What did you learn after your first few trips out painting?

[cranberryartworks]

I never went far. I stayed around my cabin but I have always wanted to try far away. Right now I take 3 trips from the jeep.

I have done a lot of drawing from my Jeep. I have a drawing kit In the Jeep. I don't leave the Jeep. Normally I get a coffee and go park somewhere at a marina or something.

 

[Enyaw]

I learned I couldn’t paint and plain air was not the way to learn. There were far too many obstacles in the way. Better to learn in a controlled environment and then tackle the new obstacles of plein air. That’s my take on it anyway.

 

[Jo Castillo]

I learned to limit the amount of equipment I take. I learned to dress comfortably. Get the light down right away as it changes so fast. I use the back of our suv for shade when possible. I don’t hike anymore but still enjoy painting out. I sketch and paint from our porch and nearby.

 

[Donna T]

I learned that my paintings flopped because I tried to put in everything I saw. Simplifying masses and leaving out everything that isn’t essential will always be a challenge for me.

 

[Bongo]

Here is a free PDF download of 240 plein air tips from 40 top painters. It's free, no gimmicks, and is well worth the two clicks.

https://pleinair.tips/pleinairtips1

 

[Artyczar]

This thread is very interesting and helpful (in case I ever really get into this, which I might one day).

 

[Mississippi Hippie]

I learned the prepare for wind. Bring heavy objects to hold canvas, tarp, anything to the ground. Wear a hat. This can limit distractions and keep sun out of eyes. Go somewhere with a cool view or something. I paint at a park with a beach, the beach, and it’s the best paintings I’ve ever made. The water and sun add something not readily available indoors like temperature and activity. Use spray paints and other materials not safe for indoors.
Also bring friends, family, pets. Stay for awhile, and have a good time.

 

[Bartc]

I learned that it's only as hard as you make it.
Yes, there is weather. So you don't ever go outside otherwise? Just dress for it.
Yes, there is gear. So you carry what you need, you don't try to duplicate the art supply store that is your studio.
Yes, the light changes. So you learn to plan or sketch quickly or take a reference photo and work from those.
Yes, panoramas are mesmerizing. Vistas are not automatically great painting subjects. That's not the same as a great composition, so you learn to isolate your subject, even down to small objects. And as in all painting (not photography) you can move, eliminate or even invent parts of your subject.
Yes, your paint may dry too fast or too slow, meaning you have to choose your medium and learn to deal with it.
No, you do not have to finish your painting outdoors for it to be en plein air.
No, you don't have to agonize over a painting over and over and over for months as you might in a studio. You try to capture the freshness, not the photo.
See, that wasn't so bad, folks.
YES it is fun to paint while simultaneously enjoying all the sensations of beauty in nature. Go try it a few times; you have nothing to lose but your assumptions.

 

[cranberryartworks]

One thing I found weird. When you work with 2D pictures and dark tone is limited. Outside you see everything in 3D. Depth has a whole new meaning, and so do darks and shadows.
I would have to close ( or cover ) one eye a lot to avoid getting overwhelmed.

 

[Bongo]

Here are a few things that I've found particularly useful in an urban enviornment.

1. ideally plan where you're going to paint beforehand. Rubbernecking while you drive around looking for something is not good and wastes time. Find a spot the day(s) before. And when you find a place, also figure out where you're going to set up - parked cars, telephone poles, driveway, entrances, bus stops, and the list goes on of things that could prevent you from setting up where you'd prefer. Often you'll find just one 3-foot square spot that works. And plan where you can park for the day/time you plan to paint.

Pack as much of your gear as you can the day before and use a checklist. I have a bag that can stay open, so I can easily see and get stuff - and I always pack it the same way so I know right where everything is. I'm not all that self-conscious when I'm out, but I don't want to make a spectacle of myself either.

2. Keep your painting footprint as small and contained as possible - I try to set up against a building, or pole, or curb, etc,. so there is a clear path for people around me.

3 THere are different philosophies on palettes, some say just take three primaries and white - "you can mix any color with those" -- maybe - but do you want to spend limited palette space and time mixing -- or painting? And if you use some type of paint container, like a "palette garage" - you can have a dozen colors at your disposal without bringing a single tube of paint -- except white always bring a tube of white.

4 I found that in the city where there are so many things and activities, etc., your brain/vision edits and invents a lot of stuff. So you may think you've purveyed the scene well, but once you start painting you discover things aren't arranged or appear as you thought. Again advanced scouting and thinking when possible is always a good idea.

One thing I found weird. When you work with 2D pictures and dark tone is limited. Outside you see everything in 3D. Depth has a whole new meaning, and so do darks and shadows.
I would have to close ( or cover ) one eye a lot to avoid getting overwhelmed.

 

[MurrayG]

I learned, not to eliminate fear, but control it. I mean, trying to get it all down or fail... Meh.
I have more recently learned to switch off distractions, be selective, pack a set of pastels that could "possibly" work. Watercolours are easiest to pack.
I learnt that size matters and some of my "better" works are smaller, 9x5 or ATC
The biggest though, is realising that the eye sees differently, it's jarring to go back to the "studio". I learnt that often an easel isn't always helpful cos I push hard on the surface so plan for a spot to sit, rock, stool ....
It still freaks me out, but really like it as it makes me focus rather than get in a headspace analysing.

 

[Kyle Martin]

After all the gear problems are solved, and a painter can draw a little bit, it could be good to have a plan. Many painters have taught a lot about the importance of a good abstract design of value shapes. To me the arrangement of large shapes or puzzle pieces that make up a subject is the most important thing to consider.

a way that I might explain this to a student is:

Find a subject with good contrast of dark and light. Big shapes work the best.
1. Observe the scene in terms of value contrast. Squint your eyes. Eliminate details
2. Familiarize yourself with the scene further by recording the value contrasts by creating a value sketch on paper.
3. Pre mix your piles of paint. Value does all the work and color gets all the credit. So try your best to get the values to match your initial impression.
4. Get an accurate drawing on the canvas. Don’t move forward until you have accuracy in your drawing.
5. Block in the shadows with thinned oil paint.
6.paint the large shapes that you already decided on in the value sketch.
7. Refine the shapes by adding color variations. The color will change from one part of an ass to another, and that is what to look for.
8. Look at the painting backwards in a mirror to check for mistakes. Look at the painting g in your camera on your cellphone to look for mistakes

 

[cranberryartworks]

New system vs my old system.