Materials & Supplies

Brushes

A wide range of brush types and sizes is available. Choosing the right brush for the right task makes a difference in your painting experience. Remember that skimping on brush quality can leave unintended marks from frayed, unwieldy bristles or stray hairs that get stuck in the painting.

Brushes come in three basic hair types: soft natural-hair, soft synthetic-hair, and bristle brushes. Choosing the right brush for the right task makes a difference in your painting experience.

Soft natural-hair brushes are made up of the hair of an animal such as a weasel, badger, or squirrel. High-quality naturals hold a good amount of moisture and are an excellent choice for watercolor. Some oil artists use natural-hair brushes for detail work, but most acrylic artists avoid them because they are delicate and damage easily.

Natural-Hair Brush

Soft synthetic-hair brushes are made of man-made fibers such as nylon and polyester filaments. They are ideal for acrylics and serve as an excellent alternative for watercolorists when natural-hair brushes are cost-prohibitive.

Synthetic-Hair Brush

Bristle brushes are coarse and sturdy for working with thick oil and acrylic paint. Made of hog hair, they produce visible, painterly brushstrokes.

Bristle Brush

Bristle brushes are ideal for using heavy-bodied paint (A), whereas soft-haired brushes work well for feathery strokes, details, and blending (B).

Round brushes have round ferrules and hairs or bristles that taper to a soft point, allowing for varying stoke widths.

Round Brushes

Flat brushes are referred to as “shaders” or “one-stroke” brushes; flats are ideal for creating straight edges.

Flat Brushes

Bright brushes are flat brushes with short bristles or hairs, offering greater control over strokes.

Bright Brush

Wash brushes are wide, flat brushes with soft hairs and a thin edge.

Wash Brush

Filbert brushes act as a hybrid of round and flat brushes.

Filbert Brush

Chisel-Edge brushes are also called “angular” or “slanted”—a chisel-edge brush is a flat brush with bristles or hairs trimmed diagonally.

Chisel-Edge Brush

Sketchbooks and Pencils

One item I’m never without is my sketchbook. This is where I test out ideas and make decisions regarding what to include and what to leave out. This is where the simplification process begins—all the shapes are outlined and all the values are assigned (see here). It’s after this “plan” that I begin to paint.

I’ve been composing shapes and painting for many years. Now, more than half the time I skip the small value plan. I am experienced enough to see the finished painting and can work toward that vision. When painting on site, my energy level is high and I want to start painting right away, but there have been many times I wish I’d taken the time to plan first. Perhaps that’s why I love acrylics so much. I can make a mistake, whether in terms of hue or value, let that mistake dry for a few minutes, and then make a painted correction over the offending area. If you are a novice plein air painter, I highly recommend that you create a preliminary value plan before you begin painting. It is time well spent.

Everyone I know who paints outdoors has more than one setup, but everyone is different in terms of materials and intentions. See what works for you. Try different easels and surfaces. Just remember: If you bring it, you have to carry it.

My sketchbook setup includes a commercial hardcover sketchbook. I also carry a 3B and 5B pencil (both are capable of very dark darks) and a Micron waterproof black ink pen. I use the pen mostly for quick travel sketches when the danger of smearing graphite is high.

Brushes with Brush Caddy

I carry all of the brushes shown in the photo below. Do I use them all at any given painting session? No, I do not. Most of the time, I start and complete a plein air painting with one brush. A lot depends on how much time I have and how many small shapes or details I want to include.

The three nylon flat brushes shown diagonally are short-handled flats. They are wonderful brushes for pushing acrylic paint. I am rough on brushes, but I have yet to wear out one of these. I always clean them properly after every painting session.

I also carry two pencils separate from those I carry with my sketchbook. More than half the time, I begin a painting by drawing with diluted paint, outlining all the large shapes. Occasionally, I find it necessary to use a graphite pencil (5B) to delineate more of the smaller shapes. This darker pencil shows up well against a light or white background. Sometimes I use a white water-soluble pencil, which shows up well against a darker background. The water-soluble lines disappear when touched with a loaded brush.

Brush cases are available through most art-supply companies. I also carry four brushes dedicated to watercolor: two round Perla by Escoda brushes in sizes 8 and 12 and two Series 995 nylon flats by Winsor & Newton. There are also a couple of smaller brushes used for details and a triangular palette knife that I occasionally use for line work or added texture.

Palette

Acrylics dry fast—I love this for painting. I do not love that they dry fast on my palette. To counteract this, I use a palette that contains a sponge and a tight-fitting cover. When the sponge is moistened and covered with palette paper, it will keep the acrylic pigments wet for more than one painting session.

The gray paper under the palette is a specially made palette paper toned a neutral gray. This paper is placed on top of the moistened sponge, and when you mix a color, this gray-toned paper makes it easier to discern both its hue and value.

Collapsible Water Container

Water acts as both a thinner for your acrylic paints and a brush cleaner. Any container will work, and there are many varieties available. I like to use a rubber collapsible water container. It holds a sufficient amount of water and is easy to pack.

Paper Towels

I use paper towels both in the studio and in the field. A full roll is fine to carry in your vehicle but is too large to carry in your bag. I usually just tuck five or six sheets into my bag for a painting session.

The Minimalist Approach

There may be occasions when you want to paint outside, but you either don’t have much time or you don’t feel like carrying all your usual tools and supplies. For me, it’s usually a matter of time or place. There are occasions when I only have an hour to paint, but I still go for it. Also, when packing for a trip that requires flying, I sometimes greatly reduce the painting supplies I bring. The flip side of this is the fewer clothes you bring, the more painting stuff you can pack!

Let’s take a look at what I carry for a quick outing. The only thing I’ve left out of the photo (opposite) is the large plastic bag I use to sit on if the ground is wet. It also forms a barrier between you and whatever bugs might be around. In certain parts of the world, that plastic bag could mean the difference between standing for a few minutes and sitting comfortably for an hour.

• Bottle of water for drinking, mixing paint, and cleaning brushes.

• Size 8 nylon flat brush, which I use both for painting and for the initial outlines. Use the largest brush you can. Although this restricts your ability to paint small shapes, it takes less time to paint only the large shapes.

• My covered stay-wet palette.

• Four tubes of paint. I only bring the three primary colors plus white. In this case, it’s gamboge (warm yellow), alizarin crimson (cool red), anthraquinone blue (cool, similar to phthalo blue but darker), and titanium white. I can make browns and neutrals by mixing all three primaries. I can make a very dark mix with anthraquinone blue and alizarin. There may be some compromise in terms of how saturated (bright) your secondary mixtures may be, but remember, you don’t have much time!

• A collapsible water container.

• Two painting panels made with 300-pound, rough watercolor paper (lighter in weight than almost any wood or fiber panel). I prepaint these with my favored cadmium red light base coat.

• A bag or pack large enough to carry everything. I use a messenger bag. Notice the paper towels sticking out of the front pocket. Don’t forget them!

Umbrella

I prefer using the stake-in-the-ground style of umbrella rather than those that attach to the easel. I’ve tried both. The latter folds up and is easier to carry, but there are times it will not stay in place or is not large enough to shade both me and my painting. And if a gust of wind is strong enough to grab and toss your umbrella, it will also take your easel, your supplies, and your painting with it. A staked umbrella is larger, sits higher, and is easily angled to block the light—and it won’t take your painting and supplies with it if it blows away.

The drawback of a larger umbrella is that it is another large piece of equipment to carry. If I’m traveling to a location where I can paint out of the back of my vehicle, I take the umbrella. If I have to hike any distance to paint, I leave the umbrella behind.

The umbrella I use is about 3 feet long and adds a considerable amount of weight to a supply load, but it provides ample shade for me and my work.