Preparing for the Plein Air

Hello, friends!

I write about materials for plein air painting almost every year because some habits change or I discover something new.

I love experimenting, and of course, I’m curious to try different materials. The choice of materials often depends on the subject: sometimes I want to create a light sketch with delicate lines, while other times I aim for bold color spots and dense strokes. That’s why I take a variety of surfaces with me.

One of my well-established plein air habits is using small sheets of Pastelmat paper for painterly sketches. Works on this surface often come together as patches of color in an impressionistic style. When I want to capture more movement and energy, I bring along abrasive or traditional pastel paper.

And, of course, I have a sketchbook filled with various types of paper for plein air studies, which we created specifically for pastel artists in collaboration with Maxgoods. This sketchbook includes Fabriano pastel paper in gray shades and nearly smooth paper in gray and black tones, which holds pastel and charcoal exceptionally well. I particularly value this paper for working with hatching and directional lines.

Each page of this sketchbook is separated by tracing paper, and the cover is made of sturdy black cardboard. It’s similar with the Strathmore sketchbook, which has smooth sheets of consistent quality, but all the pages are the same color, and it doesn’t include tracing paper.

I also carry a smaller Maxgoods sketchbook with me for capturing quick ideas and making small sketches. It’s an incredibly useful practice for any artist. Sometimes, I paste small pieces of various pastel papers and tracing paper into it.

Occasionally, I bring along a small jar of pastel primer and a rough brush, just in case I feel like creating my own surface and preparing a sheet for mixed media. To complement this, I add a couple of tubes of gouache.

My pastel boxes for plein air don’t change much from trip to trip. Even if we’re planning to paint poppy fields, it doesn’t mean the box is filled with only red shades. It should be organized with 12 primary colors and their derivatives. This way, the artist is prepared for anything. If an essential color is missing, it can often be mixed, borrowed from a fellow artist, or substituted with a similar hue—sometimes leading to unexpected and exciting discoveries.

This time, I’m bringing two sets: one lighter box for long walks and a heavier one for painting at selected spots, closer to where the car is parked.

The large set is incredibly convenient for working with any paper, but if you’re planning a long walk, it’s better to take a standard pastel paper and bring the smaller set along with some pencils and charcoal.

This lighter alternative not only reduces the weight you need to carry but also brings just as much enjoyment and creative potential!

Sketches made during plein air sessions are, for me, lively and emotional explorations that serve as the foundation for further work in the studio. Rarely does a plein air piece become a finished, standalone artwork. That happens only when several factors align: the subject, the artist’s focus, the materials at hand, the weather conditions, and the time available to work.

However, plein air sketches always capture a certain precise feeling—the very sensation that all artists chase. It’s the feeling of fully experiencing a fleeting moment.