to do this from John Terelac about 25 years ago. He was preparing big shows for the old and now defunct Grand Central Gallery, a very important gallery at the time. I would visit him in his studio and he would have all of the pictures for a show on narrow shelves about the walls of his studio.
Because you can see the whole show, even though unfinished you can make sure they have a common "look" without being repetitive. It will be important to have variety even though the show is a series.
If I work and work on a painting I can get dulled to what it needs. So, I take one down that I think I know what to do with and work on it for a couple of hours. Then I replace it on its shelf and take down another for a few hours. This allows me to work on them "fresh" without getting tied up and spinning my wheels on one particular painting. By the time I return to a painting it is probably dry and that is a nice thing to. If I am "pushing " a painting I like to get sessions on them when they are dry. I often want to throw a unifying glaze over passages or rework an area. To do that, I want to be able to scrape the offending passage down and not have wet paint under my corrections fouling my color.
I am currently working on about eight paintings in rotation and it is a good way to speed up your production. I am faster to make corrections if I haven't worked on a painting for a few days. It is also a good idea to put them on your easel in one of the frames you have already procured and see how they look in a frame.Keep one of the frames of each size for doing this, work on it in the frame and "tune" it a little so that it looks best in the frame. Working on a picture in its frame helps you craft the entire finished product, rather than being surprised at the end by the effect of the painting in its frame.
I sometimes keep a little index card for each painting , or write on a legal pad the steps I need to take to finish each one. If I can, I will get a painter friend into the studio and we will look at the pictures together talking about what the faults of each one are. Then I will produced a checklist for each painting with the necessary corrections. I will actually follow the checklist in order crossing out teach entry as I complete it.