Lessons from the Field: Reflections on Plein Air Painting

Painting outdoors alongside other artists is a humbling experience. During the California Desert Plein Air Festival, I felt challenged, energized, and stretched in ways the studio rarely demands. The experience confirmed something I had long suspected: painting outdoors is one of the best classrooms an artist can have.

Before going further, it helps to define the practice. Plein air is a French term meaning “in the open air.” Plein air painting is the act of painting outdoors, responding in real time to changing light, weather, and environment. There is no pause button. The scene is always moving. What follows are reflections from the field.

Nature won’t be summoned to order and won’t be kept waiting.” – J. M. W. Turner

Planning Ahead

I arrived each day without a clear plan. Not from lack of effort, but because my ideas felt rushed and scattered. What worked in the studio was not working in the field.

I leaned on something I have been learning through chess. You do not master the whole game at once. You must focus on the opening, the middle game, and the end game. After each game, you review what happened and adjust before playing again.

Plein air painting works the same way. Weaknesses appear quickly and honestly. When a painting is finished, ask what worked and what needs improvement. A good chess player can recount many, many losses. This is also true with the plein air painter.

After a bad opening, there is hope for the middle game. After a bad middle game, there is hope for the endgame. But once you are in the endgame, the moment of truth has arrived.” – Edmar Mednis

Pouring Watercolor Outdoors

Pouring can work in the field, but it is not always the right choice. Setup and location matter. Finding a pochade box that could lie flat allowed me to pour watercolor outdoors and explore new possibilities. But as crowds grew, my concentration faded, and I found it hard to paint the finishing touches. This was a lesson I could only learn by trying. Quiet locations and early mornings are better suited for gaining experience.

Like in chess, where you plan a few moves ahead, watercolor pouring requires a plan for each layer, with every pour carefully considered. I am excited to continue exploring this approach in future outings.

U.GO Plein Air Pochade Box Pochade box ready for any angle

Quick Draws and Creative Courage

A quick draw is a timed painting done outdoors, usually completed in one or two hours. While not required at the festival, I used this format for several paintings.

Quick draws reveal strengths and weaknesses immediately. Drawing, composition, perspective, and depth are all tested at speed. By working within a timed painting session, you quickly learn what is working and what is not. Simplifying the subject and flattening perspective made the process smoother. Using trusted colors kept decisions efficient: I enjoyed lavender for the sky, indigo for shadows, and sap greens to ground the landscape.

Like in rapid games of chess, quick draws train you to think fast, adjust strategy on the fly, and focus on what matters most in the moment.

Nature as the Instructor

Nature does not adjust to your comfort level. Light shifts. Wind picks up. Bugs bite. Temperatures swing from cold mornings to blazing afternoons. Humidity can be a factor if you are not used to painting in the desert. Seasons change both color and experiences. Simple solutions include bringing bug spray, wearing a hat and closed shoes, dressing in layers, and having gear that can be packed up quickly in the rare case of rain or high winds.

If a painting gets away from you, let it go. This abstract records the colors of the scene.

Community in the Field

One of the greatest rewards of a plein air festival is community. Seeing artists painting in the wild is inspiring—their locations, setup, style, and colors offer rare insights. The public loves to interact, and if you are painting, share a little about your process when asked. You never know who you might encourage.

One of my favorite moments was the insightful questions of a young boy, maybe ten years old. At first, his eyes were puzzled, but after we talked for a while, they lit up with understanding. He even came back after his hike, and his face gleamed as he could see my sketch taking shape.

There is freedom in painting outdoors. Embrace it.

Gratitude and Growth

Looking back, gratitude stands out most. I painted in beautiful places and listened to the wind in the trees, the water in streams, distant laughter, and birds overhead. Most importantly, I saw where I am still developing—not just in planning, but in experience.

Only in time will painting outdoors carry the same ease I feel in the studio. Confidence indoors does not guarantee success painting outside. There will be moments of frustration. But learning happens faster in the field, surrounded by nature and fellow artists, than it ever does in comfort. Keep showing up. Keep playing the game. Keep painting.