Mindset and Materials
This post will be a bit longer due to the photos and lists included.
I thought I’d record a bit of what I am thinking about and how I have prepared for my first plein air painting competition. The best record that I found of such a thing was by Kathleen B. Hudson. Her blog goes through some details and stories that give good insight into what she felt and did.
https://www.kathleenbhudson.com/blog
I also watched all of Charlie Hunter’s plein air competition videos on his Youtube channel.
https://www.youtube.com/@CharlieHunterArt/playlists
Not finding that many sources for such a thing (perhaps I just didn’t know where to look), I will add my experience here for the record. I have no idea how it will be found, but here it is nonetheless.
The two sections that seemed important to me are materials and mindset. Scouting was very important, and I’ll include that under mindset.
MATERIALS
Materials are pretty straightforward, but the quantity was an issue. It is important to note here that I knew that whatever I did not use for this event I would use for something I’ve got coming in late 2025, so I over-purchased.
PAINTS
I knew I could get by with a few colors (as normal), but my fearful imagination and lack of experience pressed me into a mental space where I wanted to have no restrictions. I know that convenience colors are just that, but if I’m working fast under pressure, those mixtures can really help out.
For example, a premixed grey (gray) or neutral is really handy. If I have to mix three colors every time I want to mingle it in with stronger colors, that is likely going to increase my frustration (probably just a problem with me and my unrealistic idea of what I should be capable of…).
If you are one to premix your colors…I can’t relate. I should do that, as it forces me to slow down and be considerate.
Another problem I have is energy. There is something about starting a painting - especially outdoors - that fills me with a frenzy that is hard to control. I often neglect basic picture-making principles because this buzzing energy speeds me up. I almost always fail if this energy isn’t reigned in. I almost never reign it in. I almost always fail. Really. One of the reasons I paint slowly in layers is because I’m recovering from the frantic first passes where I just wanted to see COLOR and SHAPES and MARKS! Who needs drawing, arrangement, and vision?
Anyway, below is what I use. Because I will be painting from my car most of the time, I can take more stuff. So I will, but hear this:
Restrictions create freedom.
I will not do better at the Olmsted Plein Air Invitational because I have more stuff. These are just safety blankets that I want to bring.
When I am in trouble, I always, ALWAYS, drop back to a very few colors.
Vasari Elemental Set - Click to see it on their site. A terribly small picture is all they have.
(Photos follow…)
I have used the Sulphur yellow and it works fine, but I have swapped to their Brilliant Lemon. The green included is good, but I have swapped to their Basic green which is the same thing but less pigmented so it is less strong. I am trying a different cool red - not the included Ruby red (which works fine) - because I wanted something cooler but not so blue.
Ultramarine and burnt sienna make a dark. Ruby violet and the green make another, different dark.
This set will do anything outside. It is a really good set and was basically what I would use anyway.
I put the blues and whites in separate photos because I use large tubes.
Please note the FAST DRY WHITE. If I am using titanium, it is this FAST DRY WHITE.
If you struggle with pleasing paint body or wish you made thicker marks, use LEAD WHITE. It is warmer and will not kill your color mixtures because it is semi-transparent! It is really beautiful.
My most used stuff. I usually use a different Yellow ocher, but this is so lovely and red that I’m using this for a while.
The transparent oxides are all awesome. Blues and whites below.
THE KEY HERE IS THE FAST DRY FORMULA WHITE
I use the Video Blue Extra Pale as a white and as sky. I love it. The Alpine Green Extra Pale is used like Turquoise - wonderful, interesting purples and greens and other stuff. Cobalt violet is dusk. You’ll see here my normal yellow ochre and duplicates of purple and yellow - this purple is relatively weak but that is why I like it.
I love raw umber. It makes wonderful silvers and greys and dries fast. I use it a lot. The Cyprus Umber Green is just taking up space. I had a reason for including it, but I forgot. I will not open it. The Cadmium orange - my only cadmium - was clearanced at Hobby Lobby, so, why not?
Panels
I do not have a workspace that allows me to make my own panels, so I use Raymar and get custom sizes. (Note: Raymar sends a 15% off coupon with almost every order, but it is not usable for custom sizes.)
Everything is time or money. I don’t have much money, but I have zero space, so I buy panels. They are always cut straight and to the exact size. I use the thinnest foam core because it is very lightweight, and that makes a big difference in the cost of shipping and the convenience of walking with a couple in my backpack with one on the field easel. Plus, I don’t have a proper indoor easel, so I have to clamp everything to a board, and the weight is an issue.
Below you will find what I ordered and how much it cost. I normally would use a double-primed surface, but using this more-than-adequate single-primed surface saved me a little money. Once you see the total, you can see why I needed to save money.
Do I need all of this for 10 days straight of painting? No. But I did plan on three paintings per day (two is far more likely). Having this variety ensures that I will have a proportion that will work. Plus, I will need what isn’t used later.
Everything for the show must be framed. No exceptions. Guess what I did…bought frames for all of these panels.
EEK.
EEEEEEEEEEEEEEEEEK.
I have a great local framer (1.5 hours away in Hendersonville, Tennessee) who goes out of his way to help me and other local painters, so I loaded him up with work and he gave me great frames. Fast.
I chose to standardize and use three different types across all panel sizes: a deep, distressed one that I have used before (for the squares), a rather unassuming flatter profile that I think of like a suit or tuxedo, and a really great little frame that I use on all my small ones. (In the video below, Yall get a sneak peek at some of the “petite” paintings that will be available in a couple of weeks at the event…)
The Forester. It will only get worse.
I spent over $1000 on frames. Well over.
Breathe.
(Remember, Seth, you are using them for another event.)
Breathe.
Why not use readymade frames? Custom sizes and great service. My frame guy has a ton of readymades, but I do not like the width or bulk. Even my deep frame isn’t bulky and takes up less wall space.
BRUSHES
I am not a brush snob. I will use whatever I find at Hobby Lobby (the synthetics are just fine),
HOWEVER,
I have a lot of brushes from Rosemary. I like the variety and that the catalog is printed at the brush’s actual size. VERY HELPFUL.
Generally speaking, I have two kinds of brushes:
those that make clean, sharp marks, and those that make a more ragged edge.
Most synthetics make a sharp, clean mark (like you see in gouache), and most natural bristles make a less clean mark.
I use long fibers/bristles so I can lay paint on top of paint. Short bristles are not for me.
I will be taking a large variety with me to Georgia so I can have clean ones when needed, so I don’t have to clean them if I don’t want to, and so I can share if anyone needs anything.
CURRENT ROTATION
See the mix in the pictures below. Because I do not clean them well, they get gunked up and eventually get too stiff. When they are not flexible, I scrub with them. Compare the dark round (4th from the right) with the smaller light round to its left. The smaller one is newer and still has its shape, whereas the larger one has been uncared for and isn’t as sharp. It will still paint a lot of things - especially as my surface gets larger.
I need more filberts. I use too many flats.
The Master’s Choice series is a really nice brush for “painterly” marks (somehow we know what that means). The Bravura series has been really good to work with as well. I stopped buying the Ivory series, but I still like the Evergreen and Shriaz series.
You really need to know how to care for brushes: synthetic care is different from natural bristle care. Solvents act on them differently, but each one is better off if you minimize how much contact with solvent they have. Wipe out the paint, rinse briefly in solvent then wipe that out as well, then clean with oil or an oil soap.
Which ones got some sleep and which ones did not?
I need one or two more knives. Different knives for different things.
The other material choices are these:
I will take Gamsol and not triple-refined turpentine.
Even though turpentine evaporates so quickly and makes layering a breeze, I will be using Gamblin’s Galkyd Gel. Dries fast. Usually, I can paint over it the next day, but sometimes it may be a little longer. As I plan on multi-session paintings, this will help me - I think. It will comfort me, at least. I won’t have so many wet paintings to smear in transit.
https://gamblincolors.com/oil-painting/mediums/contemporary-oil-painting-mediums/
I have both VIVA paper towels and the blue shop towels - (like these - https://www.lowes.com/pd/SELLARS-6-Pack-Paper-Towels/1001053246 )
The blue ones are thicker and keep your hands cleaner, but are stiffer and therefore do not make mussing up my surface (like I like to do) easy. The VIVA towels are much better for surface alteration (CW Mundy uses a Kleenex).
I have to stop at Townsend Atelier on the way down to pick up another palette knife. In Chatanooga. Such a wonderful place.
https://townsendatelier.com/
ORGANIZATION
This space is blank. (yall saw my car in the photo above, right?)
EASELS
I will use the EdgePro gear Paintbook for most situations, but I got the Strada Mark II for larger works, as I feel it is more stable with those. Could just be me.
VEHICLE
My tires are good, my oil is fresh, the AC and heat work. I love the Subaru Forester.
MISC (does anyone spell this out…?)
Bug spray - this works well.
Hat
What else…?
Maybe a stool to sit on….
MINDSET
I placed all my focus on the first four mornings of the competition where we can choose anywhere in Georgia to be to paint. After that, who knows what will happen.
I have no confidence in my ability to paint better than anyone, especially plein air painting veterans. So, I need to be well-prepared materially and mentally.
How to do that? You’ve just seen my material setup. My mental setup began with,
“Is this invitation real?”
Moved to,
“I said ‘yes’ so now what?”
to
“I should not have said ‘yes.’”
to
“I am completely broke with nothing to show for it.”
to
“GO FIND PLACES TO PAINT!”
to
“I’m here and still can’t paint. Nice location, though.”
to
“I’m here AGAIN and still can’t paint…but I like this spot.”
and today is
“All I need is two decent efforts for competition. I have one week to do two decent paintings.”
That is where I am. I am happy to be able to meet really good painters, I have submitted my non-competition paintings for show and sale, and all that’s left to do is show up and do what I can do.
They will be available to view here
https://www.olmstedpleinair.com/
One week, two good paintings.
I’m not discouraged or afraid. Let’s get to it.
SCOUTING AND ACCOMMODATIONS
I did scout a location because it is only 5 hours from me. Here are some images from around Hiawassee, Georgia, in the late winter/early spring. I am very lucky to be able to scout like this.
If you can’t succeed here, you can’t succeed anywhere.
But we all know that working outside is hard, so I am practicing painting slower - doing things before I begin painting to slow me down and resist that beginning energy burst.
Make a thumbnail sketch. Really, really helpful as arrangement (composition) is king. This will determine my panel proportions.
Write some words near the thumbnail to help stay true to the REAL reasons for selecting that section of creation. If I get lost, read the words. Simplify back to the words.
Premix some colors.
ACCOMODATIONS
I chose to use AirBnB to find my place to stay. It’s pretty easy in Hiawassee, as - even though it is a very small town - they are used to visitors coming to fish, hike, ride, and do all kinds of outdoorsy stuff.
I tried to be at or under $100/night but not sharing any space with anyone.
Nope.
Here are the two places I stayed in Hiawassee:
a remodeled motel and a (super) tiny home.
The tiny home was about 8 feet wide and 12 feet long (roughly).
So,
my thoughts so far have been:
plan,
scout,
choose,
commit to painting locations.
I had thought of creating a theme within which to paint: Native sites, Revolutionary War sites, Civil War sites…something like that. But the Revolutionary War sites are mainly coastal, and that was too far.
WHY HIAWASSEE:
Near mountains, running water (waterfalls), still water (lakes), with plenty of quiet places to stay and only 5 or so hours from home.
WHY NOT THE COAST?
The Georgia coast is several hours away from me and flatter with fewer features that I’m interested in. Also, the mountains feel like home - old, wise, quiet, dark.
So, what now? After choosing Hiawassee, where within the area have I chosen and why?
COMMIT TO PAINTING LOCATIONS
Well…
We shall see.
I have a difficult painting planned. Difficult because I do not know how to simplify it well. My two competition paintings will likely come from the locations shown in the photos above. Do you see themes?
Do you see a Seth Tummins painting or two hiding? Let me know what you think.
Did I choose a good location?
Am I as prepared as anyone can be?
What have I missed?
Let me know what you think.
Leave your comments below!
I’d say wish me luck, but I am already the most fortunate person I know. My heart is so glad to be in this position. I know personally, just how fast life can change, so I am taking it all in with much gratitude. Worries? Yes, but I am here now, and ready to go.
I’ll update my experience once I’m done.