Raleigh Kinney

Remember the Values
We all know how fast the sun moves across the morning sky. To freeze the values that first excited me about a scene, I paint a quick, small value study in shades of gray. When I move into the larger painting, I refer to the scene itself for the details and colors and to my study for the values

Jean LeGassick

Portable Shade
A black, circular automobile sunshade is a light-weight, collapsible tool that fits easily in my backpack. Placed behind the painting on my French easel, it reduces sun glare on my palette and around my painting so I can judge my colors and my values more accurately. Similarly, you should always wear dark or neutral clothing when painting outdoors. You don’t want sunlight reflecting your red t-shirt or glaring off your white sweatshirt onto your canvas.

Joan Marron-LaRue

Stripping Down
Minimizing what you bring with you into the field reduces weight, energy and decision making, thereby expanding your time to paint. Think: Ziplock bags for sundries like insect repellent, sun block, etc., a Leatherman combination tool, and a French easel or small pochade box on a tripod. I use a Soltek Easel, designed by Wyoming plein-air painter Jim Wilcox (www.soltekarts.com). If I’m working in an area that has hard, flat surfaces (e.g. urban), a rolling suitcase is great for transporting gear. If I’m headed into rougher terrain, I put my gear in a Gortex backpack that has heavily padded straps and plenty of zippered pockets in different sizes.

Ned Mueller

Look for a Challenge
As artists we often do our best work when we are challenged by difficult circumstances or limitations. When I was in art school, the most creative work didn't come from total freedom but from assigned limitations, for example, creating a painting on a vertical 10-by-20-inch canvas (or a similarly weird format) showing only two thirds of a building, half a tree, no sky and so forth. Those limitations forced you to be imaginative—for instance, putting yourself in the house looking out, or perhaps up in the sky looking down, or some other unusual point of view. So when you are scouting out a location to paint, don't automatically go to the most obvious scene. Get away from the herd and look for the unconventional and you will get some of your best paintings. It's those paintings that catch a juror’s eye. By learning to see differently, the world is at your door.

Linda Tippetts

Envision
As you look for a subject, observe, conceptualize and envision the scene until you can SEE IT IN PAINT on your canvas. Giving yourself upfront time to visualize your subject before you ever pick up a paintbrush allows you to work out problems with your eyes and to mentally answer many of your most difficult questions, especially about composition. Once you have interpreted the scene with your eyes, mind and soul, you’ll eliminate that frustrating “wandering about the canvas,” and you will dive in with a loaded brush and make the painting process a joy!