I've begun doing some plein air studies of mundane pastorals around the house here in Bixby, OK. Nothing transcendent, though it is teaching me a lot about color and form. I actually did paint a vibrant blue sky last week in keeping with the conditions, though I agree that usually nature presents a variation. "Avoid compositions that lack cohesion." Interesting point I suppose for studio work. But when you're out doors and it's naturally non-cohesive, I have no problem painting it that way. Nature is perfect. Why deviate?

Having to create an account just to comment was totally uncool. I'd change that.

Being an acrylic studio painter I finally started to take them out of doors. Though I gained many tricks to combating the heat, wood ticks and my palette drying out, it was combat.  But I loved being on location.  Knowing I alway liked the looks of pastels, two years ago I took a class with a local pastel wildlife artist.  I really enjoyed that first class so I took a follow-up class.  Like a fish to water this was a refreshing splash.  I am also an art educator and I needed 7 more hours of class credit to reach the top of my salery scale after my Masters degree (RISD) so one summer later I contacted a local college who's department head I respected.  We worked up curriculum to cover the hours. this gave me a goal for doing plein air work with pastels and I could develop a body of "sketches" to bring back to the studio so I could persue my finished acrylic landscapes.  Well, I did all of that, more or less.  I used the pastels to make my trips into the field physically possible and I was more moble with them.  The only thing I have not accomplished yet is that I have enjoyed the pastels so much that I have used my studies to make larger finished pastels and my acrylics have been idle on the shelf.  One other highlight, the college instructor I was working under, lined me up with a one man show for a month based on the focus of working on locaton and creating finished work from those plein air studies.  

Courtney, thank you. This is a great article.

Artists may tend to avoid painting blue skies, but it is ridiculous to say say they rarely exist.  That is just another artist falsehood that has been passed along.  Most of the US enjoys lots and lots of picture perfect blue skies.  They may be too pretty and perfect and cornball to be interesting to some (like lighthouses and red barns) but  they certainly exist.  Right now, it's Carolina blue where I am.

Well, the last time I did a plein air with a friend, her canvas was blown over on the grass and then a black snake came by to give his opinion. Also, those nasty little gnats are abundant around my house. They like to get stuck on the painting, too.

So, as you can see, I love the air-conditioned indoors and painting from my photographs. Yes, I know that's not the right attitude, but it's mine and I'm sticking to it. Plus, it's close to 100 degrees outside anyway.

I grew up in Texas with no air-conditioning. Just "squirrell fans and little oscillating fans...Enough is enough!!!

Good wishes to those of you who are brave enough to do your plein air!!!

However, I always enjoy reading what other folks are doing and find out new stuff every time!!! Thank you.

If you get the chance to take a workshop with Frank Serrano - grab it !

I was able to do a plein air workshop with him at  WWM 2009.

He's a wonderful instructor.

Well and good except:  (1) your comment re no blue sky is preceded by "Looks Like Heaven" where the sky is?  Blue!  (2)  Essential Rule #1:  Wear a hat!  Rule #2: Sunblock.  Rule #3:  Insect spray.  Rule #4:  If possible, choose a spot where you can paint in the shade, AND see that your easel will remain in the shade for 2 or 3 hours. (Option -- bring an umbrella.)   Comment:  "Awesome"?  You should be so lucky;  Settle for making the mundane beautiful.    Fred Pelzman

Well and good except:  (1) your comment re no blue sky is preceded by "Looks Like Heaven" where the sky is?  Blue!  (2)  Essential Rule #1:  Wear a hat!  Rule #2: Sunblock.  Rule #3:  Insect spray.  Rule #4:  If possible, choose a spot where you can paint in the shade, AND see that your easel will remain in the shade for 2 or 3 hours. (Option -- bring an umbrella.)   Comment:  "Awesome"?  You should be so lucky;  Settle for making the mundane beautiful.    Fred Pelzman

Well and good except:  (1) your comment re no blue sky is preceded by "Looks Like Heaven" where the sky is?  Blue!  (2)  Essential Rule #1:  Wear a hat!  Rule #2: Sunblock.  Rule #3:  Insect spray.  Rule #4:  If possible, choose a spot where you can paint in the shade, AND see that your easel will remain in the shade for 2 or 3 hours. (Option -- bring an umbrella.)   Comment:  "Awesome"?  You should be so lucky;  Settle for making the mundane beautiful.    Fred Pelzman

Father's Day I tossed my field kit into the truck and headed for the high country. From the Reno metro area tree line is just a short drive up the hill, where I found a flat spot between the snow pillows on a parking area access road, still closed even though it was the last day of spring. I scouted the location a few weeks before, braving a cold wind and a dusting of snow, looking for a view of Tahoe Meadows. It was still cool, but dry and sunny.

After an hour and a half, I was satisfied with a nice mountain vista, the first view of Lake Tahoe in the distance you see as you crest the summit of Mt. Rose Highway.

I've uploaded it to my website, www.woodsarts.com/gallery/37101/Paintings 46-60

CMBaby, we get some crystal clear blue skies up here in the shadow of the Sierra Nevada too. Just the same, there's nothing like the blue of a Carolina morning sky on the Outer Banks.

Fred Pelzman, shade wasn't an option where I was working, that's one of those issues I just have to work with. I do watercolor landscapes, and sometimes the only solution is big rocks to hold everything down when the wind comes up. Lots of those up where the Jeffrey Pines get twisted by winter hurricane-force winds. I compensate for the intense light, knowing that the painting will look washed out in normal viewing light.

In Arizona, you have to start out early in the summer in order to avoid the heat!  I've discovered Wittmann on why 60.  Great place to paint!

Knowing why I’m drawn to a subject and keeping that in mind thru-out has been a key for me. I state my goal at the beginning like “play of light on the wall”. I even write it down to keep me reminded. My plein air paintings prior to doing this were never thought out or focused and it showed. Once I started doing this, my paintings had a huge improvement.

I take along a notebook (with pencil on a ribbon) for people to sign & add comments, a pocket size sketchbook, an insulated water bottle & insecticide for my comfort. Summer items at Target sometimes are plastic coil wristbands of bug-off.  I buy four & wear them on my wrists & ankles. Also a camera. The viewfinder helps to isolate (& record) subjects.

At this moment, when I look out at the sky, it is blue with white clouds and grey bottoms.. No reds, greens, voilets...etc. (white and grey not a color) It is a clear blue Colorado sky at 6,000 ft elevation. When I see someone quote " Don't paint a blue sky. They rarely exist!" maybe in California they are brown, but don't make a generalization based on your limited experience and say its true for all. I really fault Cortney....study a little more when you write an article. A lack thereof reflects on your verasity.

I enjoyed reading this and peoples comments when i go out to do plein air i usually do a drawing take a photo and paint it when i get home