Artists are used to taking workshops, which of course are great ways to learn. But what about events that are all painting, in a beautiful place with no workshop? It's trending - see why...
I painted “December Sunset Near Farmer’s Market” (a Plein Air Salon winner) in Minneapolis in 2015. Luckily the weather was better than usual with temperatures hovering just above freezing. (Yes, that’s better.)
Tempted to cover up an awkward part of your painting with a random landscape element? Find out why you shouldn't, and more great advice, in this guest blog post from outdoor painter Peggy Immel.
One of the beautiful things about art is that if we pay attention, we can apply what we learn to almost any area of our life, and vice versa. Such is the case with the following advice that plein air artist Larry Cannon shares about failure, success, and the awe that is nature.
Ultimately, when you paint a landscape, you’re painting movement. The air moves, the light changes; it’s never static. Light and atmospheric forces act upon the components of the landscape to create a story, and it’s up to you as the artist to pick the story you want to tell...
In recent years, top plein air painters have been using painting procedures associated with academic studio painting. Painters like Marc Dalessio, Joseph McGurl, and Matt Chinian all frame their landscape subjects inside a rigid viewer, then paint exactly what they see inside that rectangle. Find out why.
I know I would not be the artist I am today without my teaching experience. Teaching art has enriched my life in many ways. Ironically, teaching is something I thought I’d be dreadful at. As a teen, I was a stubborn introvert. Public speaking caused me great anxiety. Although I wanted to improve my art, I remember hating most of my art teacher’s comments. You could even say I was a teacher’s worst nightmare … an unreachable student. That’s all changed, however...
It has been an exhausting and convoluted journey finding art materials that I am not allergic to.
Think you’ve got your plein air oil supply list nailed down? Think again. Esteemed painter John Crump takes the myth out of some plein air oil painting conventional wisdom. Whether you’re a seasoned pro or just getting started in plein air painting, you might be surprised by some of his hard-won findings.
When time is of the essence and access to supplies is limited, you must be prepared to make the most of what you have. Plein air watercolor painter Frank Costantino offers his best advice for how to handle just about any outdoor painting situation.
No-fear plein air painting requires a little planning, a healthy dose of respect for nature and a keen sense of humor. With Brenda Boylan’s simple tips for painting en plein air, you’ll be able to hit the ground running and make the most of your experience.
Award-winning plein air painter Kathleen Dunphy knows a thing or two about maximizing her time in the field. Here, she shares four secrets to staying at the ready for whenever inspiration strikes.
Prolific artist Ken Karlic recently teamed up with Daniel Smith Watercolors to offer a comprehensive step-by-step look into his creative process. There’s lots to learn here.
Here are some more of my thoughts about the advantages of acrylic and plein air.
Recent Paint the Peninsula Quick Draw winner and acclaimed painter Ned Mueller has some fascinating thoughts about the origins of this popular practice we think you’ll enjoy.
Today’s subject deals with the principle of contrast in the formulation of an effective design. So often, painting students are given a set of rules to live by and at the same time, not told why these so called “rules” exist.
The ideas presented here are reproduced from a paper I did for my painting class a few years back.
Because I’ve been painting so long, I use color intuitively. I just “feel” my color. I choose colors automatically and know which ones harmonize or contrast with each other depending on the effect I want. I have long since stored by paint-splattered color wheel deep in a drawer in my studio, ignoring the wealth of information hidden within it. I’m sure I learned all there was to know about color in high school or college, so what is the point?
Moonlight has fascinated artists for centuries. Writers have composed about its romance, artists have painted its mystery, musicians and composers have been moved to produce beautiful passages that evoke those ideas. But while moonlight has been depicted by many painters, it was often done from memory — out of necessity, because it’s hard to see and paint in the dark.
Probably the same thing that challenged my progress as an aspiring artist many years ago, and the same thing that holds a lot of art students back: preconceived notions about the painting process. That was the short answer. Now for the long answer. I am going to attempt to tackle that question in a circuitous route, but one that hopefully will connect with the reader.