Painting isn't easy. Why make it any harder than it has to be? Here are links and referrals to some stuff I have found over the years that I really love, and think you will, too. I will keep adding to this as I think of things and to answer questions as they come up. Please note all materials are listed for oil paints/painters, unless otherwise noted. Cheers, and happy painting!
BRUSHES
A good brush can make your painting experience a pleasure, and a bad one can ruin your day (and your work!) Don't struggle! Get a few good brushes at a reasonable price and revel in the feel of quality.
I am fond of Trekell (Opal and liners and Spectrums, oh my), though I have found them to loosen in the ferrule rather quickly - sometimes right out of the box. Perhaps it's just the AZ climate. I have had that issue with other brushes, and I have learned not to let them sit in solvent. And FTR, I spoke with them about the ferrule issue; they say 1) they're checking in with QC, and, 2) if you do have this happen, let them know right away and they will replace the brush for you. Encouraging. https://bit.ly/3kZCSla
p.p.s. I also like Simmons Signet, bristles only so far. Robert Simmons makes a lovely bristle very reasonably priced - though I have had a time sourcing them lately, I think the stores may be stocking up again - here they are at Blick's: https://www.dickblick.com/products/robert-simmons-signet-bristle-brushes/ and you can also source them (at a higher price point, I think) at Amazon; just search for them and find your size.
Gloves: I am messy, so I do wear gloves, and I like these as they are reusable. I wash them as I would wash my hands! (less landfill) - and provide a good grip. They're available through several sources but I get mine from Amazon: https://www.amazon.com/gp/product/B01G346KEG/ref=ppx_yo_dt_b_search_asin_title?ie=UTF8&psc=1
PANELS
I love RayMar panels, especially when searching for a smooth, solid surface. (If you are a portrait artist you need this stuff.) I love the C13DP and C15DP for landscapes and PLEIN AIR field work. The C13DP is the surface I used, on aluminum, for the 30x60" painting commissioned for the Cavasson Business Park Lobby in Scottsdale. They are local, woman-owned, and just make an outstanding product. You can purchase directly or find them through Amazon, and places like Utrecht, Blick, etc. They also make some nice panel carriers in a whole assortment of sizes. Lovely folks, always happy to help. (I recently discovered that the linen used in making these does contain (apparently low and reportedly archival levels of) zinc - I have had no issues to date, but it is something to consider.)
SourceTek also makes a good, reliable product; I find their surfaces a bit rougher than the RayMar so if you are into big, juicy paint and bristle brushes, definitely check them out as well. They're also small, locally / family owned, and not only produce a fine product but are lovely people to work with.
I have also recently started making my own panels; laborious, time consuming, but not as irksome as I initially thought. I'll let you know how that goes in the field. UPDATE: It goes pretty well! In future I think I will look into adhering fabric to ACM, as the 1/4" MDF I have is dang heavy. And use 2 - 3 coats of oil ground instead of 4 now that I have figured out how to get the texture I like (with a brayer or a fine nap mini roller.)
STUDIO EASEL
I have 2 large studio easels (one was a door prize and one was gifted to me); one single mast by Art Alternatives and one double mast Best by Richeson. Both function fine and can be folded a bit to store against a wall. Most of the time I use a field pochade in studio when working small - my windows face South, and as such require me to move my work around to catch the light. Much easier with a tripod (the big easels really should have wheels. It's on the list.)
STUDIO LIGHTS
I have several lights I use in the studio; what's getting the most play these days are these, by Viltrox: https://www.amazon.com/gp/product/B07N4GNDBC/ref=ppx_yo_dt_b_search_asin_title?ie=UTF8&psc=1 - they are lightweight enough to move around easily, can be used with a battery pack (sold separately of course) and come 3 to a case. I got the reference to these from Dave Santillanes (who should know) and paid about $180 for them on sale. Prices have of course gone up since then, but I would buy them again.
I also have a Method Light bulb in one of my standing adjustable torchiers, but this is heavy and much more expensive, albeit more adjustable and with a remote. Check it out here: https://www.methodlights.com/ See below for their field easel light - which I also use in the studio as a spot.
STUDIO/FIELD LIGHTS
I have also used these both in studio, in the field, and at shows to add spot-lighting to pro panels. They're pretty affordable at $32 on Amazon, and are rechargeable. The can be brightened or dimmed a bit and run warm or cool - not as adjustable as the Viltrox, but light and better than no light at all to be sure. https://www.amazon.com/gp/product/B082PRT9BT/ref=ppx_yo_dt_b_search_asin_title?ie=UTF8&psc=1
Method also makes a pretty nifty field light that I do use as a portable spot in my studio as well:
https://www.methodlights.com/collections/art-studio-lights/products/ml-el-smart-easel-light-ab
And thanks to Bruce Gomez for the loan of one of these lights at the 2023 Sedona Plein Air Quickdraw at the Sedona Airport - I don't know that the extra light helped me place (3rd!) but it certainly didn't hurt! https://www.amazon.com/gp/product/B0BDDDFFY2/ref=ox_sc_saved_title_8?smid=A163S2EHGIQ6LB&psc=1
FIELD KIT
Tripods
Most of these will be sold with a ball head attached, which you need - that's a gadget that has a ball (ha) at the head (haha) which allows you to rotate it 360 degrees and up and down. If you see *just* a tripod for sale know that you will have to purchase a ball head for it to be functional for you.
Here's a checklist of things to consider for you when purchasing a tripod:
Height (tallest and shortest); if you're 6'3" and paint standing up on a dropped pochade you need a taller tripod than I do.
Weight - crucial for me as I hate to carry a lot of extra pounds. I have enough of my own TYVM.
Max supported weight - know what your pochade and accoutrements weigh, and buy a tripod/ballhead that can support MORE than that.
Center post: Double or single? A double extension center post is ok, probably, if you are using a clamshell box, but will more than likely put a dropped pochade at your knees!
Ball head - I do not like those that come with the sticking-out handle (used for video); takes up too much room. Be sure your ball head can support the weight you're asking it to carry, and then some. Check the reviews. Consider getting one with a quick-release plate.
Most tripods these days seem to have twist-lock legs; you get used to them.
I started with a Dolica, fairly lightweight, flip lock legs, decent ball head, which supported up to 8 lbs. That one is no longer on the market, though similar models are, but still serves as a backup - backup, because I have others that are lighter. And because it will not hold every pochade I have.
I had a Sirui tripod which I liked until the legs (2!!) blew out after a year or so, and the CSR I spoke with told me it would be $25 per leg section plus shipping to get repairs which I would have to execute myself. So, >$100... I just bought a different tripod.
I'm currently using something like this Vanguard, though I think mine is an earlier (read: "cheaper") model, and came from Amazon:
https://www.vanguardworld.com/products/copy-of-veo-3-263ab-aluminum-tripod-with-ball-head
So far so good on this; it is the lightest I could find in my price range, and is a wee bit flexy, but so far has stood up to my abuse. Sadly, the Sirui I had previously did *not* last (plastic inserts in the legs broke), and customer service was minimal, so I no longer endorse that line. Manfrotto also makes excellent tripods; but they are heavy, and expensive. Heavy is good, more stable, less flexible - if you aren't carrying them far. I like to hike, so go for the lighter weight pieces.
Second Tripod: A while ago I purchased a Manfrotto BeFree, one of their lighter, less expensive models, which was on sale. Less flexy, but also heavier, so I tend to use it as a backup.
https://www.amazon.com/gp/product/B0772WLSHZ/ref=ppx_yo_dt_b_search_asin_title?ie=UTF8&th=1
Third Tripod: I just purchased a K&F Concept 60" carbon fiber, which is just over 2 lbs. and rated to hold about 17 lbs. So far so good though no real field tests yet. I'll keep posting. UPDATE: After about a year of use, I find this works well enough, but is a bit too "flexy" for my taste. I still use it, because it's soooo lightweight, especially when I'm hauling my (quite heavy) EdgePro Large.
https://www.amazon.com/gp/product/B081DYTR9J/ref=ppx_yo_dt_b_search_asin_title?ie=UTF8&psc=1
THE MOST RIDICULOUS TRIPOD I OWN: is this one, from Amazon, which weighs about a pound and cost less than 20 bucks. Bought it to use with my Retz box pochade (see below) for watercolor teaching in Yosemite. It's fine for that, but after 2 weeks in the field is already showing signs of wear (the camera mounting plate is made of SUCH cheap plastic it's literally tearing from use!) That said, it got the job done without me switching out heads and plates on my bigger/better Vanguard, so there's that. At $16.79 retail (plus tax) it's easy enough to replace (ugh, landfill) though I wouldn't trust any real weight to it. It also will only "stand tall" - it doesn't have the option to extend the legs past one angle. If you're short (like me) the 50" max height is probably fine, but if you're taller you might want to look at the 60" version, for a whopping $44.99.
THE SECOND MOST RIDICULOUS TRIPOD I OWN AND MY CURRENT FAVORITE:. The Bogen CQL13, available at about $150 for the 52" version and $250 for the 60". Here's what I love about it: 1) IT'S SO LIGHT at 1.5 lbs. (seriously, only the el cheapo above is lighter) 2) IT'S RIGID - unlike other carbon fiber tripods I have had, this one doesn't flex much AT ALL. 3) The legs pull out and retract with ONE twist of the bottom end cap. No flipping levers or 12-turns-per-each-of the thee leg segments, making the setup crazy fast and convenient. 4) It's crazy compact. It folds up into a tiny pile small enough to fit a carry-on. 5) It is rated to about 13.5 lbs. So far I have only used it with my lighter kits, but so far no issues at all.
CAVEAT: If you are a taller person (I am not!) you may want to check out the taller heavier and more expensive version - that's going to set you back about $250. I love this tripod SO MUCH I bought TWO of them incase I lose/break one. Check them both out here:
https://www.bhphotovideo.com/c/product/1765443-REG/oben_cql_13_compact_carbon_fiber.html
BALL HEADS: Most tripods come with one, so I generally use whatever comes with. However I recently stumbled on one I really wanted to try - so, it's attached to the K&F, about the same weight as the one it replaced. To remove the item you're attaching (pochade, camera, mast, whatever) all you have to do is PUSH A BUTTON. Supposedly good for up to 44 lbs. (!!!) So, field testing soon, we'll see how it does with the heavier EdgePro box. Stay tuned. UPDATE: I have been using this for about a year, and like it. It's really fast and so far no issues at all; you do need to keep the wingnut quite tight though. If you're curious, here it is: https://www.amazon.com/Release-Professional-Rotating-Panoramic-44-1lbs/dp/B08NC2KF52/ref=asc_df_B08NC2KF52/?tag=hyprod-20&linkCode=df0&hvadid=475741834053&hvpos=&hvnetw=g&hvrand=522341001685661706&hvpone=&hvptwo=&hvqmt=&hvdev=c&hvdvcmdl=&hvlocint=&hvlocphy=9030080&hvtargid=pla-1156685131659&psc=1
FIELD PAINT BOXES/POCHADES
There are SO many. I have a couple of favorites.
NEW TO THE PARTY:
The fabulously light Aero-Trek, which now comes in colors! Easy to set up and whisper light; sans accessories it weighs in at about 2 pounds. Garry Kravit makes it, because (he's a pilot) he wanted something super light to travel with, and I (along with many others) got to field test it, making suggestions which were rapidly implemented to create a super light and eminently functional field tool. Garry recently added some peripherals (solvent hook, side table for tools, tiny side tray for a small medium cup) and is adding colors to the line. This has been extensively field tested at this point ad remains a steady favorite.
(Note that the AeroTrek is the only field kit I own that seems to straddle the distance between palette and mast most closely to a clamshell without actually being a clamshell.)
Full disclosure: I got to keep my test prototype (and happily sent Garry a painting he liked as a thank you) but would certainly not endorse ANY product I did not think deserved the space on my website. So, here it is, you can check it out for yourself: https://www.aerotrekeasel.com/?fbclid=IwZXh0bgNhZW0CMTAAAR37HIxYY-Gmb_bAzpOyJBPYffhu9Ux_vcLIDlj-Y6kFDk9mjsvYzjjJ8mI_aem_NFCm3mB27sxO3WPl-uJLVQ
Another new field box which I love is the DAYBREAK - it comes in a variety of sizes, some of which have fold-out wings that provide extra storage. I have two of these; the "slim" 9x12 and the 10x7 "storage" version. Both are super lightweight, easy to assemble, and come with some bells and whistles you may appreciate (super light brush holder, turp can holder); all work with a dropped palette/mast system as opposed to a clamshell. I admit I am a messy painter; most of the time I reach for the 9x12 as opposed to the smaller 10x7. I carry my field paints in a paint carrier (that's on here too) so the tube storage is mostly lost on me; though I am considering taking the smaller version to Yosemite later this year (2026). The one thing I did not love about the Daybreak was the palette insert - mylar? Acrylic? Which scratches very easily - but is whisper light. I managed to put a hole in mine after a few uses trying to clean it (my bad; left it too late!) and have since replaced it with a sheet of grey-toned tempered glass - which may or may not go on my field travels with me. I have also ordered a sheet of heavier acrylic, and failing that, might paint right on the board, as I do with the AeroTrek. Any of these are lovely little boxes, lightweight and super functional. You can't go wrong with either of my two favorites!
Full disclosure: I was gifted these two kits to field test, and after a number of hours both in the field and in studio am adding them to my "approved" list. You can check out the full line, here: https: https://www.daybreakeasel.com/shop
Note that the 9x12 Daybreak and the AeroTrek weight almost EXACTLY the same; for me the choice between these two is the position of the palette that I want that day, and size - although you end up with about the same mixing surface, the AeroTrek breaks down smaller; if you're flying that might be something to consider,
More choices:
I have used the old time French easel, super heavy, clunky, a pain to set up, but great once that’s done, very stable and unlikely to blow away, a handy drawer for paints, brushes etc. Also relatively cheap. I have a couple I have kept over the years and now use as loaners for new PA students. Available just about anywhere, including used on Craigslist (where I got y first one.)
Strada makes a bullet-proof product in many different sizes and shapes. So does Edge; but be aware: glass breaks. It happened to a friend of mine - she dropped the box on a jutting rock (rats!) and lost the glass, but was able to get a new piece cut.
OpenBoxM – NOTE the owners have taken the site down. I've no idea if that is permanent or not. But this was another oldie but goody, clamshell type box requiring a tripod. The first "real" field box I ever owned. I find it a bit fiddly to set up. It’s fine, gets the job done, if you like clamshell boxes can probably find one used relatively cheap. They do last a long time. A lot of great art has been made on these boxes, and a quick look at the website shows more options available now in terms of sizing and even storage - check out the Pelican Box if you travel a lot. It looks pretty cool. https://www.openboxm.com/#/
The Retz Box – Very small, lightweight, minimalist approach - sort of a cigar box. I used one for watercolor in Yosemite. I did have to carry the "extras" in a pack (paper, water container, towels) as the box is quite small. But also very very light and easy to use. I did use it with a tripod, mounted like any other clamshell. The tripod was the biggest weight component in my pack. Note the Retz Box is not the same as the Retz Easel, which I have not used. https://www.tadretz.com/product/the-retz-box/
ProEdgeGear – I *just* received one of these (yay for Xmas gifts) and have used one as a loaner in studio. Loved it. Bought the big one for field work. HEAVY (well, relatively compared to, say, the wee little Retz box but way lighter than a Frenchie), but the theory is you pour paint and leave it on the pochade rather than carrying paint-savers or tubes. Time will tell. I work with a split primary palette (and then some; I like a lot of variety) so carrying tubes is out of the question. It’s a gorgeous system, very well designed and exquisitely executed. The box itself is sculptural, modern looking, perfectly made - just, so, so so pretty! I guarantee if you see one you will want one. We’ll see if the slightly extra weight of this box is (ahem) outweighed by the ease of use and convenience. There will be plenty of mixing space with the large palette and room for extras with the two side trays. Just a gorgeous system. Stay tuned on that after field use. FTR: I have a request in to them to see if I can get on the waiting list for one of their umbrellas also. https://www.edgeprogear.com/
Richeson Panel holders - I attended a workshop where I got to see this in use up close and personal like. Weighs in at 1.5 lbs., and holds cradled or stretched canvas. Maybe for field work if you're big and strong, maybe for studio if your space is limited and/or you don't want to spring for a big studio easel just yet. Needs a tripod with ball head and plate for mounting. Worked really well in the workshop! https://products.richesonart.com/collections/sienna/products/sienna-canvas-holder
Water media pochade/tray:
The Retz Box again – Very small, lightweight, minimalist approach. I used one I had been gifted for watercolor in Yosemite/2023 and it performed like a champ. I did have to carry the "extras" in a pack (paper, water container, towels) as the box is quite small. But also very very light and easy to use. I did use it with a tripod, mounted like any other clamshell. The tripod was the biggest weight component in my pack. Note the Retz Box is not the same as the Retz Easel, which I have not used, but which looks like a very cool option as well. https://www.tadretz.com/product/the-retz-box/
Here's another maker who may be on to something, though (full disclosure) I haven't tried it myself, yet. The maker does, however, get rave reviews on her page and I have chatted with her briefly online and found her very kind and responsive. This simple setup is such an unusual approach to water media field painting/sketching that I thought I would share - it reminded me of James Gurney's setup (see below for a link to his blog) and indeed that is what the maker used for inspiration. Check it out: https://www.etsy.com/listing/1197961253/ultralight-bamboo-magnetic-sketch-easel?click_key=b1ee4993fd3d265c08b01d715a4a2d3b2e9aa8a6%3A1197961253&click_sum=dff4a6d1&ref=shop_home_feat_1&bes=1&sts=1
Still undecided? This article may help:
https://www.virtualartacademy.com/plein-air-easel/
I have several portable trays which are solid pan-types that I use for public access teaching; Winsor Newton, Portable Painter, Sakura, and many independents make a ton of these. Some are charmingly teensy (like this guy: https://www.amazon.com/dp/B08LG2YS64?psc=1&ref=ppx_yo2ov_dt_b_product_details) and many have options to build out your own innards, which I like. Whichever one you choose, whether hard-pan paint based or pour-your-own, the best one is one you will take with you.
BRUSH CASE
I use a couple of different types; one is a fold-over carrier that holds a lot of brushes, and can stand up; this one mostly lives in the studio or goes on plein air comp trips where I want a lot of brushes so I don't have to wash every dang day. The other is a zippered case that goes into my field kit backpack and goes plein air painting with me. I use long handles so the links I am providing are for that size; most manufacturers make them in various sizes, so check that your brushes will fit before buying. Also - I am not sure where I got my current case, but the bottom has blown out on a couple of brush slots. I honestly do NOT remember where I got this case, unfortunately; just be aware that, with extended use, just like toes and socks, your brushes may poke through on the end!
https://www.rosemaryandco.com/art-materials/large-nylon-brush-case by Rosemary, who should know.
https://www.trekell.com/products/trekell-brush-case on sale as of this writing by Trekell - ditto.
https://www.jerrysartarama.com/rockwell-brush-easels which stands up - nice for studio but I have my clip on for field work.
https://www.artbin.com/brush-box-w/-foam-inserts-kw903.aspx for something different, a poly-pro hard shell case. I haven't used one, just another option.
https://www.jerrysartarama.com/creative-mark-genuine-leather-brush-cases last but not least this very very chic leather case I would be afraid to touch at any time. But if you're into it, here ya go, the LV of brush cases (with a price to match!)
BRUSH HOLDER - Available again as of 7/5/24
https://www.etsy.com/shop/SmartArtProducts?ref=nla_listing_details
I like these clip on brush holders - they went out of stock for quite a while, just came back (2/11/24), and have sold out again! There are two types; I love the little clip-on field brush holder so much I bought TWO, in case I lose one. Then I got the bigger, ball-head one for the studio. The guy who makes these is a really, really, really great guy, and I love the product. Inexpensive and they WORK! Keeps your brush heads separated (unlike bin holders where they all clunk together). Pro tip: stick your brushes in upside down after cleaning to keep your ferrules dry. Heck yeah!
COMPOSITION TOOLS
I use the rule of thirds, Fibonacci, and my fingers to find my compositions. The deeper I get into it the more I realize composition and design is errrrythang.
https://www.amazon.com/New-York-City-Photo-Safari/dp/B0B3NCSHXB
https://www.amazon.com/Fibonacci-Composition-Photography-Painting-Drawing/dp/B0B3NFFWFD/ref=pd_bxgy_vft_high_img_sccl_1/140-9256488-8015167?pd_rd_w=gfvpV&content-id=amzn1.sym.7f0cf323-50c6-49e3-b3f9-63546bb79c92&pf_rd_p=7f0cf323-50c6-49e3-b3f9-63546bb79c92&pf_rd_r=P898WQ207SG2X733SJ5X&pd_rd_wg=328Ql&pd_rd_r=214a976c-0c03-41e2-81e2-9f0802a4b6d6&pd_rd_i=B0B3NFFWFD&psc=1
PAINT SAVERS/STORAGE:
I have used several:
The Paintsaver Palette by Camille Przedwodek: https://finearttech.com/FineArtTech/Paint-Saver_Palette.html
The Palette Garage: https://www.greatarttools.com/palette_garage_store/
Transon paint storage boxes (and similar types): https://www.amazon.com/stores/Transon/page/AE0B1EF7-D8C8-4B4D-874C-00AB4148BC81?ref_=ast_bln
BoxNPaint storage boxes are my latest favorite: https://www.etsy.com/listing/1671793526/box-n-paint-small-fresh-paint-storage?ls=a&ga_order=most_relevant&ga_search_type=all&ga_view_type=gallery&ga_search_query=pochade+box+for+oils&ref=sc_gallery-1-6&plkey=3ea2642b4814f907c4856f02de1cc6f4e0563cb6%3#mce_temp_url#A1671793526
#mce_temp_url#None are perfect, to be honest.
The Paintsaver Palette works very well to keep paint separated, once it's broken in, but is a bit heavy - it's made of metal, with a metal cover - and has to be stored in a bulky Tupperware-like container, and kept horizontal, to keep the paint from self-mixing. (On the plus side, the paint holder is secure in there once covered with the sliding metal cover, and there's enough room left over in the container for a few short handled brushes and/or knives and scraper.) At almost $70 a workable, but pricey, solution. I now use mine in my studio.
Same goes for the Palette Garage, only that one spins inside the tube! It's virtually impossible - for me at least - to keep colors apart, and the tube clean. I even tried gluing little plastic squares to the angle-iron holder. Yeah. No. Less expensive than the Paintsaver, but for me not a great solution, though I know a lot of folks who just love it! Maybe for in-studio?
The best solution I have found so far are the Transon paint holders, which come in sizes (16 and 24), and have individual cups for the paint. They also have silicon lids which seal the paint and keep it from self-mixing - so if it ends up sideways in your bag it's not a tragedy, though the mfg. says *not* to store it upside down as paint could leak. That's happened in my kit, but (so far) no leakage. I will say I broke the latch on one of their smaller boxes by over filling and forcing it closed, so don't do that, and that dried paint is a pain to remove. Best practice is of course to pour fresh paint every time you paint - but man, do I hate carrying a bunch of tubes, and do I love a nice color spread. So, pick your favorite, or carry - the choice is up to you.
A word about clove oil and freezing and water: a lot of painters and storage box makers will tell you to use a drop or two of clove oil on an absorbent pad (the kind that are felt, and sticky on one side, like you would use to keep furniture or ceramics from scraping). While this does extend the shelf life of your oils, it's not recommended as best practice. Same goes for "dipping oils" which often contain a mix of clove oil + some other drying oil. Neither freezing nor keeping your paint under water are considered best practice. Don't ask me why - ask the chemists. Smart people I trust have said so, so I'm sharing their info with you.
UMBRELLA
I should tell you I had a bad experience with EasyL; the clamp broke while I was hand tightening it (!) and I promise I do not have superhuman strength. It was a year away from the purchase time, even though it had hardly been used. I called the company who seemed rather...disbelieving. Rather than risk paying shipping to be told it was unfixable, I bought a different brand. I am not enamored of field umbrellas in any case - fiddly things - and prefer to try to find a tree but, some folks love them, and a lot of people swear by EasyL so maybe I just got a lemon (but given the response I still won't buy another. Again, some people love these and have had fantastic CS experiences, I am just not one of them.)
My second attempt was a Best Brella, which to date has worked well, but sadly is no longer in production.
If you are painting near the car in soft enough dirt I do like (and use, sometimes) the Guerilla Shade Buddy. It's big, and heavy, but I like that it's free standing; it does *not* work well in hard-packed dirt (i.e., much of Arizona) just know that like every other umbrella in creation this one can also sail away. (Shout-out to Donna, who saved my umbrella top from drowning at Water Users one day. Thanks Donna - sorry about your shoes.)
Again, a link to an article that may help: https://www.outdoorpainter.com/the-best-plein-air-umbrellas-for-artists/
James Gurney also provides an unusual solution most useful for sketch easels with this DIY panel-diffuser: https://www.youtube.com/watch?v=ae20WAccmJ8
PACK AND FIELD CHAIR
I bought my current pack at REI (their house brand), and have had several over the years. I like a sturdy, padded hip belt, and have a short torso. The size of pack will depend on the kit you own so no one size fits all - but, if you find one that fits you well, is roomy enough, and sturdy, without costing the earth or weighing a ton, that's a good one. If you are female, consider finding one designed for women - the chest straps will be more comfortable. One I like is a lot like this one: https://www.rei.com/product/185568/rei-co-op-traverse-32-pack-womens
Then there's my newest (5/23) pack by Arcteryx; larger and lighter weight; probably not good for a lot of weight but fine for the 15 lbs. or so (pack included) I am carrying:
I have a couple of chairs - one is a big camp chair, only good (IMHO) for car painting; the other is a Big Agnes backpacking stool that weighs less than a pound and fits in the side pocket of my pack. I got mine at REI on sale at the time: https://www.rei.com/product/149712/big-agnes-skyline-ul-stool?sku=1497120001&store=56&cm_mmc=PLA_Google%7C21700000001700551_14971200017CNB%7C71700000074090493&gclid=Cj0KCQjwxtSSBhDYARIsAEn0thQnr1wwrGd-ZUresOIyLj_9rzcXqOo913WbXZPIfvmrRVk2mcH1D14aAuj3EALw_wcB&gclsrc=aw.ds
I also have a rolling chair/carrier thingy that I bought shortly before a hip replacement, thinking I would need it. I recovered quickly. Never used it (wheels don't work well on trails) but I do see painters out and about with these from time to time: https://www.jerrysartarama.com/the-artcomber-portable-chair
OIL PAINT BRANDS (In no particular order, though I do have a soft spot for Blue Ridge - thanks, Eric!)
Blue Ridge (can only be purchased direct online, here: https://blueridgeoilpaint.com/ ) Note that some whites contain (per Eric very small amounts) Safflower oil and some contain zinc. Colored paints are formulated with linseed and walnut oil.
Williamsburg
Michael Harding
M. Graham
Gamblin
Rembrandt
Richeson (just a few cheater colors I really like)
Natural Pigments ($$$)*
Vasari ($$$$!)
Winsor Newton is fabricated with Safflower oil and is no longer recommended.
* See below for a link to the Natural Pigments website page discussing the properties of various whites.
Note: Please, please stay away from cheap student grade paint. It will frustrate and disappoint you. Rather, buy a few key colors of the best brand you can afford, and learn how to mix. Know that paint lasts a looooong time (I recently unearthed a tube from the 60s that is still viable!) Paint like a rich person. You can't paint without paint. Use it. Use it UP and buy more! Also be wary of paints containing zinc, and safflower oil - see Virgil Elliott's book (linked below) and archives in his Facebook page of the same name for more details if you want to dig into the "why".
FTR: Here's a link to an excellent article on the effects of fugitive pigments. Can't think for a better argument on why to avoid them. http://www.seamlessexpression.com/blog/2017/1/8/what-happens-when-you-use-fugitive-pigments
Here's another fine article by George O'Hanlon on different whites; their formulations and their properties: https://www.naturalpigments.com/artist-materials/best-whites-for-oil-painting?utm_source=convertcart&utm_medium=email&utm_campaign=Choosing%20the%20Right%20White%3A%20What%20Every%20Oil%20Painter%20Should%20Know%20BwSbm%20(52264292)&ccem=liGFPx43nWUzvIP8UJqN_VxKpY_9Ow--
I use Gamsol when needed, linseed and walnut and stand oil in various formulations, and Liquin when the need arises. I try to run solvent free as much as possible. I do NOT ENDORSE any form of "lavender spike" anything as seen in most of the big box online stores - it's *not* real spike oil, is *not* truly as "nontoxic" as they make you want to think - same goes for all those "citrus solvents". (Listen, if it takes paint off, do you really want to drink it?)
*Refer to Virgil Elliott's book "Traditional Oil Painting" for more info on best practices; available through the publisher, Amazon and other places: https://www.echopointbooks.com/art/traditional-oil-painting
Suggested Basic List of Workshop Supplies:
Colors: (any reasonable range in these shades is acceptable; warm and cool in each primary preferred.)
Cerulean or Sevres Blue
Cobalt Blue (hue is fine for the purpose of this class, and cheaper)
Alizarin Crimson or Quinacridone Rose or AC Permanent
Cadmium Red Light (Hue is fine)
Cadmium Orange (Optional but preferred; hue is fine)
Cadmium Yellow Medium or Hansa Yellow
Cadmium Yellow Light (hue is fine) or Cad Yellow Lemon
Burnt Umber
Titanium White
"Cheater" colors, all optional and NOT required:
Raw Umber
King’s Blue
Naples Yellow
Paynes Grey
I also like Brilliant Yellow Light and Brilliant Magenta by Richeson - the Shiva line.
LINEWORK AND WATERMEDIA STUFF:
This is a tough one for me, because frankly watercolor, gouache and all such stuff is not my primary medium. But, enough people have asked me about these products that I feel justified in at least adding a bit of info here.
Papers: TBH there are SO many. Canson makes a decent line of papers which won't break the bank; so does Fluid. Arches is commonly accepted as one of the best. I just read a glowing review of Saunders (available at Blick's) though I have yet to try it. I will share that I am smitten with Cottonwood Arts field journals and watercolor blocks. They feel good and perform. https://www.cottonwoodarts.com/
Bear in mind that weight matters; a 300 lb. paper will pretty much always outperform a 140 lb. paper.
Waterboard/Aquaboard: Recently I have begun experimenting with this format. So far so good, though Ampersand is the only brand I have tried to date. It responds well to gouache, but doesn't "wash" in the same way as paper does. Danielle Smith also makes a watercolor ground you can apply to other surfaces. I have my doubts about the long-term "stickiness" (read: archival) of this stuff, but have had fun playing with it.
Pens: My first love in the ink world was a traditional crow quill (super super fine-line) dip pen and genuine India Ink (which you just cannot find any more) - nothing satisfies like a looooong fine line. I was a sketch artist long before I accessed color, and still adore the direct simplicity of it. I have used a few different brands: Pigma Microns and Graphic fine line markers (in various sizes including their brush pens, which are lovely); Artline pens, and the old reliable Sharpie super fine line markers. Not the ones with the somewhat rounded barrels in grey and with a black cap; I like the skinny, all-black super fine line ones. I know they won't run, they show up over *everything*, and fit in that elastic bit on the side of my sketchbooks. ;)
I recently received my first order of the Lumos Duo Refillable Fineliner by Tom's Studio in the UK. I don't think I'll ever look back. This thing is a Cadillac among pens. It comes with a single tip option, and as a Duo (you have the ability to have 2 different tips and 2 different inks in the same pen!) or the Mini (essentially half a Duo.) It comes in (so many!) pretty colors, and sometimes in a special edition Brass version (I want one, of course.) Tips are available from .1 to a robust brush tip, and inks - so many inks - are also available as are extra reservoirs (washable!), containers, replacement tips, holders... all reasonably priced. (Tom's says to note that the really fine tips, like the .1 - .3, will need to be rinsed now and then as they are...really fine.) I have used the Lotte sketch ink (waterproof) and fountain ink in black; both feel similar, and provide a satisfyingly dark line.
Tom's offers a plethora of really beautiful ink colors, and says most fountain pen inks will work in the Lumos. (Not dip pen inks though, which can have larger pigment particles and clog the tips.) What I love best is that this eliminates the need for disposable pens - I do (did?) love Microns, but this outshines them by a factor of infinity. Allow a little extra time for shipping from the UK; orders are filled quickly, though, so it's not too onerous a wait. If you're a sketch artist, definitely worth a look, and they offer a series of truly gorgeous dip pens as well.
Prices currently start at about $60 for a Mini, and range up to about $120 for a brass Duo. That's a lot of Microns? Yeah, but...Worth it, IMHO. Keeps those things out of landfill and provides a truly enjoyable drawing experience. Go on. Treat yourself.
Here you go, for Lumos: https://tomsstudio.com/collections/lumos
SketchBuddy: https://www.judsonsart.com/products/guerrilla-sketcher-sketchbuddy-binder-v2-0
This is an ingenious little binder with a looooog strap you can wear cross body (or otherwise); the idea is that you can prop this up wile standing or sitting, wearing the strap, and use it as a sort of mount for your sketchbook/paper/block/ what have you while in the field. Full disclosure: I haven't used mine all that much, but do plan to take it on a field trip soon. About $50, plus whatever ins erts you want to include, from Judson's.
VARNISHING:
I formerly used Gamvar, with mixed success. Yes, the website encourages and promotes almost immediate application; again, I have had mixed results. These days I have moved to using the Conservar Isolating and Finishing varnishes by Natural Pigments; George O'Hanlon is the owner of that company and he and his partner are very knowledgeable in materials handling. In short, I trust them, and though I have just started using these products (2023) I have high hopes and am pleased so far. See more at the Natural Pigments page, here: https://www.naturalpigments.com/mediums-grounds/varnishes.html
FRAMES: Despite rising increases in materials costs and shipping fees, I am still in love with Randy Higbee's frames (Kingofframe.com) which you can see here: https://www.kingofframe.com/. There are several I adore, and I find the Taos line to be (somewhat less these days) reasonable and sort of cross-décor, to coin a phrase. I also looove the Wendt, the Tucson, and the El Paso. (https://www.kingofframe.com/collections/new-arrivals) Though I have had some issues with a couple of orders, Randy has always been from y responsive and things were resolved in reasonably short order. Things happen.
Jerry's Artarama (https://www.jerrysartarama.com/museum-plein-aire-3-5-in-wide-frames) has some frames I like, but they are not quite the quality as KOF (above); nevertheless there is a store near me so I can avoid shipping, and they do have sales. If there is one near you might be worth a drive. If I had to ship, I'd buy from Randy.
Dick Blick also offers frames; I have not purchased, but some artists I know do use them: https://www.dickblick.com/products/blick-concerto-wood-frames/?clickTracking=true&wmcp=pla&wmcid=items&wmckw=18887-9026&gclid=CjwKCAjwyryUBhBSEiwAGN5OCHd0-u1ScNDSwGdfmPQ8FVzQkTxiu-OklbrhmGSgQScwEnDFnrsmNBoCElUQAvD_BwE
San Diego Frames is another source, which as a "wholesale" company does require a resale number:
https://www.sandiegoframeco.com/
Judson's Art Outfitters offers resin frames that look good and mimic wood fairly convincingly (from a distance, anyway) and which, though they don't have quite the presence of real wood, are convenient for shipping and plein air events. They come in a sturdy, shippable box, with bubble wrap, a cardboard buffer, corner protectors, D-rings, sawtooth hangers, screws, and wire. I've ordered quite a few lately - the price point is fairly agreeable also, if you catch them on sale. The price of good wood frames skyrocketed in 2022, as I am sure you know. https://www.judsonsart.com/collections/frames-1
***I have had mixed results from https://www.pictureframes.com/ - some of the frames I have from them were great, some were so-so, and some were, frankly, not show-worthy - poor construction, bad joinery, etc. UPDATE: recently I received an order of 3 frames; all 3 were damaged. Two can be touched up. One can't. (It was replaced, after a 4 week wait; fortunately I was not in need of it for a show!) Another friend received an order of 27 frames; 24 are unusable. (2/10/23) Proceed with caution.***ANOTHER UPDATE (5/19/2025) I placed a $1000+ order; EVERY single frame came in with bad joinery (visible daylight at each corner on virtually every frame) poor staining, sloppy gilding on filets and edges. I contacted the company and to their credit, the refunded the entire order. They want me to reorder. Well.... we shall see, since the frame I chose is now out of stock. In any case, proceed with caution. I would not order from them if I were in a time crunch.
I know a lot of people who shop Michael's for frames; I will use some of their finished frames (e.g., not open-back frames but those with glass) for some of my abstract works, but I would never take a piece there to be framed (I think their prices are nuts!) I also know folks who haunt the Goodwill and similar shops for old work - but be cautious; a juror can spot a manky frame just as well as we can. IMHO a better bet is to check in periodically with local frame shops to see if they have any off-cut frames made from scraps, which they will usually sell at a discount - they may be odd sizes, but you can have a panel made to fit (see Ray-Mar, above) or cut your own if you're handy. I recently picked up an absolutely stunning frame for about $50 that is a 7x10, and had 2 panels cut to fit (one to frame and one to mess up, ha); total cost less than $100.
WIRING HOW TO: There is a fantastic document by Mr. Allen L. Clapp, "Properly Wiring Art for Gallery Presentation and Security", as good today as it was when written in 2015. Some years ago Mr. Clapp was kind enough to allow me to use this document for student/beginning painter instruction - no doubt sharing my frustration at having to attempt to hang a show with badly wired (or - shudder - saw-toothed) pieces. All thanks to Mr. Clapp, I am still using this well-illustrated document years later, amd have found it appended to this online source: https://www.grandviewavenuegallery.atlantaartistscenter.org/wp-content/uploads/2019/08/Properly-Wiring-Art-for-Gallery-Presentation-and-Security.pdf
FACEBOOK PAGES: Several I go to - a lot - are Art+Work+Living (https://www.facebook.com/groups/1485053375062571), great for beginners in particular and a very supportive, kind group; Traditional Oil Painting (https://www.facebook.com/groups/959891544070003), based on the excellent book of the same name, and Painting Best Practices (https://www.facebook.com/groups/1685999568301012); both of the latter two are run by people who are very knowledgeable in regards to best practices and promote archival painting (Virgil Elliot and George O'Hanlon), so if you are looking for cheap turp that's probably not where you want to go. If you want to find out how to prep a panel, though, that is a great resource. Pro tip: Search the archives first. I also belong to any number of local artists' groups, plein air and otherwise, in various media. Search for your area and join up with a few!
A sad note here. Mary Bentz Gilkerson, the fabulous woman who ran Art+Work+Living, passed away in early April (2022). She will be sorely missed. Her family has posted that her page will continue. I am forever grateful for her mentoring and support. She was an outstanding educator, artist, and friend. My sincere condolences to her family and coworkers, now and from now on.
WEBSITE:
Finally, I would be remiss if I didn't share the referral link from FASO (I do love my website) - and again, full disclosure, if you sign up through me I think I get a free month or something. I do promise I would not recommend the site if I did not think it was the best thing for 2D artists since sliced toast.
BUSINESS CARDS: I only use MOO. I did try VistaPrint - no comparison on quality. If you want to save a buck try this (I get to save a buck, too, on my next order:) https://refer.moo.com/s/cheuvrontart8#mce_temp_url#
SHIPPING:
I recently came across a short video (thanks to Golden) showing a quick and easy way to pack a piece. Here it is: https://www.youtube.com/watch?v=v7HPKy5sW30
The method shown uses plain old cardboard, velcro, shipping tape, and a 4 mil polyethylene sheeting, commonly used for drop cloths for house painting and such, so you may have some lying about. If not, and if the 10'+ sizes commonly available at hardware stores seems a bit of overkill, you can try Amazon (so convenient, darn it): https://www.amazon.com/Frost-King-P350-Polyethylene-Sheeting/dp/B0041KC404/ref=sr_1_11?keywords=4+mil+plastic+sheeting&qid=1675711533&sr=8-11
REFERENCE MATERIALS:
Includes a few books I recommend - there are many more!
Cracking in oil painting (George O'Hanlon): https://www.naturalpigments.com/artist-materials/oil-paint-cracking-causes-prevention?utm_source=convertcart&utm_medium=email&utm_campaign=31026899-0&ccem=liiTLxEmmm4yq4Pnfomg.1hH4oC8NWI_
Article on Solvents (4/24) from George O'Hanlon:
https://paintingbestpractices.com/artist-solvents-safety-practices-for-studio-use/?fbclid=IwY2xjawF5AVVleHRuA2FlbQIxMAABHcs2OTwOHfiyLFzi6cnJqFn3-WU2l3DMhlTIPpExMKWr_GF_3hAW8IUjlQ_aem_p64qLsJFK0KuAyFys9shBQ #mce_temp_url#
Carlson on Landscape
https://www.google.com/books/edition/Carlson_s_Guide_to_Landscape_Painting/ZbXDAgAAQBAJhl=en&gbpv=1&printsec=frontcover
Mitchell Albala, The Landscape Painter's Workbook
Traditional Oil Painting by Virgil Elliott
https://www.echopointbooks.com/art/traditional-oil-painting
Steal Like an Artist by Austin Kleon
The Unfeathered Bird by Katrina Van Grouw
Art and Fear by David Bayles and Ted Orland
https://www.google.com/books/edition/Art_Fear/yGf6CAAAQBAJ?hl=en&gbpv=1&printsec=frontcover
Alla Prima: Everything I Know About Painting by Richard Schmidt
The New Munsell Student Color Set by Ton Reed* (tip of the hat to Eva for asking for this info!)
https://www.bloomsbury.com/us/new-munsell-student-color-set-9781501365966/
*Used with Controlling Colour with the Munsell System
Controlling Colour with the Munsell System* by Paul Centore
https://www.munsellcolourscienceforpainters.com/
*Used with The New Munsell Student Color Set
An Online Munsell Tool: Chroma Magic by Michele Clamp: https://micheleclamp.com/ChromaMagic/
A cautionary tale - Golden's article on why NOT to use GAC as an isolation coat under oils, and what to do instead:
