PaintBox Tip #5, Plein Air Secrets
There’s nothing easy about painting watercolour en plein air but, for me, it is an exhilarating and fun experience.
My early attempts, however, were difficult and my paintings absolutely atrocious! It seemed to take me forever to get to grips with this new style of painting in the great outdoors.
Without realising, I was faithfully following the 80/20 rule, 80% observation 20% drawing /painting. Later it dawned on me: this rule does not apply to painting watercolour en plein air - I was trying to follow a guideline for the constant situation of studio/observational drawing.
When painting in the field, from the time you select your subject to your end-game, you have about 1-1.5 hours, 2 hours at most, to capture the subject before light and atmospheric conditions change too much. No mean feat but, if you practice, you will improve every time.
Another element to consider is the subject. My first attempts at painting en plein air were with groups of artists who love painting landscapes. For me, it was a big problem. Although I love good quality landscape paintings, I’m not interested in painting them myself. I’m a city girl afterall, I’m attuned to light and shadows bouncing around architecture and the people who inhabit amazing spaces. Just think of Lisa Douglas (Eva Gabor) and you'll have hit your nail on the head!
I often tell my students to slow their painting process down but in the case of painting watercolour en plein air, I’m going to contradict myself and tell you to speed up! Speed up so you catch the light and changing conditions, Remember, watercolour is a fast medium. Give yourself 5 minutes, and only 5 minutes, to take photos and sketch 1 or 2 value thumbnails and most importantly, take a mental snapshot. Make your memory work for you and, even if you think your result is "wrong", your work will be formed of the essence of your subject. Perfetto!! What a great excuse to go out and paint it again!! Your next work at the same scene will include different features and details and the next different again.
My personal strategy is to map the subject onto my watercolour paper with a 5 minute sketch and then not refer to the actual scene again, even if I have to turn away from it. I am painting my interpretation of the scene not a photograph. Changing light and shadows become mighty confusing and create confusing paintings.
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