Plein Air Painting in Watercolor
Plein air painting, or painting on location outdoors, can be both challenging and exhilarating.
The results are fresher looking than paintings done in a studio.
Organizing your supplies ahead of time will make the plein air experience much more enjoyable! My favorite watercolors to bring along are Aureolin Yellow, Gamboge, Cadmium Red, Rose Madder Genuine, Red Rose Deep, Viridian Green, Cobalt Blue, and Ultramarine Blue.
Also include your own favorites.
My watercolor brushes range from a #3 to a 2 inch flat brush, for applying washes to large areas, such as the sky.
Include three to four sizes in between, and remember to bring a brush holder.
Make sure to have a plastic portable palette with lid, and a water container with lid, as well as two gallons of water.
My paper preference is 140 lb.
cold-pressed Arches watercolor paper.
A board (I use a 2'X3' piece of masonite) to clip your paper to is also needed.
You will want to pack four clips, a portable easel, plenty of paper towel, spray bottle and a plastic bag for trash.
Pencils and a sketch pad will be needed also for planning of your painting's composition and values.
A tripod or small folding table to hold your supplies is essential.
You may want to wear a hat or visor, and sunglasses to cut down on glare.
Snacks, and bug spray are I must for me, not to mention a stool or chair! I have found it's better to be well prepared than to be missing something, especially if it's a long way home.
Once you have arrived at your location and found a subject you like, begin by making two or three "thumbnail" pencil sketches, being sure to state your values clearly.
(Values are your lights and darks.
Three to four shades between white and your darkest dark are enough.
These quick drawings will guide you as you are painting.
) This is the time to clarify your composition as well.
These drawings are quick and spontaneous and should measure about 3" or 4" square.
After you've completed your thumbnails choose the one you like the best, then set up your equipment.
Now you are ready to paint.
Set up your work station so you are not looking directly into the sun.
Clip your paper to your board in preparation for sudden gusts of wind and keep your thumbnail sketch handy.
Remember when painting with watercolor, to leave the white paper where your whites will go, then sketch your subject matter onto your watercolor paper.
It is helpful to spray the back of your paper with water before painting.
This will keep it from curling up when the front becomes wet.
The background is where you will start your painting.
Sometimes an underpainting is done to certain areas of a watercolor.
An example of this is a warm mix of Gamboge with Rose Madder Genuine.
Apply this with your two inch wet brush to a large area (such as the sky.
) After this dries, paint Cobalt Blue over this.
Use large confident brushstrokes without painting back and forth over the same area.
This will keep your painting from appearing overworked.
The warm underpainting will shine through the cooler blue, giving the sky much more interest.
By the time you have reached this point you will notice the light is constantly changing.
This is when your thumbnail sketch will be very helpful in keeping your painting on track! Remember to refer to your sketch often.
Next paint your middle ground.
Don't fill in the details yet; just get the colors and values in place.
This can present a challenge as the paint dries quickly outside (although very humid weather prolongs the drying time.
) This is something you will become accustomed to, the more plein air painting you do.
If for instance, you are painting a boat in the harbor, get the basic shapes and colors in place.
Save the white of the paper where you have planned your whites.
Concentrate on placing the lights and shadows, using your thumbnail as your guide.
As you begin your foreground, make sure there is something there to differentiate it from the middle ground.
This can be done by adding something which may, or may not, actually be there.
Examples of this might be a person, tree, seagull, etc..
) Again just get your colors and values defined.
Once your background, middle ground, and foreground have been painted you may begin filling in the details; the name on the boat, the detail on the flag, the eyes on the bird.
You will have a clean fresh painting, unlike anything painted indoors, and hopefully you will have enjoyed the spontaneity of plein air painting! One suggestion before I end, I would like to share with you: When you return to your studio, dampen the back of your painting with water, then press between two boards (I use the smooth sides of two pieces of masonite).
Place some heavy objects such as books, on the top piece of masonite and leave overnight.
I use five plastic gallon jugs filled with cement to weight it down.
In the morning your painting will be completely flat, and you can admire your work, while recalling the pleasure creating it gave you.
The results are fresher looking than paintings done in a studio.
Organizing your supplies ahead of time will make the plein air experience much more enjoyable! My favorite watercolors to bring along are Aureolin Yellow, Gamboge, Cadmium Red, Rose Madder Genuine, Red Rose Deep, Viridian Green, Cobalt Blue, and Ultramarine Blue.
Also include your own favorites.
My watercolor brushes range from a #3 to a 2 inch flat brush, for applying washes to large areas, such as the sky.
Include three to four sizes in between, and remember to bring a brush holder.
Make sure to have a plastic portable palette with lid, and a water container with lid, as well as two gallons of water.
My paper preference is 140 lb.
cold-pressed Arches watercolor paper.
A board (I use a 2'X3' piece of masonite) to clip your paper to is also needed.
You will want to pack four clips, a portable easel, plenty of paper towel, spray bottle and a plastic bag for trash.
Pencils and a sketch pad will be needed also for planning of your painting's composition and values.
A tripod or small folding table to hold your supplies is essential.
You may want to wear a hat or visor, and sunglasses to cut down on glare.
Snacks, and bug spray are I must for me, not to mention a stool or chair! I have found it's better to be well prepared than to be missing something, especially if it's a long way home.
Once you have arrived at your location and found a subject you like, begin by making two or three "thumbnail" pencil sketches, being sure to state your values clearly.
(Values are your lights and darks.
Three to four shades between white and your darkest dark are enough.
These quick drawings will guide you as you are painting.
) This is the time to clarify your composition as well.
These drawings are quick and spontaneous and should measure about 3" or 4" square.
After you've completed your thumbnails choose the one you like the best, then set up your equipment.
Now you are ready to paint.
Set up your work station so you are not looking directly into the sun.
Clip your paper to your board in preparation for sudden gusts of wind and keep your thumbnail sketch handy.
Remember when painting with watercolor, to leave the white paper where your whites will go, then sketch your subject matter onto your watercolor paper.
It is helpful to spray the back of your paper with water before painting.
This will keep it from curling up when the front becomes wet.
The background is where you will start your painting.
Sometimes an underpainting is done to certain areas of a watercolor.
An example of this is a warm mix of Gamboge with Rose Madder Genuine.
Apply this with your two inch wet brush to a large area (such as the sky.
) After this dries, paint Cobalt Blue over this.
Use large confident brushstrokes without painting back and forth over the same area.
This will keep your painting from appearing overworked.
The warm underpainting will shine through the cooler blue, giving the sky much more interest.
By the time you have reached this point you will notice the light is constantly changing.
This is when your thumbnail sketch will be very helpful in keeping your painting on track! Remember to refer to your sketch often.
Next paint your middle ground.
Don't fill in the details yet; just get the colors and values in place.
This can present a challenge as the paint dries quickly outside (although very humid weather prolongs the drying time.
) This is something you will become accustomed to, the more plein air painting you do.
If for instance, you are painting a boat in the harbor, get the basic shapes and colors in place.
Save the white of the paper where you have planned your whites.
Concentrate on placing the lights and shadows, using your thumbnail as your guide.
As you begin your foreground, make sure there is something there to differentiate it from the middle ground.
This can be done by adding something which may, or may not, actually be there.
Examples of this might be a person, tree, seagull, etc..
) Again just get your colors and values defined.
Once your background, middle ground, and foreground have been painted you may begin filling in the details; the name on the boat, the detail on the flag, the eyes on the bird.
You will have a clean fresh painting, unlike anything painted indoors, and hopefully you will have enjoyed the spontaneity of plein air painting! One suggestion before I end, I would like to share with you: When you return to your studio, dampen the back of your painting with water, then press between two boards (I use the smooth sides of two pieces of masonite).
Place some heavy objects such as books, on the top piece of masonite and leave overnight.
I use five plastic gallon jugs filled with cement to weight it down.
In the morning your painting will be completely flat, and you can admire your work, while recalling the pleasure creating it gave you.
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