Aaron Holland Fine Art

The Plein Air Survival Guide

by: Aaron Holland

Plein Air Painting…so much fun I can hardly stand it!

When I think about painting outside, I think about:
Gathering up all of the painting gear. Loading it in the car. Driving to that special location. Carrying all the gear (sometimes a mile or so) to just the right spot. Picking the best possible view of the place. Setting up the easel and putting all the paint on the palette…and then the sobering moment when I realize that I left the canvas at home on the table. What now?

What now, indeed!

I have done this more times than I care to admit, but over the years I have tried to develop a method that makes this happen less frequently, and in fact rarely happens anymore. I have put this information into a simple list, that can be referred to when you feel like you are forgetting something. Because, chances are, if you think you are forgetting something…you probably are!

My best advice to help streamline an approach to painting outside, is to find a routine and stick to it. If you can afford to, buy separate supplies that are only for painting outside. This has been the one single thing that has helped me most. Not only do I forget things less often, but I am ready to go at a moments notice. It is also far less daunting to go and paint for a couple hours when everything is already organized.

Some Thoughts Before Going Out:
Setting out your paint on the palette saves time and hassle when getting ready to paint. I recommend setting out your paint an hour or two before you leave. Oil paints will typically stay “workable” all day. If you press the oil lightly onto your palette when you are putting them on, they will stay in place even if you carry the easel on its side. If your oil paint is runny and wants to slide off the palette, try squeezing it onto a paper towel first (to absorb excess oil) and then use a palette knife to transfer it to the palette. Also, make a habit of always putting the same colors in the same place on the palette EVERY TIME! This will familiarize you with your palette, so that you will automatically reach for the right colors and you can concentrate instead on mixing and painting.

When you are setting up the paint check that you have enough paint in each tube, and restock any colors that are low. Double check that the thinner is full as well. This is a good habit to develop and is a quick way to make sure you are prepared when you go out.

Rule of Thumb:
Only take as many supplies as you can carry in ONE TRIP! If you can’t carry it, you probably don’t need it. Start with the essentials and eliminate any extra supplies you can do without. This is important if you ever plan to go anywhere that requires a walk in and out. It is also the number one way to streamline your set-up. The less complicated the better.
Try this: take your easel in one hand (or preferably over a shoulder), take a backpack or duffel bag with your supplies in it over the other shoulder, and then pick up your tripod if necessary. That is all you need to paint a picture (and your hands are still free). If you can’t fit it in that combination, you probably don’t need it.

There are basically two styles of “box” easels for painting outside:
The Pochade Box and The French Easel. I don’t use other types of easel, so I refrain from mentioning them here.

The Pochade Box w/tripod:

The French Easel:

There are reasons for differing designs, of course. The Pochade Boxes are more suitable for smaller paintings and the French Easel for larger paintings. I have both, and use them accordingly. (notice that I have put a shoulder strap on both easels- hanging from the side/back of the boxes). This makes transporting them easier.

The Pochade Box:


Pochade Boxes are great for small panels because they are so portable! A “Pochade Box” is a French term that translates as “Sketch Box”, referring to oil sketches done outside, and on location. They were designed to be portable and to carry all of the artist’s gear inside, and almost always have a built-in palette. Many Pochade Boxes are “tripod compatible”, which means they have a quick-release plate on the bottom that will clip on to a standard camera tripod. This is a great feature! It is fast, and light (most tripods are made of high-strength, lightweight aluminum).
The smallest Pochade Box I use holds panels 9×12” (with adapters to hold smaller panels), and is ideal for traveling because it takes up very little space and holds up to four wet paintings inside itself. I can put all my paint, brushes and panels inside and put it inside a duffel bag. This is good size for short trips where traveling light is the key, and especially when flying.

I also have a 12 × 16” Pochade Box which is the easel I use most often. 12 × 16” is the perfect size for me personally, as I can finish this size sketch on location in 2-3 hours. Any bigger than this, and it takes more effort just to cover the canvas, and the smaller sizes can be a too small to work comfortably sometimes. I also prefer this size because it has ample storage inside. It holds as many brushes I can carry, and (unlike the smaller version) will hold full size brushes. The smaller box requires the ends of the handles to be nipped off.

A word about tripods:
Spend the extra money, and buy a nice tripod- you won’t regret it! Look for it to hold about 12-15 pounds or more. This is important, as the weight of the box loaded with paint tubes is easily 10 lbs; It will also add stability to your set-up, and allow for slight pressure from the artist without as much movement. I opted for a tripod that can open to a span of up to 80 degrees, with an almost 6 foot wide footprint. I can paint in high wind situations if necessary. I bought this item with the intention of using it for a lifetime. So far, so good.
The “Head Stock” is often not included on the higher grade tripods. You need to get one that is adjustable. I have a “Ball Head” that swivels, but only buy the best “Ball Head” to support the required weight. Otherwise a standard head will also work fine.

If you have problems with wind, a “Rock Sack” can be mounted permanently under the tripod (see photos). It can hold a few rocks to weight down the easel while painting, and is nice for holding water bottles and snacks, etc… A little extra space is always a good idea.

The French Easel:


The French Easel is best suited for canvases 16 × 20” or larger. They hold all of the equipment inside (ie., brushes, paint, palette knife, etc…) like the Pochade box, but does not need a tripod as the legs are built in. They have a wide footprint, so are also good in a fair wind. The canvas must be transported separately, or can be clipped onto the front of the French Easel. They are a little more bulky, but very sturdy. They are the workhorse of the outdoor easel- and look like it!
This would be the most economical way to go, as they can be found online for about $75 nowadays.
The picture (above) shows a full French Easel with two “side-trays” for added work space. They fit inside under the palette for travel, and a bungee cord can hold a roll of paper towels for convenience.

Clean Up:
When I return home from painting I almost always set up my easel in a place that I can walk past it and look at it for an hour or two. This allows me to look at what I did during the day, but also to see if I made any glaring mistakes. I try to think about what the scene looked like, and compare it with what my picture looks like. This is method to help develop your visual memory. This is also a way to concentrate on those aspects of the scene that are the most important, while forgetting the unimportant.

The colors should still be on the palette and the painting is still wet, so corrections and additions are still very easy. Satisfied that the painting is at a good stopping point, this is the time to clean off your palette and brushes. Brushes should NEVER be left to dry overnight, I cannot stress this enough. If you want the brushes to last, and to keep their shape, do not allow paint to dry on the bristles.

I wash my brushes at home in a separate brush tank of Kerosene. This is a slightly stronger thinner than Mineral Spirits, but does not dry out the brushes. I never use water/soap to clean brushes. Kerosene works better than most other products (including soap) and is much less work. When you have finished, lay the brushes on their sides on a paper towel. This avoids any potential paint residue from settling in the ferrule.

Safety:
Any oil rags should be thoroughly doused with water and thrown in a metal garbage can with a lid. This should be emptied regularly. The water will help to dilute the Spirits/Kerosene, which can be combustible as it evaporates. A metal garbage can would contain any fire that might happen, though a fire would be unlikely if you follow the above recommendations.

Before you are done, may I suggest you take 5 extra minutes to pack up everything again. Replace any supplies that were depleted, so that you are ready to go at the next available moment.
When you fold up you easel and put a new canvas or panel in it, all you need to do now is “Grab and Go”!

The Plein Air Painter’s Supply Guide:

The Essentials:

• An Easel

• Paint

• Palette

• Brushes

• Paint Thinner

• Brush cleaning tank with lid

• Paper towels

• A canvas or other painting support

• A hat (so your eyes are shaded)

• A box or carrier to transport wet canvases

• Palette Knife

• Water for drinking

- note – this is a “fair weather” list. Foul weather clothing is not included.

Non-Essentials:

• A portable chair

• A backpack or duffel bag (to transport supplies)

• A plastic bag (to carry paint rags)

• A multi-tool (for opening stuck tubes and emergencies)

• Baby Wipes (work great for removing paint from hands and clothes)

• A portable umbrella

• Bug Spray

• Sunscreen

• A spare rain jacket and/or sweatshirt

• Sunglasses

• A Mahlstick or “rest” (I use a heavy duty TV antenna.)

• Camera

• Viewfinder

- JOhn, thank you for the great photo!

Below is a demonstration of a Plein Air technique that I use for painting in one session:

 

Step 1: The Drawing

Begin by drawing an outline of the major elements in the scene. I used a thinned mixture of Ivory Black and Permanent Alizarin. Begin to make notes of any and all shadows; in this picture the sun was high so there were only a few prominent shadow shapes.

 

 

 

Step 2: The Wash

Using thinned (somewhat transparent) paint I cover the canvas. I want the painting to look like the finished picture as soon as possible! I work in simple, flat masses of color. Often-times I will work with the flat side of a china brush in a scubbing motion (against the bristles) to apply paint. When the canvas is covered I begin to paint opaquely.

 

 

 

Step 3: Thick Paint.

I now begin to add opaque paint ( once the canvas is covered), and at the same time I continue to develop more specific shapes and colors.

 

 

Step 4: Finish

Develop details, refine shapes, build up thicker paint in the lights. More blended color in the background, more broken color in the forground.

 

"Gill"s Rock" oil on linen 8 × 10" HOLLAND