My First Plein Air Adventure (Or: How I Almost Forgot the Most Important Thing)

I've been wanting to paint outdoors for years.

I had the idea. I had the gear — eventually. I even practiced a little from my patio. But actually loading everything up and heading out into the world with a paintbrush? That kept not happening.

This spring, I finally decided to do something about it.

I signed up for Julie Davis' online workshop, Understanding Trees in Landscapes — three consecutive weeks, two hours each Thursday, just twelve students. I had admired Julie's work for a while. Her landscapes are emotive and abstracted in a way that I find genuinely beautiful, and when the opportunity to learn from her came along, I didn't hesitate. The fact that she's an Austin artist made it even better — I got to meet her in person when she had a recent show at Davis Gallery.

The workshop was exactly what I needed. Julie walked us through three key principles she's developed over years of painting, then assigned homework based on each one. We had an online community board where we could post our work and receive her feedback. Between the classes, the assignments, and the additional demo videos she provided, I came away with something I'd been missing: a real understanding of how to paint trees that read as trees in a landscape — recognizable, grounded — while still holding all the abstraction and emotion that makes a painting feel alive rather than merely accurate.

With that foundation under me, I decided it was time to actually go outside.

Duncan Park is practically in my backyard here in Austin, which felt like a safe first choice. I bought lightweight hiking clothes to survive the heat and humidity. I converted a photography backpack into a plein air pack and loaded it up. I was ready.

Loaded up and ready to go…

What we do for our art!

I walked to the park. I found my spot — a good sightline to two trees I'd decided to target. I started to set up, reached for my canvas — and realized I hadn't brought one.

At least I caught it before I was fully set up. Small victories. I packed everything back up, walked home, grabbed the canvas, and headed out again. By the time I got settled it was late afternoon, but I was finally ready to paint.

And then I started painting — and everything else fell away.

My Plein Air Setup

I’m using a Strada Mini here. It’s really a great easel and super easy to get set up!

That feeling of being outside, of the light actually moving and changing, of strangers wandering over to peek at what I was doing and offering encouragement — it was completely different from my studio. Freer. A little chaotic. Wonderful. I painted for a few hours in the Austin heat, completed two tree studies that were far too slow and not nearly loose enough, and then went home and collapsed on the couch.

I loved every minute of it.

Next up: Santa Fe. We're heading there soon, and I'll be bringing the plein air kit. The Sangre de Cristo mountains, the high desert light, the colors I fell in love with last October — I can't wait to see what happens when I set up somewhere out there and just start painting.

I'll report back. Canvas included.

— Beth