When it comes to plein air painting, you might not know where to start. Do you take an easel? How many brushes should you carry along? What are the things that you haven’t even thought of yet?
Use this guide to help you know how to get started painting en plein air, with tips from artists who have learned and are willing to share their wisdom.
What Do I Need to Paint Outdoors?
- Paint Brushes
- Substrate / painting surface
- Items specific to your medium, including paints
- Simple painting easel and palette
- An umbrella and other miscellaneous but important items (included later in this list)
- More educational tools (also included later in this list)
Essential Paint Brushes for Artists
When painting en plein air, the number of brushes you take will depend on the type of painting you plan to do, the medium you’re using (oil, acrylic, watercolor, etc.), and your personal preferences.
- Oil/Acrylic: You might need 4–6 brushes in a variety of sizes and shapes to account for different textures and thicknesses of paint.
- Watercolor: A smaller set (3–4 brushes) can work since watercolors require fewer brush changes. A large mop brush, a medium round brush, and a fine liner brush may be enough.
Types of Paint Brushes
- Flat brushes: 2–3 different sizes (e.g., small, medium, large) for blocking in shapes and creating bold strokes
- Round brushes: 1–2 for detailed work or thinner lines
- Filbert brushes: 1–2 for smooth blending and more varied strokes
- Fan brush (optional): 1 for creating texture, especially in foliage or clouds
Watercolor artist Brienne Brown says to keep it simple and be prepared: “Always have your plein air bag packed and ready to go. Get two of each of your favorite brushes and paints. You don’t want to have to take the time to pack before heading out to paint.”
“I remember what it was like to be a beginner,” says Laurel Daniel in her oil painting workshop. “And I know it can be daunting. Keep in mind that learning to paint is like learning any new skill: You start with the basics and add on one thing at a time. It always just takes practice and sticking with it.”
There are hundreds of brushes and bristle types to choose from – but don’t get overwhelmed. If you’re just starting out painting in oil, Laurel recommends brushes with hog hair bristles. She has found that hog hairs are sturdy enough to stand up to oil paint; you can mix heavy paint with them and they keep their shape. If a brush is too floppy (think a watercolor brush), you won’t be able to effectively create those wonderful brushstrokes so sought after in oil painting.
A Tintoretto Aquasoft, goat hair (Jackson Art Supplies)
B Silver Brush Atelier Quill, goat hair
C Escoda Aquario Gold, squirrel
D Escoda Ultimo synthetic
E Escoda Aquario, squirrel
F Holbein Series 1220 hake brush, goat hair
For oil painting, beginners can choose from the following bristle types:
– Hog Bristle: These are stiff, durable, and hold a lot of paint. They create textured, expressive strokes, ideal for early layers and general application.
– Synthetic Brushes: Often softer and smoother, these are good for blending and fine detail work, especially for later layers.
For watercolor painting, consider synthetic vs. natural hair: Beginners often start with synthetic brushes because they’re more affordable and durable. As you progress, you may want to explore natural-hair brushes like sable for their superior water-holding capacity and softness. The larger the brush, the more water it can hold. Round brushes with a good point are often the most versatile for watercolor due to their balance of water capacity and control.
Note that synthetic brushes are ideal for acrylics because they hold up well to the medium’s texture.
“This sailboat (below) has a distinctive linear aspect to its structure, which will lead to a [particular] brush choice,” says watercolor artist Vladislav Yeliseyev. “A dagger or sword brush will play a more significant role in the process of painting in this case. Although the brushwork will be more distinctive ‘by form,’ like a pattern to enhance the curvature of the hull, for instance. I try to use a limited number of paints and brushes in my creative process. I was trying to fall in love with many brushes during my art career and always find that love short-lived for some reason. Now I use one Kolinsky for large washes, a couple of synthetics, and a sword brush.”
Los Angeles watermedia artist Mike Hernandez switched from rounds to flats and found that a change in his brush shape meant interesting brushwork and developments in his paintings. (Read “Change Your Brush, Change Your Look” featuring Mike Hernandez.)
And remember this: “Brushes can be anything that assists you in manipulating paint or the paper surface,” as Geoff Allen says. “There are no bounds, from using old credit cards to pine needles. Once I forgot a pencil and I used a charred stick from a beach fire.”
Bookmark this article and share it with a friend who’s new to painting outdoors!
Substrate / Surface for Plein Air Painting
When painting en plein air, the choice of painting surface or substrate depends on personal preference, the type of paint you’re using, and the convenience of transporting the materials. Many plein air oil painters opt for canvas panels or wood panels due to their durability and portability. For water-based media, heavy watercolor paper is a solid choice.
Choose sizes that are manageable and easy to transport, especially if you need to carry them long distances. It’s advisable for beginners to start out with something as small as a 5 x 7-inch composition (or even smaller “thumbnail” paintings and sketches), to keep the painting simple while you’re learning the basics for painting on location.
Here are some common substrates for plein air painting:
Canvas
- Stretched canvas: Lightweight and easy to carry, especially in smaller sizes.
- Canvas panels: A popular choice due to their portability. These are canvas glued to a rigid panel, like MDF or cardboard, making them sturdy and easier to pack.
Wood Panels
- Birch or Masonite: These are solid surfaces that provide a sturdy feel, and they don’t flex like canvas.
- Gesso boards: Pre-primed panels that are smooth and ready to paint on. They are durable and allow for fine detail work.
Paper
- Watercolor paper: Ideal for watercolor or gouache painting. Heavier-weight paper (140-lb. or more) is recommended to prevent buckling.
Watercolor sketchbook or block: A pad of 140-lb cold-press watercolor paper is ideal. Blocks are glued on all sides, which keeps the paper from warping when wet and eliminates the need for a board or tape. - Acrylic paper: Designed specifically for acrylic paints, this provides a textured surface similar to canvas.
- Oil paper: Specially prepared to handle oil paints without the need for priming.
- Pastel paper: For artists working with soft pastels en plein air, specialized sanded or textured paper, like Pastelmat or UART paper, is often preferred. You’ll want to use a “toothy” paper that will hold the pastel pigments. Choose mid-tone or neutral-colored paper for outdoor painting.
- Pre-Cut Sheets: Cut your paper to manageable sizes (e.g., 8″ x 10″) before heading out.
- Board for Support: Use a lightweight board or foamcore to tape or clip your paper to while working.
Remember Your Paint and Helpers!
Do you prefer to paint with oil, watercolor, acrylic, or pastel en plein air? Your choice will affect what (and how much) you bring along with you to paint on location. (Related Article: Color Corner: 10 Artists Share What’s on Their Palette)
Oil Painting Supplies:
- Some artists have their palettes prepped with a limited selection of colors to keep things simple (and light). Here’s a versatile selection of colors:
Titanium White
Cadmium Yellow (or Yellow Ochre)
Cadmium Red (or Alizarin Crimson)
Ultramarine Blue
Burnt Sienna (for earthy tones)
Phthalo Blue or Viridian (for a more vibrant green) - Mediums:
Linseed oil or Walnut oil: Great for thinning paint and adding fluidity
Gamsol (or other odorless mineral spirits): Helps with cleaning brushes or thinning your paint
Liquin or other fast-drying mediums: Useful if you want your work to dry faster, especially for layering during a short painting session - 1 or 2 palette knives
- A small metal or plastic container with a seal for carrying solvent (like Gamsol or turpentine) for cleaning brushes or thinning paints
- Paper towels or rags
For Watercolor or Acrylic Painting:
Watercolor pans or tubes: Pans are more portable and less messy than tubes for outdoor painting. A basic set with primary colors (red, blue, yellow), earth tones, and a few other colors can work well.
Acrylic tubes or jars: Bring the primary colors (red, blue, yellow, plus black and white), as you can mix most other colors from these.
Collapsible water container: A small, lightweight collapsible cup or bottle is essential for rinsing your brushes if you’re not using a water brush.
Spray bottle: Useful for keeping your palette and paints moist, especially on hot days.
For Pastel Painting:
- Actual Pastels:
- Soft Pastels: Ideal for creating vibrant colors and smooth blending. Brands like Rembrandt, Sennelier, or Schmincke are great options for beginners.
- Hard Pastels: These are helpful for adding details and underpainting.
- Pastel Pencils: Useful for finer details and line work.
Note: Choose a smaller set with a good range of colors to keep your kit lightweight and manageable.
- Fixative Spray: A workable fixative helps prevent smudging while you work. Use it sparingly outdoors since it can darken your colors slightly.
- Blending Tools
- Tortillons or blending stumps: Useful for blending small areas. Or use your fingers, a common method of blending pastels, but bring a rag or wet wipes to clean your hands regularly.
- Kneaded Eraser: helps lift off excess pastel without damaging the paper
- Gloves to protect your hands
Plein Air Painting Easel and Palette
A lightweight easel or a pochade box (a compact painting box with storage and a built-in easel) is essential for holding your canvas and supplies. Some artists paint while standing up, using a tripod, and some choose to sit and work with their materials in their lap.
“Paint boxes come in a lot of shapes and sizes,” explains John Hughes in the article “Choosing the Right Paint Box.” “They have been around for a long time, and over the years, innovations and improvements have been made to make the job of the plein air painter more practical and enjoyable. Let’s start with the basic box, usually in 12 x 16-inch or 16 x 20-inch sizes, with a lid containing slots for panels. With the smaller size, artists in the past would typically sit out in the field on a stool with the box handle fastened to a belt or rope around the waist and paint away. (Not exactly the most convenient way to work, but it got the job done). The alternative was to mount the canvas or panel on an easel, which would require the painter to bend down to the ground whenever a tube of paint or brush was needed. This system certainly works, but after a while back strain can begin to take its toll!”
(Related Article: The Best Palettes for Plein Air Painting)
Other Miscellaneous But Important Items for Plein Air Painting
To make your plein air painting fun and comfortable, you might also consider any of the following items. Keep in mind that you’ll want to pack as light as possible, so choose wisely, based on how close you’ll be to your car or how far you’ll trek out into the wild, as well as how long you’ll be on site.
- A portable chair
- Umbrella, sunblock, and/or hat (Related Article: “The Best Plein Air Umbrellas for Artists”)
- Drinking water and snacks
- Sketchbook and pencil
- Trash bag
- Wet panel carrier
(Related Article: “Must-Have List: Crucial Outerwear and Art Supplies for Plein Air”)
More Educational Resources for Plein Air Painting
- In Person Art Convention: Annual Plein Air Convention and Expo (location varies each year)
- Virtual Art Conference: Annual Plein Air Live
- Plein Air Painting and Landscape Art Video Workshops: PaintTube.tv
