Over the coming months I plan to launch a series of posts that expose what I consider my top 10 observations as a plein air painter. Many of these apply across mediums and I’m sure you’ve seen many in one form other the other in books, workshops or other sources. These represent my take on these topics, offered to give you another perspective. I also find that I probably read everything I ever needed to know about painting in the first book I bought, but it’s true that you’re not always ready to truly understand and apply them. Reading and learning are not the same. These represent learning, but they’re by no means the end! You should chime in with your take using the comments mechanism of each post.

I’ve set up a new category, “Top Observations” for this series. Even after I publish the last one of 10, I know that I’ll update from time to time as this should be a living book. I hope you’ll participate in it by added your perspective.


10 thoughts on “10 Observations on Plein Air Painting – Intro

  1. Wow! I am thrilled to find your blog! Beautiful work. Plein air has a hold on me. Thanks for sharing such valuable information. I hope to participate soon, for now I am headed out to paint! Will be back, Heidi

  2. Thak you everyone for your enthusiastic support of this series and the ballerina painting. i could hae sold this work adozen times by now. need to do more. i think I’ll at least consider adding figures back into my plein air work, if not sign up with a group again with regular models. thanks!

  3. Interesting choice of work for an introduction to a plein air series – but very lovely nonetheless! 😉

    I’m going to be announcing this on my blog Ed – probably at the weekend.

  4. “I need the white spot to tell the viewer just how dark all my darks are. In addition, the eye likes to see a pure white in a picture-it completes the value scale and gives the viewer a satisfied feeling.” Gruppe On Painting p.34 Nice ballerina. mark

  5. Hi, I find your work extremely interesting, particularly referring to the degree of freshness of your brushwork, the way you simplify your subject, and the way you manage to illustrate light and darkness with bright, nicely placed colours

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