My Plein Air Painting Process: From Packing My Backpack to the Finished Painting

I am often asked about my plein air process.

Where do I paint?
How do I decide what to paint?
What materials do I use?
How do I carry everything?

So, let’s break down all things plein air, from materials to locations and everything in between!

Why I Love Painting Outside

First of all, I LOVE painting outside.

Plein air painting comes from the French practice of painting en plein air, or “in the open air.” For me, it is all about capturing a scene as I experience it in real time, especially the natural light and atmosphere that can change from one minute to the next.

Painting outside has helped me in so many ways. It has made me tougher (you learn pretty quickly how to fight through wind, rain, heat, and bugs), it has taught me to really observe the way a scene feels in the moment, and it is just plain fun.

It is also stressful. But mostly fun.

Where Do I Paint?

In my day-to-day life, I love painting with friends. I’m part of a couple of local plein air groups that get together regularly, so we end up painting all over the area—parks, gardens, along the river, historic estates, and pretty much anywhere else that catches our attention. My favorite places tend to have expansive views, but I will paint just about anywhere.

When I’m looking for something to paint, I try not to get too bogged down in finding a specific “perfect” scene. Instead, I like to walk around, look, and let the paintings find me.

Sometimes I’m drawn to a beautiful view. Sometimes it’s the way the light is hitting a tree. Sometimes it’s a cloud or a patch of color that catches my eye.

The goal is to stay open and see what’s actually in front of me.

Setting Up My Plein Air Supplies

Once I find a spot, I take off my backpack and set up my little painting space. Everything I bring needs to be compact and light enough for me to carry, but also durable enough to withstand whatever conditions I might encounter.

First, I get my tripod out and attach my EdgePro Paint Book. This is not sponsored—I just love it so, so much! I have the medium size and absolutely swear by it.

It looks a little like a laptop sitting on top of my tripod, but it gives me a place to hold my painting and a palette for my paints. I also find the side tables to be an excellent addition for giving me a little extra space to organize everything.

Once the tripod and paint book are set up, I get out my linen panel, paints, brushes, palette knife, solvent, paper towels, and baby wipes.

Yes, baby wipes. They are essential.

Getting Mentally Set Up

Once everything is physically set up, I take another look at my surroundings. This is when I start getting mentally set up to paint.

I might think through how I want to approach the scene, decide what I want to focus on, or begin with an underpainting. I’m thinking about the big shapes, the colors, the light, and what initially caught my attention.

Then I start painting.

Painting Quickly & Simplifying

I try to work fairly quickly because the light is always changing, which means the scene is always changing.

I want to capture the feeling of the moment, and that doesn’t mean I need to paint every single detail. Instead, I simplify. I focus on colors and shapes and try to figure out what is actually important to the scene.

Of course, sometimes I get too wrapped up in trying to recreate the scene exactly as it is. When that happens, I remind myself to take a step back and actually look at the painting. Stepping back is one of the most helpful things I can do. It allows me to see the painting as a whole instead of getting caught up in individual details. I can see where the painting is going, what is working, and perhaps most importantly, whether I actually like what I’m doing.

The Reality of Painting Outside

There are days when the sun is too bright.

It’s too hot.

Twenty bugs have flown into my painting.

It starts raining.

The wind knocks over my easel.

My solvent spills.

Something inevitably goes wrong.

But honestly, I think all of those experiences add a little flavor to plein air painting. They become part of the story of each painting—the things I overcame, the conditions I worked through, or sometimes what ultimately took me down that day.

The important thing is that we are outside and we are painting.

Or at least attempting to paint...

From Plein Air to the Studio

Plein air paintings are some of my absolute favorites to make. They are immediate, imperfect, and tied to a very specific moment.

Many of them also become studies for larger studio paintings. When I take a plein air painting back to the studio, I’m not necessarily trying to recreate it exactly. Instead, I use it as a reference for the feeling, color, light, and composition I experienced while I was there.

That experience of standing in front of the landscape and painting it in real time is something I can carry with me into the studio.

So, What Goes Into a Plein Air Painting?

If you’ve ever wondered what goes into a plein air painting, it’s really just this:

A bit of preparation, a lot of looking, and a willingness to respond to whatever unfolds in front of me.

Sometimes that means beautiful light and a perfect painting day.

Sometimes it means chasing your easel down the hill in the wind.

Either way, I wouldn’t trade painting outside for anything.

Warmly,
Katie

As an Amazon associate, we may earn commissions from qualifying purchases.

I'm so glad you are here to explore plein air painting further. Here is a round up of all the supplies to help you in your plein air painting journey!

Plein Air Painting Supplies

Centurion linen panels are my go to for painting en plein air. They are easy to carry around and work well, always go with linen!

I always use Gamsol solvent for all my painting needs whether it is plein air or in studio!

While I love my EdgePro I realize it may be a bit more of a stretch, I know some people who have the New Wave and really like it! 

It is important to have a good vessel to keep your solvent in, I use this one at home as well as out in the field.

A good tripod is incredibly important! You don't want one that will fall over a lot or break down under the weight of your gear. I like to invest in a sturdy one that I can use year after year. 

Gamblin paint, full stop. It is rich and hearty and I cannot live without it! If you are just getting started you can begin with primary colors and build from there. Start with ultramarine blue, cadmium yellow, alizarin crimson and titanium white.

Paint brushes, there are a ton out there. I use Robert Simmons brushes but you use whatever you're comfortable with.

Now for my secret weapon...the RGM 81, it is a magical and powerful tool. I swear by it, buy it, love it, let it change your life.

A paint saver is also very important when you are plein air painting. I love to have a paint saver that I can just throw in my bag and it will keep the paints safe. 

A lot of my friends use a rolling backpack, for now I use this hiking backpack. It has plenty of room for my supplies.

Baby wipes!!! Do not underestimate the need for baby wipes. They keep your hands clean and I use them constantly! I've tried so many brands and these are by far the best I've ever used. 

Things to help you fight the elements: Sunscreen, bug spray, hand warmers, and a sun hat. All things I use on a regular basis!

A gorgeous day in Annapolis, Maryland. I'd love every painting day to be like this!