| Author | Message | ||
  Eddieooo |
Sun-Eden Artist Gear sells an aluminum "bar" that screws to any camera tripod. The board that you tape your paper to clamps to the "bar". Light , simple easy to carry. Thats it!... It's terrific ...Eddie Oh I forgot....It's best for watercolor | ||
Eddieooo |
I like my Stanrite aluminum easel that attaches to tripod. however I lost one of the two spring clips that came with it. Does anyone know how or where to buy an extra one? | ||
Geeky2 |
One of the girls uses a sardine can and the plastic pill boxes with paint in them, a sponge and small sheets of paper. She takes it in her kayack too. She paints beautifully. I think she has cut some of her brushes down also. | ||
Geeky2 |
I learned the hard way, that I took too much. The best painters seemed to take less. A few supplies and the nylon clothing that dries overnight. The girl with the small porcelain palette and the homemade pans of watercolor and a stool, painted the best painting using just 2 or 3 colors. | ||
patinsc |
Portable supplies: I have a friend who just returned from Newfoundland on a 10 day painting expedition. He and a friend go somewhere every year and do same. Last year Alaska. Guess what? He has everything in a back pack. I will have to ask him what he uses and get back to you all. I am amazed when he talks about it. I can't even go 3 hours away to a workshop with out the kitchen sink. | ||
Geeky2 |
General art material tips: I recently saw some ideas for materials in outdoor painting. 1. A folding makeup kit, plastic, with watercolors placed in the holes previously used for eye shadows, etc. It was about 5" tall, about 5" square, but has swing-out sections. 2. One person's kit was jelly type pans filled with watercolor, glued to a shallow pan, and a small porcelin palette. 3. Tripod (photographer's) with plexiglass board fastened to the tripod head. 4. Gloucester type (three legged) easels, with plywood inserted into the crossbars for a painting table. 5. Luggage carts with boxes attached to carry equipment. 5. Small metal palettes with Schmienke (sp) pan colors. 6. Small tables similar to card tables. 7. TV trays (the old metal/plastic type) 8. Small pochade type boxes on tripods for oils. 9. Several artists used Julien style easels. 10. Many just held a board on their laps, sitting on a folding stool. 11. Many wore the nylon convertible pants (they can be turned into shorts) and shirts of the same material, that has air vents. 12. Sandals or shoes with gripping soles. 13. Caps or hats. 14. Papers in a folder made of two pieces of foam board, taped together to make a portfolio. 15. Cushions of foam if sitting on rocks or the ground. 16. Home made easels, the old plywood slotted kind, that you can take apart. Works well. 17. View finders of black matboard. Jean | ||
Anonymous |
Hi everyone. Great discussion board! Do any of you paint outdoors? I've gotten some supplies together, but so far am too chicken to go by myself. Can you share any experiences? | ||
paintwerx1 |
I sure like my studio indoors. I think my camera is my most important outdoor painting tool. I take a lot of photographs when I'm out, and then come back in and work mostly from them. But if you like bugs, extreme heat or cold, sunburns, abrupt changes in weather, carting around supplies including something to sit on and hold your supplies, something to eat, umbrellas, etc, etc. you may really like "plein air" painting. I have painted outdoors in the summer, but remember watercolors dry much faster in the heat, and the light can be very bright so you need a source of shade for more accurate color, (the sunglasses do nothing for color accuracy!). Don't forget several water containers and a large one if you're not near a fresh water source; and if your hands get sweaty, handling your paper may cause damage you can't repair later. Maybe it just depends where you live, but up here in Canada the winters are too long to get much comfortable outdoor weather to paint in. Hope you enjoy yours! | ||
paintwerx1 |
Hi, its Paintwerx1 again. I notice my message says its 2:44 a.m., but here it's actually 3:44 a.m., so perhaps I'm just overtired. I didn't mean to turn you off of enjoying the great outdoors while you paint! It's probably all my other commitments that keep me from going out more often! (These darn kids are so demanding at this age, and they're just too much of a pain to take on painting trips!) I do take my paints along every time I go on a vacation, even if it's just camping for the weekend; you never know when that perfect mood might strike after everyone else has gone fishing. This "chatting" is new to me also, as in this is my first time, so I apologize for boring you. I best get some sleep, as I have several paintings I need to finish this week! | ||
Anonymous |
Thanks, Paintwertz. I think I probably agree about all of the inconvenience. I suppose I was wondering if it really helped you to paint from nature. I also take more photographs than actually doing anything more than sketching out of doors, even from my car. Thanks to everyone answering on different subjects. | ||
suegee |
This is the first time I have visited this discussion board. What a wonderful opportunity to learn and to visit with other watercolour painters!Thanks Cheap Joe's! I paint outdoors whenever I can but have found I am happier with the results when I do watercolour sketches rather than attempt to complete a painting. I take as few supplies as possible to lighten the load . I use an ArtBin watercolour box for paints,pencils, pens and brushes and take along a watercolour sketchbook , and two watercolour blocks( one 5"x 7" and one 7'x10")and a plastic water jar with a screw-on lid. These, along with a thermos filled with a hot or cold beverage, depending on the weather, and a lunch are packed into a backpack which also serves as a stool, and I'm ready to go.The lunch container is a small plastic cooler which I use as a work space for water, paints etc. while I sketch. With this equipment I can roam around easily until I'm ready to sketch. I also take a camera to record reference material for later paintings. Often I'm much happier with the sketches made on location than I am with paintings done from sketches and photographs later at home. Does anyone else have this experience ? Somehow the paintings lack the spirit of my sketches. Any suggestions ? | ||
artshot |
Painting outdoors in watercolor is a real blast. I was very self conscious when I started painting outdoors and tried to find locations such that I was not readily visible to people. After awhile this self consciousness passes. I generally paint my better works in my studio, but the experience of outdoor painting is great. If you have been used to painting indoors from photos, the initial sessions outdoors can provide an overwhelming amount of material. You have to compose, limit what you are after and disregard extraneous detail. Otherwise, you will come away with nothing. This is easier said than done initially. However, the weather conditions, the smells, the sounds etc. make the outdoor experience very worthwhile. Most people don't make a pest of themselves. So get out there and enjoy! | ||
Melissa |
I take my kids on a hike and then paint someplace where they can play nearby. Last week I sat on a rock and painted a lake while they spent over and hour picking wild blueberries and feeding me some. I also pack lunch and snacks for them to eat while I paint and reading material for them. I use the Winsor & Newton watercolor travel set and paint small so I don't have to carry much. | ||
Will |
I love to paint en plein air! Part of the fun over the years has been trying to perfect a lightweight kit. I have developed a lightweight system that includes an easel with shelf for supplies and water, a chair, palette, few tubes of paint, paper, papertowel, brushes/pencils, etc. Everything fits into the exterior pockets of a great pack from REI, leaving the inside compartments for packing clothing for trips. It all weighs less than 15 pounds full loaded including clothing, etc. I live in Oregon, known for its wet weather and I still enjoy being out. I do small works and loose studies. I am forced to work fast and spontaneously. It has really improved my ability to see and capture the essence of an idea quickly. When I return home from a trip or a day of painting, what I remember the most are the spots I spent 2 hours painting-the smell, the sounds, the landscape or buildings, the people, the colors, the happy painting accidents. It is a very personal snapshot that only I can see. Often, I send my sketches as postcards that people do cherish and sometimes frame. Lastly, I love the people who gather to talk. It is really fun and I have gotten a lot of folks to start painting from bumping into me out there. My funniest experience was painting in a public park on a warm, summer evening. A little boy watched me for a few minutes and then, dead serious, asked, "Is that art?" Go for it! | ||
Anonymous |
i am looking for a empty metal field box. i want to fill the wells with 12 of my own colors.i am having some diff. finding this. i also like to paint outdoors. i enjoy the adirondack and catskill mts. i'm lucky to live halfway between the two.i'm also reducing my load to fit in a day pack. i've been using empty pill containers for my watercolors. holds 6 colors, small lid you can use to mix a little, and it fits into an empty sardine can[to rinse brush off]. i've used this in my kayak and hiking.now i have to find something for the bugs. | ||
Will |
Schminke sells a beautiful 12 well 1/2 pan set that will really hold 14. Usually it is sold with pans for about 70.00. I bought mine empty for 20.00 and filled it with Daniel Smith empty pans for 4.00 and use my own color. If you can't find what you need, let me know. I think I can still get the box here in Portland, OR. | ||
Anonymous |
Thanks Will... i'll check it out. | ||
rosepetersonmyers |
Will,(and other plein-air or travelling artist's) I would like to see a picture of your easel and shelf. I took a great class with Erin Dertner, and she had a really cool set up that was a photographers tri-pod with an adapter that clipped to a a half sheet size board. Her shelf was shaped somewhat like a baby's high chair tray except the back area continued to wrap around so that it could be settled on the tripod legs. The size was large enough for a large palette, and water cups. The best part was the carrier. It looked like a canvas portfolio bag (a little larger than half sheet size.) with a zipper top and was connected to wheels like rolling luggage case. Everything fit inside, and could be wheeled around easily with all her supplies and easel and weighed less than 15# filled. It was also sized to be a carry- on for air travel. She said that the company that made it was out of business, and recommended EZ-GO Artist's gear, which is quite pricey, and doesn't have the cool rolling bag. I would love to hear from anyone who has information on a good portable light weight system.Help! rose | ||
Will |
Daniel Smith also sells an empty metal box for about 43.00 that will hold 12 full pans or 24 half pans. It is enamal and very sturdy | ||
Geeky2 |
Speaking of camera tripods easels...Does anyone know how to adapt the tripod to hold a watercolor board? I know there's an adaptor or screw, but where would you find this, or what type to buy? I've bought a Julian easel, and others, but they are all heavy for outdoors. Thanks for all the outdoor painting tips! I'll have to get my nerve up and try it. | ||
Anonymous |
i'm also working on this problem. my husband works with metal so he made me a disk aprox 3" in dia. out of 1/4" stock tapped with a hole 1/4-20 [he said this is a standard hole for tripod screws] this works great, but now i don't know what to do with it. so i used the ol' stand by "duck tape" and two paint sticks. i rigged this to the back of foam core covered with clear shelving paper [self adhereing],cut to 12x 16 to fit a 1/4 sheet fo w/c paper. as crude as it sounds it worked great, but only temp. there was an article in june artist mag. on how to make what your talking about. he used a board [described as "honeycombed-center"] this may be outdoor sign material, but read the article with pictures and in depth descriptions. he still doesn't say how he fastens the board to the tripod. | ||
Geeky2 |
Hi Anonymous, Yes, I saw that article, but need a little more info. I wonder if a photo shop would know how or what to use. I'll check that, too. I didn't know what "honey-combed center" board was, but I suppose if you get the correct screws or fasteners, any type of board would do. Thanks. | ||
Will |
I make 3" disc of 1/4" aluminum plate or, lighter yet, 1/4" Sintra plastic sheet.(See local industrial plastic vendor in yellow pages) Tap a 1/4-20 hole dead center and use double back carpet tape to attach adapter disc to foam board. Works like a charm. When the foam board wears out, pull off the adapter disc, remove the tape, apply new and adhere to a new piece of foam board. It travels well and can take some weather too! I think the SLIK 7000 is the best portable tripod for our purposes. $29.95 at camera stores. | ||
lbailey |
I have a camera tripod which I adapted to hold an aluminum watercolor fitting. If you see the easels in art stores, you will see those with an aluminum piece about 2 feet long and about 4 inches wide. If you can buy that piece along with the oblong flat head bolts, wing nuts and spring loaded paper holders which make it work, you can adapt it to a photo easel which is a lot lighter and cheaper (about $20 on sale at Walmarts or Kmarts). Just take out the camera screw and put the flathead bolt in in its place. Works great especially with blocks. | ||
Will |
In my mind, adding the mechanical holder does not make sense. Ultimately, its purpose it to hold your paper support, be it a watercolor block or a foam sheet. For blocks, I doubleback tape an adapter plate directly to a block. Then I just screw the tripod directly to the block. The tripod head provides all the 3-axis swivel you need to get in into position and the adjustable tripod legs adjust the height. You accomplish the same end without the added hardware. When done, the block unscrews from the tripod and packs flat as usual. The tripod is your only hardware and when compressed, will fit into the side straps on the outside of most day-use backpacks for en plein air painting. The same goes for a foam board support. With the adaptor, it mates directly to the tripod. Use two bulldog clips to attach your paper sheet and you are ready to go. The key to plien air painting if you are really to be portable on foot while traveling or hiking, is to simplify, simplify, simplify your gear. This includes reducing the weight and bulk. | ||
Geeky2 |
To Will: Would you use a drill press to tap the 1/4"-20 (I have no idea what the "20" stands for) into the metal plate? Then the metal plate actually screws onto the tripod without additional screws or bolts? I need to tell my husband how it needs to be fixed. I can build some things, but metal working is beyond me. Thanks! | ||
Will |
It can be confusing! 1/4-20 is a machinist's standard that stands for a threading tap that will thread a hole to accept a 1/4 inch diameter metal-working screw or bolt that has 20 threads per lineal inch of thread. The threaded screw that protrudes from the top of a tripod and screws to a camara bottom is this size. So, if you have a plate with a 1/4-20 hole in the center, it will attach to a camera tripod without any additional hardware. The tripod sees your plate as the bottom of a camera! Have your husband go to any good hardware store and buy a 1/4-20 tap with a tap handle. Actually, if you know any car repair hobbiest, maintenace type person they should have one you can borrow. It is very common. Next you need a drill bit to drill a hole slightly smaller than 1/4 inch diamter. The process is : 1) Drill the undersized hole on a drill press. 2) Hand tap the hole by: a)put the 1/4-20 tap into a tap handle b)carefully start the tap in the drilled hole being very careful to keep the tap 90 degrees to the hole c) tap the hole by turning the tap until the hole is completely threaded. In 1/4" thick metal or hard plastic (Sintra), it only takes 6 or 8 turns. Note: taps are tapered for the first few threads , so run the tap in quite a ways to ensure that the walls of your tapped hole are Straight (i.e. parallel) and not conical. After you make one plate and test it, make several plates at once. I keep a plate on a couple of sizes of foam board, a couple of watercolor blocks, even the back of a sketch book. So, I am using 5 plates or so at any one time. Make enough this one time to last a lifetime! I am going to close this message and leave a new one in a few minutes after I search the internet to find the correct drill bit size for the undersized hole. Stay tuned! Feel free to email me direct if you have more questions! | ||
Will |
Geeky2: Go to http://cfa-www.harvard.edu/~masermri/screws/screw2.html It is a table of tap sizes and corresponding drill bits. Read down left column to 1/4 then across to column for drill bit sizes. You can use a #7 machinist's bit or a more common 7/32 drill bit. Email me your results! Good luck! | ||
Geeky2 |
Hi Will and everyone: Thanks so much for all of the information!! I am so used to doing my own stuff, when I mentioned the discussion to my husband, he said, " Oh yeah, I have the tools for that." the only question he had was would plexiglass do or did he need to get a different type. I am guessing that "Sintra" is a harder plastic. I found some old Stodart/Stobart (I hope I'm spelling correctly) tapes by the watercolorist Stodart/Stobart in Connecticut. He used the same type setup, sometimes a board for watercolors, and sometimes he had a table-top sketch box mounted on a tripod. He said he made it himself, using the type of mounts used for video cameras. I'll let you know the results. Thanks again, gang. You're great! | ||
Geeky2 |
To Anonymous: Re: the mount to the tripod. You wrote to me personally about the tripod/easel question. I've lost your name and email. I need to explain something if you can email me again. Thanks. To Mike: My drummer husband said no thanks to painting, for himself. He said he has just joined two smaller part-time bands where he has no pressure at all, to take the pressure off, caused by the bigger band. I guess we all need to take that attitude in our artist endeavors--let me get heavy here.(grin)Often I paint and expect (hope) to be able to produce something good-instead I need to take time to play with colors and papers, etc, to take the self-induced pressure off. (Sorry about the run-on-stream-of-thought-sentence.) | ||
Will |
Geeky2 Plexiglass is too brittle. Tapped threads can break easily. Sintra will wear out too over time but it is softer and more forgiving than plexiglass. Aluminum is a good compromise of weight to strength. | ||
Geeky2 |
Thanks Will, you have been a tremendous help. We are thinking of also trying a hard plastic cutting board, although it may also be too brittle, but...who knows? We have some that knives will just scar it, and not really do too much damage. (Did I say Cheep cheep?) | ||
Geeky2 |
Will and others: My husband made a few tripod mounts out of scrap metal squares until we can look for the plastic you spoke of. They fit just fine. Thanks to you all. Now all I have to do is get outdoors and paint! I can use it in my art class too, probably. Now, about a shelf...what kind of shelf did you make? (grin) | ||
Will |
Geeky2 I'll draw a sketch of what I have done, scan it and send it to you in a few days by email. It is very simple to make, easily replaceable if damaged and Cheap!!! I'll try to get it out by Thurs. I am involved in a .com startup and we are in launch mode so I am working all the time. Stay tuned! | ||
Geeky2 |
Thanks Will! | ||
Geeky2 |
Will: Will you stop working for one minute and tell us about your shelf on your easel?? (grin) We are wringing our hands by now. So, do you really have to keep working? (big grin) We miss you on the discussion. | ||
Geeky2 |
Ibailey:Re: attaching to tripod Were you able to get the pieces from the watercolor easel somewhere? When I tried to replace the top clip that holds a canvas on an easel, the local store just looked down its nose at me. I think that would be a nice addition for use of the tripod in the studio. | ||
drollere |
my field kit is described at http://www.handprint.com/HP/WCL/tech31.html ... it travels well, even on an airplane, and is a no fuss way to get into the field. i don't use a tripod, simply because it's more stuff, more junk, and a tripod won't work well in the wind. i sit with the block or stretching board in my lap, propped on a fence, post, wall or window sill if necessary, or held at an angle with my left hand. however sargent always used a tripod ... the simple Stanrite aluminum tripod is excellent, and handles even very large boards. there are three main problems in field painting: finding a view you want to paint, staying out of the sun, and staying away from spectators. spectators are a kind of large insect that swarms around open paint supplies. trevor chamberlain suggests snapping your wet brush at them. i prefer to sit where i can't be seen, or at least where they can't stand to watch. in cities or towns, this usually means painting from a window. sunlight will radically alter your perception of hues and values -- particularly values. it's really important to keep the watercolor surface shaded, and if possible to sit entirely in the shade, so that your eyes are not light stressed. finding the view is the fun part ... hiking, getting fresh air, driving around in my boxster. respect property rights, and you'll be fine. a fourth (sometimes) problem is getting fresh rinse water. i just pack in a quart or two of bottled water, and have learned to paint with minimal rinsing. | ||
Geeky2 |
drollere: Checked out your site. Thanks. your description of painting outdoors is funny but true. | ||
Melissa |
The main problem I have with outdoor painting is that the light keeps changing. I try to paint fast, but I guess I'm not fast enough. How do you all deal with that? | ||
Geeky2 |
Melissa: I'm not much help, since nothing I paint outdoors turns out worth a hoot. It's just fun! I've been told to get your shadows down fast, and take a photo, but I hope someone else has a better answer for you. A friend and I sat by a lake last Sunday and painted away. I took photos which didn't turn out much better than my sketch, but I've got the idea. The reflections were beautiful, if only I could capture those! | ||
apiper |
I study the lighting/shadows very intently prior to beginning the painting, once they are in my memory I can add them as they were even if they have moved along. When I was a youngster my dad taught me that in order to remember a scene look at it carefully, then close the eyes and picture the scene...open the eyes and determine what is missing in your memory, then committ the missing parts to memory again. Just keep adding what was missed until you can see the scene in all its details with your eyes closed. This really works for me. Try it whenever you see an image that captures your artistic attention. Let your eyes and mind be your camera. | ||
carol |
Mellisa. i had the same problem with shadows. i enjoy looking for and sketching old barns in my area. i develop them later into paintings. the shadows catch my eye, but by the time i get things out and do my sketch it's noon, and the shadows are not as good. i found a polaroid camera at a garage sale and finally found some black and white film for it. [the film was the hard part to find.] i take a photo when i get to the spot, and then use it for reference.carol | ||
Emily |
This isn't a practical solution, but I think it's interesting. From what I was told at an art museum, Monet used to have multiple paintings of one subject working at the same time(waterlillies and the train station) He had one for each time of the day and would move to the next one as the light changed. In Chicago about five or six years ago the had a collection of his works (temporary exhibit) and about twenty+ of his lilly paintings were set up in a semi-circle. You could see a whole day. Many artists criticize him by saying that he was assembly line painter. | ||
theBrush |
I am a decendent of the "Maine School' of watercolor painting. My watercolor mentor is Betty Lou Schleem. I am a full time professional artist in oil and watercolor and teach workshops nationally in both. My watercolor kit is extremely straight forward and easily assembled. I have painted in the O'Hara, Whitney fashion for years, by clipping the paper with bulldog clips to an 1/8" masonite board, which I set on the ground, slightly inclined on my EF bag. I use a 1 1/2 " Jeanne Dobie flat and a #38 Round "Giant Waterhawk" developed for me by Joe. I use a warm and cool of each primary color for pigment, a couple of household sponges, a butchers palate, a water pot, and an old towel to wipe my brush. Keep it simple and light! My materials list is on file a Cheap Joes or email me: wetbrush@earthlink.net and I would be glad to forward a copy. | ||
amypaints |
I am addicted to plein air painting. It is the most challenging as well as rewarding painting I do. I paint out with a group...we meet at predetermined sites and it is great to see how everyone reacts to the same site. I love the fact that the sounds, smells, and weather definitely affect your work...it is not like studio work at all. I use a french easel and usually paint small ( 1/4 sheet). Due to the quickly changing light you have to paint fast and I feel that watercolor is perfect for this. Each location has its own challenges...sometimes the site wins and I don't! My advice for those who are discouraged...keep trying...it is w | ||
apiper |
If I need to do something quickly I do a sketch using only one color, Usually burnt sienna or Ultramarine blue. This results in a values sketch which I can reference as I work on the actual painting. One color forces me to get the darks and lights right. I have wondered about using a French Easel. Is it easy to use for watercolor? That is cool about Monet. | ||
amypaints |
I really like my French Easel. It does work for watercolor and I keep it ready to go out...All I have to do is add my brushes, take along water, hat, sunscreen, and I am set to go. I keep an extra palette also, so I don't have to use my studio one. You can adapt the easel to fit a Pike Palette. | ||
apiper |
Thanks ampaints. I see cj's has a reasonable priced one. Some I have seen have been really spendy! I did not want to just buy one without knowing that they did work for watercolor. | ||
kathy |
I think I have the perfect solution to carrying your supplies outside to paint. I went to Sears tool department. There I found the perfect bag that has all kinds of zippered pockets, little doodads to insert your paintbrushs in, big pockets to carry pads of paper. Lots of room to include paints, and other goodies that you can't live without. I figure that if I have all this con-venience, along with good paints, plenty of paper,and good weather, how can I not paint a masterpiece? I'm still waiting!!!!! By the way, the above-mentioned bag was $29.95, plus tax, of course. The bag is black with orange trim. It has a hand strap and a shoulder strap that is long enough to loop around your head for easy transport. |
