I'm a beginner when it comes to plein air painting. I've been doing it for about 6 years and have made it an important part of my artistic growth now for about the last 4 years — but I'm still very much a beginner.
With that in mind, I have picked up some very useful tips on making plein air painting easier. OK, maybe not easier, but certainly a tad less frustrating. Here are my top 10 tips...
1) If you're just starting out, start out small.
I dived in headfirst and initially tried painting on larger canvases — DON'T! You're just going to be spending time filling in space and not bettering your painting skills. Time is short in doing plein air work, so until you feel you can do it with authority, I'd recommend not going larger than 11x14 (that's inches not feet, and that's pushing it).
2) Time goes by fast so get the important stuff down.
And by that I mean the shadows. Shadows are the most dominate element in defining form and they change quickly. Record them on your canvas first and that way you won't end up chasing them later. Also, start with the darkest shadow or element in the scene. It will allow you to judge all of your values back from there.
3) Setup your colors on your pallet the same way every time you go out.
There's no time to lose, including hunting for your colors. If you lay them out the same each time you paint en plein air, eventually you'll barely have to look down to see where they are — saving you precious time.
4) Wipe that messy brush after every stroke.
It's very easy to get mud when painting en plein air because the urgency of it tends to override things you might normally do in the studio, like keeping your brush from contaminating colors. To avoid this, I've made it a habit to wipe my brush after every stroke.
5) Plein air painting is about an impression.
Hence the term impressionist. Don't waste your time with unnecessary details. Edit the scene down to its most important elements in value, color and shape and record it with your brush. Initially, think of plein air painting as sketching, except with a brush and color rather than a pencil. As you progress, you'll get better at telling the story with less detail and more economy of brushwork.
6) Stop looking for the perfect location and just paint.
I've wasted entire days trying to find a spot that "inspires" me. In the beginning, painting en plein air should be about learning, not about producing a masterwork. You can paint anything you see, so just stop stalling and pick something. If you have a difficult time separating out an area to paint from what you see in front of you, get a viewfinder. It'll help you frame-out an area to paint.
7) Try to not setup with direct sunlight on your pallet or canvas.
I realize this isn't always possible. Sometimes you can use an umbrella if shade is unavailable (though, I've found an umbrella can be difficult to work with if a stiff wind sends the umbrella and the easel it's attached to, flying). Harsh sunlight on your canvas and pallet will cause you to misjudge your values, so when you take your painting indoors, it can look much too dark. If you must paint in direct sunlight, mix your values lighter to compensate.
8) Morning and evening light moves fast. Want to add a bit more time?
Paint the scene backlit. Shadows won't appear to change as quickly when you're painting a scene that is backlit. You also won't have to worry as much about setting up in the shade because your canvas will shade itself and your pallet (at least in a typical plein air setup).
9) Don't forget the practical items.
It's easy to remember your easel, pallet, brushes and colors (well, for some anyway). But don't forget things like grocery bags, paper towels, a hat, bug spray, etc. Make a checklist before you go out and have it handy from then on to make sure you aren't missing anything. Or better yet, setup a backpack with everything all packed and ready to go on a moments notice.
10) Stop being afraid of doing it.
Yes, it's tough. Yes, you might be embarrassed if someone sees. Yes, you likely won't feel good about any of the paintings you produce for a long while. But please, take my word for it and understand that it can be fun, rewarding and relaxing — that's right, I said relaxing. Use it as an opportunity to not only better your skills as a painter, but to connect with nature and enjoy the sounds, the smells and the solitude (if that's what relaxes you) that can come with painting en plein air.
Happy painting!
Showing posts with label Art Instruction. Show all posts
Showing posts with label Art Instruction. Show all posts
Monday, August 2, 2010
Monday, July 5, 2010
Oil Painting Workshop, October 2010
In conjunction with the Gilbert Visual Art League, I will be conducting a weekend oil painting workshop October 22nd — 24th, 2010 in Gilbert, Arizona. The workshop will cover techniques for improving your paintings such as brushwork, using the palette knife, edges, composition, color, value and much, much more. All levels of painters are welcome and each attendee will receive personal instruction tailored to their particular skill level. On the final day of the workshop, attendees will be painting en plein air in the Superstition Mountains!Space is limited to 15 attendees with a minimum of 8. The workshop fee is $125.00 and does not include materials and supplies. Sign-up deadline is October 15th, 2010. You may contact me at theartist@dustinvanwechel.com with questions or for information to reserve your place!
Click here to download the workshop schedule and materials list.
Friday, July 2, 2010
Art Tip #2: Want to Loosen Up?
Do you often find yourself a slave to detail — filling in every tiny bit of information the image has to offer, leaving nothing for the viewer to interpret on their own? Do you often render yourself right out of your own work by creating great reproductions of photographs rather than your own artistic interpretation? Does this compulsion frustrate you? I used to have the same issue with my work and I found some fairly effective ways of helping me get past my compulsion to over-render.
Do At Least One Quick-Painting Exercise A Day
For example, take a small substrate, preferably no larger than 8"x10", and the largest brush you're comfortable with, and do a complete painting with no more than 25 strokes. Think carefully about each stroke before you apply it, making sure it will have the maximum effectiveness in communicating your subject.
Place A Table Between You And Your Easel
This will help keep you from getting too close to your painting and will also allow you to easily, and regularly, step back from your work and carefully consider the whole of the painting. Seeing the painting as a whole, rather than getting too focused on detailing a small area at a time, will help you to better judge what details are unnecessary and what information must be included. I use a 2'x4' table placed between me and my easel where my palette, painting supplies and materials are kept as I work.
Hold Your Brushes No Closer Than Halfway Down The Shaft
A brush should not be held like a pencil. Use the brush as an extension of your arm and flourish your wrist as you paint. Control may be difficult to obtain initially, but with practice, you'll likely find this manner of holding the brush provides just the right combination of control and freedom.
Squint To Soften Your Focus
Squinting while you observe your subject is an integral part of drawing and painting. It reduces the subject to its most basic forms of shape, value and color giving the artist a simpler basis from which to accurately depict his or her subject. But, squinting can also be used as a tool in limiting unnecessary details. So if you're prone to over-rendering, squint (or if you're practically blind like me, try painting without your glasses) and you'll be forced to only see the most dominate and pronounced details.
Paint From Life
Work from life as often as possible. Plein air painting, for example, is a great way to help you loosen up. It forces the artist to paint quickly and accurately, while also honing his or her ability to edit a scene and create dynamic compositions on the spot and under pressure.
About My Own Journey In ‘Loosening’ Up
When I first began trying to ‘loosen up’, and attempted these suggestions for myself, it was a tremendous blow to my fragile artist’s ego. These methods of painting were — and still are — the most difficult I’ve ever attempted as an artist. They made me realize how limited my skills as an artist were (especially the plein air painting). It was challenging (to say the least) to come to terms with my own shortcomings as an artist, when in the studio I felt as though I knew exactly what I was doing. The fact is, I didn’t. My understanding of painting was at best, narrow and I can’t stress enough to all of you reading this how liberating it eventually was to choose to confront my own ignorance and lack of skill and attempt to learn and grow as an artist. I hope those of you out there that would love to paint more loosely but feel it’s “just not the way you paint”, will give it a shot. Don't let the frustration that can come from attempting to better your work by utilizing methods you’re not comfortable with stop you from achieving what you want as an artist.
If anyone has any tricks they've used to help them loosen up, please post them! I’m always excited to try new methods in my journey to better my work.
Do At Least One Quick-Painting Exercise A Day
For example, take a small substrate, preferably no larger than 8"x10", and the largest brush you're comfortable with, and do a complete painting with no more than 25 strokes. Think carefully about each stroke before you apply it, making sure it will have the maximum effectiveness in communicating your subject.
Place A Table Between You And Your Easel
This will help keep you from getting too close to your painting and will also allow you to easily, and regularly, step back from your work and carefully consider the whole of the painting. Seeing the painting as a whole, rather than getting too focused on detailing a small area at a time, will help you to better judge what details are unnecessary and what information must be included. I use a 2'x4' table placed between me and my easel where my palette, painting supplies and materials are kept as I work.
Hold Your Brushes No Closer Than Halfway Down The Shaft
A brush should not be held like a pencil. Use the brush as an extension of your arm and flourish your wrist as you paint. Control may be difficult to obtain initially, but with practice, you'll likely find this manner of holding the brush provides just the right combination of control and freedom.
Squint To Soften Your Focus
Squinting while you observe your subject is an integral part of drawing and painting. It reduces the subject to its most basic forms of shape, value and color giving the artist a simpler basis from which to accurately depict his or her subject. But, squinting can also be used as a tool in limiting unnecessary details. So if you're prone to over-rendering, squint (or if you're practically blind like me, try painting without your glasses) and you'll be forced to only see the most dominate and pronounced details.
Paint From Life
Work from life as often as possible. Plein air painting, for example, is a great way to help you loosen up. It forces the artist to paint quickly and accurately, while also honing his or her ability to edit a scene and create dynamic compositions on the spot and under pressure.
About My Own Journey In ‘Loosening’ Up
When I first began trying to ‘loosen up’, and attempted these suggestions for myself, it was a tremendous blow to my fragile artist’s ego. These methods of painting were — and still are — the most difficult I’ve ever attempted as an artist. They made me realize how limited my skills as an artist were (especially the plein air painting). It was challenging (to say the least) to come to terms with my own shortcomings as an artist, when in the studio I felt as though I knew exactly what I was doing. The fact is, I didn’t. My understanding of painting was at best, narrow and I can’t stress enough to all of you reading this how liberating it eventually was to choose to confront my own ignorance and lack of skill and attempt to learn and grow as an artist. I hope those of you out there that would love to paint more loosely but feel it’s “just not the way you paint”, will give it a shot. Don't let the frustration that can come from attempting to better your work by utilizing methods you’re not comfortable with stop you from achieving what you want as an artist.
If anyone has any tricks they've used to help them loosen up, please post them! I’m always excited to try new methods in my journey to better my work.
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