Steven McDonald finds that the baylands outside of San Francisco offer a superb place to observe and paint clouds. Here’s what he’s learned there.
“We all recognize the importance of editing, but that is just one of many ways to deal with simplification,” says Keiko Tanabe. “Other than deciding what to leave in and what to leave out, what else can we do?”
Pennsylvania artist Beth Bathe uses water-mixable oils, which have some of the characteristics of oils, acrylics, and watercolors. See why you may want to use these paints and avoid oil solvents.
Follow these tips from Plein Air magazine Editor-in-Chief Kelly Kane to discover five ways to increase your network.
Take in this expert advice from six highly respected painting instructors to improve your experience — and art — the next time you sign up for a workshop.
Improve your drawing skills to achieve accurate placement and proportions in your paintings. The good news is that you don’t have to stop painting in order to improve your drawing; it’s not an either–or situation. Read on to shine a light on this challenge!
If you haven’t ventured out in bad weather, try it! See why it’s not as daunting as it may appear, and get tips for your next excursion.
As we enter the winter season, much of plein air painting will cease, but if you’re one of those purists who must stand in the snow to paint, these artists offer helpful advice.
Applying to and participating in your first juried plein air event can be an overwhelming experience, but the rewards both professionally and personally are undeniable.
For artists, the color green can be very daunting and, often, the way an artist handles this tricky color can denote rather quickly where they might be in their skill level as a painter. Here are some tips to help you handle the greens in your next painting.
Six outstanding plein air painters share useful tips that helped them push through those early struggles. Learn how they assimilate landscape overload and use all the material gathered on-site when creating larger studio works.
The art of painting is a head game. It requires a distraction-free environment that allows you to get into the painting zone and lets things go smoothly.
If you want to get your art published and seen around the world, do any (or all) of these suggestions from your team at PleinAir Magazine!
An exhibition at a regional museum is a marketing coup — but how does it happen?
Quite frankly, these elements are the glue that holds every good painting together and, conversely, is the reason some paintings fall apart!
New Mexico artist Albert Handell uses pastels to respond both to the specifics of what he observes and to his emotional response: “I will eventually frame the painting, not the location I observe, so the image has to be more than an exact replica of the landscape.”
Here at PleinAir Magazine, we recently received a letter to the editor from reader Carolyn Counnas on protecting your eyes while painting en plein air. See what her tip is to keep your vision safe.
Tomas Honz has an impressive body of work focusing on various sky conditions. It was not done without a fair amount of adversity.
Actually, Lynn M. Rix tried to avoid greens by painting from a boat ... and she ended up with a lot of green. How so?
Christine Lashley gets a wide variety of responses — everything from rude negativity to nods from those in the know — when people discover that she paints with both traditional and water-mixable oils. Here are the benefits and the drawbacks as she has experienced them.