This article is a follow on from the previous article, A New Approach To Plein Air Painting, dealing with the subject of painting on site. The aim is to guide the artist who is thinking of expanding their horizons to include the pleasure of painting in the big outdoors, to make the transition from studio to outside easier.

Many artists attempt to transport the studio equipment with them into the wild blue yonder expecting to work in a similar manner. This usually does not work, resulting in disappointment and a quick retreat to the studio. To avoid this problem, think about changing your method of working, and possibly your medium. You will find this new approach an exciting challenge that will add a new dimension to your art. Here are a few tips to get you started:

• Keep your equipment to the minimum, the lighter the better.
• Ensure you have all the necessary items for outdoors i.e. sun cream, hat, drink etc.
• Paint on paper half your normal size.
• Regard your work as reference material for studio paintings, although many of them will turn out good enough to frame.

My favorite medium when painting outside is pen and wash. It can quickly capture the feel of what you are painting with enough information to paint a major work later in the studio with oils or watercolour.

Below is the list of equipment I am able to pack into a small bag:

• I use 110gsm acid free cartridge paper; you can by this as a visual diary in several sizes.
• A set of pens (mine are Faber Castell Ecco pigment 0.1 0.3 0.5 0.7)
• A pencil if you don’t feel confident enough when you first start. (You can lightly draw major shapes with the pencil first before using the pen, however I would abandon this method as soon as possible - if you draw with the pen you have to consider every line before committing it to paper, improving your drawing skills)
• A small field box of watercolours. I would suggest having a cool and warm version of the three primary colours, plus the earth colours.
• Just two brushes, 1 inch flat, and a six or eight round.
• Water and rags are the last two remaining items to pack, and you are ready to go!

I have two methods of working, the first is a fairly accurate drawing, which I can either leave as is or put a wash on. I use this method when time is not a consideration. This drawing of the Vicarage is an example of where I have not put a wash on.

The second method I use is to place large areas of colour roughly where I want them, and then draw over colour to supply detail as in the painting below of a heritage building on Jackson’s Hill.

The benefit of painting outside in this manner is that when I go home at the end of the day I am happy with what I have done. I never leave home with the intention of painting a masterpiece, and end up with some useful reference material, and just maybe a little gem.

• I am a new artist wor king with watercolour paints. I have a question - why do some colours appear more opaque than others? - Kathryn
  

  I assume the colours you are finding to be mroe opaque are usually earth colors - and colours like light red. These type of col ours are called opaque, while others are transparent and staining colours, which are usually used for glazes. Because they are opaque they should be used before transparent colours when you're painting.

• When I am drawing with charcoal, what c an I use to erase my mistakes? Normal erasers just smudge it futher! - Messy
  

  You can use a kneadable eraser, where you can get from most good art shops and sometimes newsagents as well (in Melbourne, Aust. at least). They get you the best r esult - but I have also used a bread crust!

• Please help me - I am trying to paint using aerial perspective but it looks all wrong. Is there any technique I may not be aware of? - Beth
  

  Assuming you have the perspective correct, t o create recession, you need to make the colour less intense as it receeds into the background, and make it take on a more blusish hue. To acheieve this, you mix some of that colour's complimentary colour into it. This reduces its chroma (intensity of co lour). Then lighten - with oil paint a touch of white or blue will work, and with watercolour, just add more water!

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