Packing For Plein Air with Pastels

'French Meadow'         5x7      plein air pastel         ©Karen Margulis
available $45

It's time to pack my supplies! I am teaching a plein air workshop with Marsha Savage this weekend in the North Georgia mountains. I am looking forward to sharing tips and techniques for plain air with pastels with our group.  As I was cleaning out my portfolios I came across some lost plein air studies from my trip to Normandy France with Stan Sperlak and the Painters Passport group. It was fun to find them!

Since I am packing plein air supplies I thought it was a good time to share this post on my set up from the blog archives. Enjoy!

'French Meadow ll'  $45

 It has to be compact and light. Everything has to fit in my backpack. Over the years I have continuously downsized my plein air set up. I remember the days of dragging a rolling cart filled to the top with painting supplies. Set up took forever. I could never find what I wanted in the cart full of unnecessary stuff.  It was discouraging and plein air wasn't something I enjoyed.

Until I downsized! Now I have several different downsized plein air set-ups. I keep them always ready. The type of painting situation helps me decide which set up to bring.  Today I will share my Compact Travel Light Set Up.

Travel Light Kit: Heilman double sketchbook pastel box, Heilman easel attachment,  Oben AT3400 tripod

Everything fits in my Orvis backpack with room to spare. I will always carry this on the plane. I have room for extra travel needs such as my toiletries and iPad mini.  I use an Oben AT3400 tripod which folds up to 16". It will fit in the backpack but sometimes I put it in my checked bag if I want extra room in the backpack.

Heidi checks out my set-up. Here you can see the inside of the Orvis backpack. I love this pack because it sits so well without flopping over. I used it to weigh down my tripod using a mini bungee cord. It also has plenty of outside pockets.

This is all of my gear. I am using a Heilman double sketchbook pastel box. I put the metal ease attachment into a small stuff sack to keep it protected. I have my backing board with bankers clips. This is actually a hard plastic board which will hold paper. It is called an Artworks Book from Easel Butler.  I have a pouch for baby wipes, a zippered pouch for miscellaneous supplies such as tape, watercolor set, alcohol, fixative. I also have 2 black portfolio folders by Itoya. I use these to store my paper and the finished paintings.

Here is the Heilman box open. I have an assortment of Terry Ludwig pastels on the left and Girault pastels on the right. I do vary the selection depending on my location.  I don't preselect my pastels before I start painting since my palette is already limited!

Here is the entire set up. I was asked about the stability of this set up. I did notice some shaking but I am a fairly aggressive plein air painter so I did hold onto the board to steady it some. If I was a kind and gentle painter it wouldn't be as noticeable. It really didn't bother me. I am trading size and weight for complete stability and to me it is well worth it!



If you'd like to see this set up in action watch my plein air demo video on YouTube click HERE

Resources:

Heilman Designs
Easel Butler Artworks Book
Itoya Original Art Portfolios
Orvis

Keep Those Plein Air Duds!

'Gentle Beauty'             9x12        pastel         ©Karen Margulis
available $165

Texas is on my mind. As I putter around my studio packing for my weekend team workshop with Marsha Savage, my thoughts wander to the people of Texas. My prayers are with them as they go through Harvey and the aftermath.  I happened to come across one of my plein air studies from Texas as I was  packing my portfolio booklets. It somehow didn't get removed from the portfolio after my Texas workshop. I looked at it today and felt compelled to use it as inspiration form my daily painting.

The study which is below, is a quick 5x7 demo. It was done to illustrate my field study approach to a plein air outing. The goal for these studies is to work quickly and efficiently and to think of them as notes in a notebook. I want to capture the colors, values and mood I am experiencing. They don't always stand alone as a 'good' painting.  Most of the time they do not. Most of the time they could be considered DUDS.

5x7 plein air study

Today I looked at this dud and wondered what to do with it. It had decent bones so I could work on it to finish it. I hesitated. If I worked over it I would remove all of the good information that it contained. It was my response to the scene.....live and in person. Instead of covering up and trying to fix it I had a better idea.

using my thumbnail and study in the studio

I decided to use the study to inspire a larger painting done in the comfort of my studio. I happened to keep the value thumbnail so I would use both as the reference material for my painting. That and what is in my mind and my heart. I would not use any photos this time. I had enough information.

• I began by blocking in the big shapes using the thumbnail as my guide. I selected colors that I felt would work well with the greens and blues that would be dominant in the painting.
•  I used the same colors in the sky as in the study but changed the direction of marks to lead to the trees and flowers.
• In the study the bluebonnets were mere suggestions of color. In the larger painting I enhanced them with a bit more definition.

The first layer.Choosing colors that will work with the local colors

 Plein Air Advice:
The lesson in this exercise is that plein air paintings are extremely valuable....even if they are duds! It is important not to be frustrated with your plein air efforts. Think of them as notes. Use them in the studio. The notes are more authentic than any photo that you take!

How to Have a Successful Plein Air Experience

'Along the River'         5x7        oil on panel
sold

Plein air painting can be frustrating. One of the premises of my workshop last week was how to take plein air from frustration to fun.  There is one word that sums it up......SIMPLIFY.  If you want to get the most out of the experience you need to start with this word in mind. Simplify everything!  Your supplies, your expectations, your paintings, your goals.

I know I used to make the whole plein air thing much to complicated. Especially my supplies. I was so afraid that I would need something so I filled a tall office cart so full of supplies that I couldn't even find what I wanted. Not to mention how difficult it was to drag the cart around and how long it took to set up!

SIMPLIFY

• Simplify your supplies. Try to limit your palette and support size. Ideally if you can fit your supplies into a backpack (rolling or not) you will have enough and be happier with your lighter load.
• Simplify your expectations. Plein air is valuable. Think of the experience itself as the goal. Lower your expectations. Don't plan on completing framable masterpieces. Instead plan on enjoying the time out in nature gathering studies. Remove the pressure and have fun.
• Simplify your paintings. It is tempting to want to put everything in the painting. So much is inspiring and it is often overwhelming. Simplify and do a few smaller studies.
• Simplify your goals. Set mini goals for your plein air excursions. Don't try to accomplish everything you want right away.

'Riverside Delight'          5x7      oil on panel         ©Karen Margulis

I am new to oil painting. I think I only attempted plein air with oil once a few years ago so I approached the weekend with the midst of a beginner. I decided I would only work with oils but would start by painting things that I was comfortable painting with pastels. I didn't try to accomplish too much and just enjoyed taking baby steps. I SIMPLIFIED! I worked small with a limited palette and painted close up flowers....things I know best. I simplified my goals and only expected to have fun. And I did!

I finished 10 small studies this weekend

'violet'        5x7    oil on panel

Why Bother with Plein Air Painting?

'Back to Abiquiu'        18x24        pastel        ©Karen Margulis
available $450

 It has been a long time coming. I have been wanting to paint this scene for a couple of years now. My plan was to take the little field study I painted and paint a larger version in the studio. I envisioned it big ... 18x24 which is big for me. I framed the little study because it came attached with great memories. It sat in my studio and I would look at it and tell myself that someday I would paint it larger. Today was the day. But did I wait too long? I was a bit concerned as I took out a full sheet of Uart paper.

Would I remember the place and be able to capture how I felt about it after a few years had passed?

I need not have feared. As soon as I took a good look at the little 5x7 study it all came flooding back. I recalled every detail of the afternoon painting on the bluff overlooking the Chama River. I remember it was a warm day but with a gentle cooling breeze. I remember taking out a piece of 5x7 paper and deciding to tone it orange because of all of the warm rocks underlying the scrubby bushes. I remember hearing the water and some ravens. I remember feeling at peace....happy to be in New Mexico and enjoying the first day of a mentoring workshop with Richard McKinley. Looking at the little study brought back the memories that all of my senses took in that afternoon.

The 18x24 painting with the 5x7 study

I don't think I could have recalled the place so well by looking at a photograph. The time I took to paint the scene...to choose the colors...to simplify...to immerse myself, allowed it to become a part of me. It was worth the time and effort required to take supplies outside to paint.

Why bother? I was once asked. Why hassle with equipment and the elements when you can paint in the comfort of a studio? Why? Because it is the best way to really see what photos miss. It is a wonderful way to fully experience your subject. It is the best way to put more of yourself into a painting. Your response to a place live and in person is better than relying only on a photo.

I did an alcohol wash underpainting for the large painting

Here is an excerpt from the blog post I wrote on the day I painted the study:

 We painted from morning until the sun sank behind the cliffs. It is a dream come true. The opportunity to paint in such an inspiring place with a group of artists who are passionate about what they do is priceless. Today was the first day of the workshop with Richard McKinley and since this is a mentoring or next level workshop the morning meeting was short but filled with great advice. Richard issued us a challenge for the week: To be more conceptual....go deeper....be more present.....go beyond the mechanics of painting....go farther! 

Our first painting location was a spot high above the Chama River. Yesterday I painted at the river bank....today I was like a raven soaring over the river as it rounded the bend. It was fantastic. I did 4 studies and had a wonderful time.

Plein Air Can be Simple!

'Early Fall Impressions'      5x7     plein air pastel       ©Karen Margulis
available $95

Wouldn't it be nice to have a simple, fun and productive plein air outing? There are so many benefits to getting outside and painting from life but there are just as many obstacles that make it challenging. I laugh when I think of the amount of stuff I tried to drag around when I was new to plein air painting. And I could not figure out how to narrow it down and find a good subject no matter how many viewfinders I bought!

But time and experience have taught me how to simplify....both equipment and approach to finding a suitable subject. Now plein air is an amazing experience that I know is helping me grow as an artist.

'Goldenrod Study'    4x4    pastel    $65

Let me share one of my favorite tips for successful plein air experiences.

Zoom in and get intimate 

 Instead of trying to put everything in a 5 mile radius into one 5x7 painting, pick one thing and paint an intimate portrait of that thing. Challenge yourself to find the beauty in ONE SMALL THING. Use descriptive words to describe your thing and paint your description. Yellow, dancing, delicate sparkles against a dark shape are the words I used to describe this stand of Goldenrod. It was easy to paint one small part of the huge and overwhelming field.

'Golden Fields'    6x8    $75

If you liked the tip I have many more to share. Consider taking on one day plein air workshop in the beautiful North Georgia mountains on September 8, 2016 from 10am to 4pm – This workshop is held in conjunction with the Blue Ridge Mountain Arts Association's Plein Air event. It's a great excuse for a fun getaway weekend with your art friends! Here is the class description:

Karen Margulis Plein Air One-Day Workshop
Take part in a Plein Air one-day learning experience with renowned pastel and Plein Air artist Karen Margulis. Open to artists of all mediums, Karen will share a 6-step approach to simplifying subject matter and creating a successful painting. Artwork creating during class is not eligible for event awards and judging, but may hang during the exhibit. Space is limited; please contact the Art Center directly for class information and registration.

http://www.blueridgearts.net/fall-plein-air-event.html

'Across the River'        8x10      pastel       $150

My Secret Plein Air Weapon

'Take Me to the Meadow'        5x7        pastel        ©Karen Margulis
available $75

I didn't expect it. But in the end I loved it.  That little piece of green pastel that somehow found its way into my travel pastel box. It is a deceiving little thing.  At a quick glance it looks like a nice mid value warm green. It is perfect for foliage. As soon as it is applied to paper its true nature is revealed.

It shimmers!  It is a like a gem. It is a pearlescent  pastel and it makes me smile!

a tiny piece of pearlescent pastel from Great American Artworks

As I layer this soft buttery piece of pastel it leaves behind a subtle shimmer.  The effect is more pronounced when the light hits the painting.  The camera seems to intensify the effect. It is actually more subtle in real life.

I love this little green pastel but it has to be used in small amounts. Like too much jewelry or cologne....a little goes a long way and too much can be overwhelming.  Here is a suggestion for using pearlescent pastels:

• It is the element of surprise that makes a touch of shimmer special.  Rather than using a whole set of pearlescent colors in a single painting, break the pastels into smaller pieces. Now plant these pieces in your pastel box in the correct value and color area.  The next time you reach for a certain color and value you may end up with a little gem. It will add a nice touch of shimmer just where you need it!
• I am now going to refer to this little piece of green pastel as my secret plein air weapon. Without fail, a touch of the green shimmer in my plein air studies give them an added special touch.

Several pastel manufacturers make pearlescent or iridescent pastels including Sennelier, Diane Townsend and Great American Artworks. I have them all!  The green in the painting is a Great American. See the set on Dakotapastels.com. link here.

'Desert Sparkle'         5x7       pastel
available $75

How Weather Changes a Plein Air Painting

'Summer Will Come'            8x10         pastel plein air study              ©Karen Margulis
purchase $125

Time is not always on our side. Especially when painting en plein air. When we paint outside we become a part of the very subject we are trying to capture on canvas (or paper). We are at the whim of Mother Nature. We have to deal with bugs, heat, cold, wind, rain to name just a few challenges faced by the intrepid plein air painter. Weather is a big challenge.

Weather is a challenge but it also influences the paintings we create. Challenging weather conditions can cause us to paint faster....and faster is sometimes better but it is always much different than slow.

I prefer painting quick small studies on location....field studies. I work fast trying to capture the essence of the scene. Like taking notes. So I embrace challenging weather.  It forces me to work quickly.  And I notice something in these fast weather driven paintings...they are fresh and loose and truly capture the feeling of the moment.

Take the paintings shown in today's post. They are all painted during my week in Finland all at the same spot. The only variable was the weather. They are all 8x10 pastels. Let's compare:

The painting above was painted as a demo in about 10 minutes. The goal was to show the class how I like to work to quickly to capture the feeling of the scene. I was drawn to the brightness in the sky that had suddenly appeared to break up the overcast sky. I had to work quickly to capture this shaft of light. Everything is just a suggestion. There is very little details in the trees. The main thing I wanted to remember was the shapes and colors. 10 minutes was enough to capture this. And it was a good thing because it quickly changed and the light was gone!

'Summer Study Finland'          8x10          $125

The painting above is the same location with a sightly different point of view. The weather was different this time. It was overcast with a gray sky filled with light clouds that were rolling and changing quickly. It was also windy. I wanted to capture the feel of the wind. I had more time to play with since there was no strong source of light. Conditions were constant....overcast and wind.
I spent more time on this painting. (maybe 30 minutes which is long for me)  I concentrated on the trees and grasses. Since conditions were constant I had more time to develop them in greater detail. I added the bright spots on the water since it was also agitated by the wind.

The weather conditions gave me more time and so I took more notes!

'Summer Study 2 Finland'             $125

In the last painting time was on my side. I was in the land of the midnight sun so the magic hour lasts for hours! The sun didn't set until around 2 am. Normally to capture a sunset we would need to paint quickly. For this painting the sunset conditions remained the same for hours! It was also very calm and still. I had more time to work at a slower pace (although I still chose to work quickly 30 minutes) But if I wanted I could have painted larger or painted a more developed painting.

Often we struggle with plein air because we try to do too much and we fight the weather conditions. Let the weather dictate how you respond to the scene and think about simply taking notes in paint when the weather isn't cooperating!

Plein Air Lite: How to Pack Art Supplies for Vacation

'The Perfect View'                5x7       plein air pastel             ©Karen Margulis
sold

I really don't unpack my suitcase. I do take out my clothes but all of the other travel supplies....including my art supplies stay packed and ready to go at a moments notice.  Next Friday I leave for my final adventure of summer.....a Caribbean cruise with my mom and sister. My sister won a free cruise and we are able to join her for the cost of the tax. I can't afford to stay home for that!

If you have followed my blog then you probably know I have made it a priority to downsize my pastel supplies for traveling. I have been through so many boxes and bags and easels that I have lost track. I have come to the conclusion that there is no one size fits all solution for plein air set ups and supplies. Every trip is different. Some trips are not even dedicated painting trips so how do we decide what to bring?

No matter what the purpose of a vacation or trip it pays to keep your supplies light and simple. I call it Plein Air Lite.

Here are some photos of what I am bringing on this cruise. I want to do some sketching/journaling as well as paint some pastel minis.

My pastels supplies

I am bringing a Heilman single sketchbox (Love!) I will be able to paint some 5x7s as well as my minis (2.5 x 3.5) Everything fits into a soft sided lunch box. I have a 5x7 portfolio book filled with paper which doubles as a finished painting holder, a piece of foamcore backing board, baby wipes, a washcloth to protect my painting surface and some mini Bankers's clips to clip my paper to the board.

The small zippered pouch on the right hold the precut paper for my mini paintings and an extra packet of wipes.

The Heilman box along with wipes, towel, backing board and paper/holder  fit in the lunchbox

Along with the pastels I am bringing a small sketchbook and watercolor postcards. I have a set of Caran d'ache watercolor pencils and a water brush as well as some black pens (Le Pen). A cruise ship is a wonderful place for sketching....especially sketching the figure!

The lunchbox with pastels and the zippered pouches all fit nicely in my backpack. I also have room for some art books and magazines. I have all of the supplies I need for a creative and relaxing....and LITE vacation. I can easily throw one of these items into my beach bag when heading to port or a nearby deck chair!

 Today's paintings are plein air studies done on a previous Caribbean cruise. They are done on the upper decks of the ship while sitting in a lounge chair! (available $50 each in my etsy shop)

If this sounds like a good way to paint and relax then consider joining me on my Caribbean Art Cruise in February. There a still a few spots available! Read more about the cruise here.http://www.kemstudios.blogspot.com/2015/07/how-to-practice-art-and-art-of.html

The Value of Plein Air Painting

'The Tide Comes Quickly'            8x10           plein air pastel        ©Karen Margulis
purchase painting here $125

I knew it already but a valuable lesson was reinforced. Painting outside from life...en plein air...is powerful. It hit me today as I looked through the many paintings I did on my month long trip. These little paintings are truly authentic. They are moments in time captured with passion. They will be even more important than photos to remind me of the places they represent.

I am taking time this week to look through my paintings and photos. I am  reviewing my trip at leisure. A question from a reader got me thinking about how valuable it is to take time to paint on location.  She asked "How do you know where each painting was done? Do you write on the back?"
Great question! I don't write on the back and that is a very good idea which I will now adopt.

But my answer to her was that I really didn't need to. I will remember. How?

'Visiting Normandy'      8x10     pastel      $125

Looking at a plein air painting is the perfect memory jogger. That is because so much of me goes into each little painting. When I paint on location I experience the place with all of my senses. Looking at a finished study, I am reminded of the weather, the sounds, the smells, the colors. These things are clues which allow me to remember the location.

on location in Normandy!

Why is plein air painting so valuable? It is because of the way they are done....with all senses engaged. You are able to capture the colors and the emotion you see and feel. These things always give you more information than a photo can capture. Having these studies will help me create more authentic studio work from my photos.

Have a look at the pictures in this post. The top painting is my plein air study from a beach in Normandy France. The second painting was done before my trip from a photo of the same beach found on Google maps.  The photos below are photos I took of the beach. Compare them. Notice the vibrancy of the sand color in the plein air painting. That is what I really saw or felt.  My camera didn't capture it. Taking time for plein air is worth the effort!

Traveling with Pastel Paintings....The Results

'The Trees of Mauvaines'          5x7     plein air pastel    ©Karen Margulis
painting available $75

 The final count is in. I painted 80 paintings while I was in Europe. Some were tiny. A few were large. Most were 5x7 and 8x10. Some were my demo paintings but most were my own plein air fun. I am happy to report that I had enough paper with me and I came home with only a few unpainted 8x10 sheets. I did use some larger sheets of Fisher paper in Finland (supplied by my host Annika) All of the other paper and finished paintings traveled nicely in two small portfolio books.

Portfolios for paper and finished paintings

I have blogged about my system for traveling with pastel paintings before but this long trip was a true test for my system. I am thrilled to report that it was a success. My paper stayed flat, clean and protected as did the finished paintings.

It's a very simple system. I used two plastic portfolio books from Itoya....5x7 and 8x10. Before I left I loaded the plastic inserts with pastel papers. These folders fit nicely in my backpack. When it was time to paint I selected a piece of paper from the folder. The finished painting was returned to the folder.

No worse for wear!

 The question I hear most often is if any pastel dust comes off onto the plastic. The answer is yes. As you can see from the photos there is a slight dust residue. But this is not enough to do any damage to the painting. (see photo)  After all of the travel and jostling around this is the resulting dust....very little!
The paintings stay safe, dry and clean. The bonus is the ability to share the paintings with others while traveling without having to touch them or worry about them blowing away! (and you can wipe down the plastic to reuse the books)

8x10 portfolio

I have used tracing paper pads and folders with glassine paper and sketch pads and pieces of foamcore made into sandwiches. These all work quite well but this is the system I will be using from now on. It stood up to the test!

I will be sharing the finished paintings in upcoming blog posts and in my Etsy shop. Stay tuned!

Packing for a Plein Air Trip Part 4

'Yes She Loves Me'           11x14           pastel             ©Karen Margulis
purchase painting $165

The paper is cut. The pastels are packed. Where does it all go?What is best a plein air cart or a wheeling suitcase? Maybe a backpack on wheels?  I've had them all. I've downsized my gear so now it all fits nicely in a backpack. Since I rarely hike or stray to far to paint, a backpack is easy to manage. (if I need to I have a small folding wheeled luggage cart. The backpack slips easily over the handle for easy transport.)

So what's in my backpack?

The Art Supplies in my Backpack

1. My Heilman box of pastels. I am taking the sketchbook size.
2. Two portfolio folders filled with assorted papers.
3. A support board (black)
4. A plastic zippered pouch with assorted supplies: tape,pencil,sketchbook,Heilman plastic tray, business cards.
5. A small ditty bag filled with rubber bands and clips (just in case)
6. My Heilman easel attachment inside a blue ditty bag.
7. Baby wipes in a neoprene pouch that attaches to my tripod.
8. My tripod.
9. My sunglasses with clear lenses.
10. A pencil case with watercolor pencils and a small sketchbook.

The Miscellaneous Supplies in my Backpack

My back pack had a big center space and lots of pockets I stash comfort items in the pockets.

1. Wet Ones antibacterial wipes.
2. Cottonelle wipes (just in case)
3. Tissues
4. Compact First aid kit
5. Zippered pouch with chargers...phone, camera and watch
6. Travel pillow (very compact)
7. Ipad mini
8. Camera 
9. Zippered pouch with lotion,sunscreen, lip balm, mints and whatever else fits.

Not shown but also included when I travel with painting supplies:

1. Makeup case
2. Medicine case. (small zippered pouches)
3. Hairbrush
4. Mini hairdryer
5. Snack
6. Waterbottle