Архив метки: пленэр

Пленэр на факультете архитектуры Сакнт-Петербургской академии художеств им. И. Репина. Преподаватель Е.В.Малых

A one-day outdoor workshop focused on painting and drawing, designed specifically for architecture students. Guidance on how to approach and organize the creative process, along with practical tips to help students make the most of the experience.

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  1. Summer is the time for open air painting sessions
  2. Wnat to bring for plein air painting and drawing sessions

2. Exploring the remarcable monuments of Veliky Novgorod outdoors. Novgorod Kremlin 

3. Outdoor workspaces. The Trade Side of Novgorod

4.  Looking for workspaces.Some features of depicting architectural objects

5. Managing your time effectively

6. Understanding the traits of various art forms. Some practical advice

7.  Summary

1. Summer is the time for open-air painting sessions

The first two months of summer—June and July—are devoted to plein air sessions at the St. Petersburg Academy of Arts named after I. Repin. For first-year architecture students, the experience of working outdoors is unique because it combines assignments within the city with trips outside its limits, including visits to Staraya Ladoga, Vyborg, and Veliky Novgorod.

These full-day bus trips require thoughtful preparation to make the most of the time available. Understanding the particular character of each excursion is key to a rewarding experience. Every destination presents its own opportunities for artistic creativity and architectural study, giving students a chance to connect with diverse historical settings and landscapes.

2. What to Bring for Plein Air Painting and Drawing Sessions

Before heading out, the art instructors from the Faculty of Architecture gather the students to share important tips for working outdoors beyond Saint Petersburg.

The top priority for everyone is to pack all the essential art supplies and tools needed for the project. Since many students aren’t used to painting outside, they’ll need to adjust quickly to changing light conditions and sometimes unpredictable weather. Being prepared to manage on their own while away from home is key.

With that in mind, students should make sure to bring the following items:

  1. Special Artist’s Umbrella

    This umbrella offers a perfect solution for artists who want to capture interesting scenes without being bothered by direct sunlight, especially when natural shade like tree canopies, building awnings, or arches aren’t available.

    By blocking the harsh glare of the sun, it helps maintain a clear view of the work surface and opens up new possibilities for exploring compositions where subjects are backlit, highlighting their striking silhouettes. With this tool, artists can concentrate fully on their craft, confident that lighting won’t disrupt their creative process.

  2. Folding Chair

    Compact and easy to carry, the folding chair lets you settle comfortably wherever you choose to work, without the need to hunt for a place to sit. No more relying on benches, fallen logs, tree stumps, or uneven patches of ground.

    This adaptable chair lets you set up shop wherever inspiration finds you. Whether you’re in a park, by the shore, or along a hiking path, it’s the ideal companion for taking a break or getting things done.

  3. Easel

    When traveling, it’s ideal to bring along a medium-sized easel, especially one with adjustable legs. This type of easel not only holds your brushes, paints, palettes, and other essential art supplies but also acts as a compact, portable workspace perfect for painting outdoors.

    Such an easel lets you set the height just right and provides sturdy support, so you can work comfortably no matter where you are. Its lightweight and adaptable design make it easy to carry, making it a smart pick for plein air painting or art trips. Investing in a quality easel can really improve your experience, giving you a dependable base to create beautiful artwork in natural settings.

    With the right easel, artists can fully engage with their environment, effortlessly capturing landscapes and scenes. Whether you’re just starting out or have years of experience, a well-crafted medium easel is an essential tool that boosts creativity and makes painting outside truly enjoyable.

  4. Solid Base for Watercolor

Having a solid base for watercolor painting is crucial to getting the best outcome. This could be a tablet or a sketchbook designed with thick, detachable sheets of paper. A strong surface offers the support needed when working with watercolors, helping your brush glide more easily and giving you greater control over your strokes.

5. Painting materials including watercolor, gouache, and tempera.

Within the art programs at the Faculty of Architecture, oil paints are not used.

6. Keep a Small Container of Water on Hand.

This will be useful in situations where there may not be a nearby source to replenish your supplies or wash off dirty brushes.Having water readily available ensures that you can maintain cleanliness and efficiency while working.

7. Graphic Materials:

  • Pencils
  • Sepia
  • Gel Pen
  • Thick Marker
  • Raw Sauce

These drawing tools are selected depending on the nature of the work—whether it’s a quick sketch, a detailed drawing, or a finished piece. While the pen is a fascinating medium that opens up many creative possibilities, it’s not ideal for plein air work because it tends to be time-consuming. However, it works wonderfully for studio projects, where artists can develop landscapes, drawings, and architectural details based on outdoor sketches.

Pencils are incredibly versatile and perfect for fast, spontaneous sketches. Sepia brings warmth and richness, adding depth to the artwork. Gel pens offer smooth, clean lines and vibrant colors, making them great for intricate details. Thick markers create bold, eye-catching strokes that provide strong contrast. Raw sauce, though less conventional, can introduce interesting textures and is often used in mixed media pieces. Each tool has its own unique qualities, so choosing the right one depends on the desired result.

8. Paper

Paper choice varies depending on the location or the specific task at hand. Some common types include:

  • Colored paper
  • Tinted paper
  • Textured paper, such as torchon
  • Watercolor sketchbooksThe last option is especially useful since it combines a reliable surface with a convenient source of paper for watercolor work. When working outdoors, organizing your workflow is crucial. A typical open-air workday lasts around six hours, usually from 11:00 AM to 5:00 PM. Within this period, students should aim to complete at least ten drawings, paintings, or sketches. To make the most of this time, it’s important to have a solid grasp of the area, the subjects, and the environment. A good approach is to explore the site with an instructor ahead of time and pinpoint the best spots to work from.

2. Exploring the Remarkable Monuments of Veliky Novgorod Outdoors. Novgorod Kremlin

Begin your visit with a leisurely walk through the ancient Novgorod Kremlin, once known as Detinets. This historic site instantly transports you back to medieval times and beyond. The architectural and artistic treasures here, spanning from the 11th to the 19th centuries, offer a vivid glimpse into the past.

Among the highlights for today’s visitors are several structures from the Kievan Rus period: St. Sophia Cathedral, the Archbishop’s Chamber along with its courtyard, the Chasozvonya bell tower of St. Sophia, and Nikita’s Corps. All these landmarks are close to one another, making it easy to explore on foot.

The variety of monuments presents a wonderful chance to capture striking scenes through their unique shapes and outlines, enjoy sweeping views, admire intricate architectural details, compare different textures, and see how artistic expression shapes design. Ultimately, these sites allow you to follow the development of ancient Russian architecture in a truly tangible way.

3. Outdoor Workspaces: The Trade Side of Novgorod

Just across the Volkhov River lies the Trade Side of Veliky Novgorod, a district rich with historical architecture. Here, you’ll find notable landmarks like the Church of St. Paraskeva on the Trade, the Nikolsky Cathedral, and the famous Church of the Transfiguration on Ilyina Street, which is decorated with frescoes by Theophanes the Greek. The Gostiny Dvor, with its bright white arcade, seems to set the tone for the whole architectural ensemble.

From this vantage point, visitors are treated to a sweeping view of the Volkhov River and the Sofia Side across the water. If you wander down below Yaroslav’s Court, the nearby streets and narrow alleys reveal charming examples of both private and public buildings dating from the 19th and early 20th centuries.

On a warm, sunny day, the area offers plenty of shaded spots, perfect for avoiding glare on sketchbooks or drawing pads. It’s an inviting place for artists and creative souls to settle in, work, and draw inspiration from the surroundings.

4.Looking for Workspaces. Some Features of Depicting Architectural Objects

Ideally, the drawing surface should be positioned in partial shade; direct bright light on the paper tends to make the drawing appear too dark.

Architectural elements can be illustrated in different ways depending on the purpose—sometimes shown within a sweeping panoramic view, other times tucked away inside a quiet courtyard.

While many landscape artists today frequently use photographs as a reference, it’s important not to become overly dependent on them. Photography is a helpful aid, but it shouldn’t dictate the entire process. For example, when needing to remember the specifics of an architectural detail, a photo can serve as a quick guide.

What truly matters is interpreting and adapting these images rather than copying them exactly. This approach brings a personal dimension to the work, enriching the final piece. Striking a balance between faithful representation and creative interpretation often results in more engaging and meaningful representations of architecture.

5. Managing Your Time Effectively

One of the biggest challenges in outdoor plein air work is the limited time available, which makes choosing your location especially important for staying productive. Instead of moving around to capture different scenes, try focusing on a single spot and explore it through various techniques like painting or drawing. This way, you save valuable time and can complete the number of sketches or watercolors needed for your final project without rushing.

Taking the time to plan ahead helps you get the most done while keeping distractions to a minimum. Before you head out, scout potential locations that offer a range of interesting views or subjects. That way, you can switch between different methods without having to relocate. Setting clear goals for each session—whether it’s the number of pieces you want to finish or specific techniques you want to work on—can also keep you focused and motivated.

By approaching your outdoor sessions with this kind of preparation, you’ll use your time more efficiently and enjoy a richer creative process.

6. Understanding the Traits of Various Art Forms and Practical Advice

The goals behind graphic art differ significantly from those in watercolor, gouache, or tempera painting. When working on drawings, it’s important to select scenes with minimal shadows or position the light source behind the subject to create a backlit effect. In this approach, a strong grasp of shape and silhouette is key.

On the other hand, painting usually benefits from starting with the shadows. Establishing these tonal areas early on helps to build depth and guides the application of color more effectively.

Quick sketches of objects deserve special attention. While it’s important to spend some time on these studies, the majority of effort should be reserved for more polished, finished pieces.

Both painting and graphic assignments should stay within an A4 size limit due to time constraints. Striking a balance between a polished finish and the spontaneous feel of working outdoors is crucial—capturing freshness without overworking the details or making the piece feel stiff.

7. Summary

After each trip, usually once a week, we hold classroom consultations. These sessions prove to be very valuable for both professors and students. Professors get a clear overview of the group’s work, while students can reflect on their progress and prepare questions for the instructor in advance.

This approach helps highlight strengths and areas needing improvement, making it easier to get ready for the final exhibition of the summer practice.

The summer plein air program at the architecture faculty is unquestionably important in many respects. It helps students develop key skills, expand their outlook, and improve their handling of artistic tools and materials. Altogether, these experiences play a crucial role in shaping a unified aesthetic vision for their future independent architectural projects.

Special emphasis should be placed on quick sketches of objects. Although some time should be devoted to these exercises, most effort needs to be directed toward finished pieces.

Both painting and graphic assignments should be done on A4-sized paper or smaller, as there is limited time for final touches. It’s important to find a balance between completeness and preserving the fresh, spontaneous feeling of plein air work, avoiding overworking details or making the pieces look too stiff.

Художник Евгений Малых на пленэре в Павловском парке

Creating art outdoors or using photographs as a reference

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  1. How to get ready for a plein air painting session
  2. Advantages and disadvantages of working en plein air
  3. My workshop feels like a fortress but the call to nature is hard to ignore
  4. Plein air painting may seem outdated at first glance, yet it poses a unique challenge
  5. The inability to complete the painting
  6. Stepping into the world
  7. The most intriguing aspect
  8. Summarising the results

As autumn comes to an end, so does the season when artists tend to step outside their studios. From mid-spring through mid-autumn, the northern regions experience their most vibrant and colorful days. It’s easy to see why many creatives take advantage of this time, heading outdoors to paint en plein air. What does plein air mean in painting? The phrase comes from French and literally translates to «open air.» It generally describes activities done outside. For artists, this means they work directly outdoors—whether that’s painting or sketching portraits and landscapes in their own gardens, on city streets, in parks, and squares, or they travel hundreds and thousands of kilometers for new inspirations.

Every artist has their own favorite medium—be it oil, watercolor, gouache, pencil, or charcoal.While their techniques may vary, one thing that consistently inspires is the experience of being out in nature, surrounded by the living, changing world as it unfolds. That said, there’s also a practical side to bringing nature into art. Instead of hauling heavy supplies to a location, artists can streamline their process by using references like sketches, studies, or photographs, which can be incredibly helpful.

In today’s technologically driven world, rigid opinions seem unnecessary. For example, dismissing painting from a photo as mere copying, or assuming that work done directly from life looks unfinished or distracted, feels limiting. Let’s take a closer look at both approaches—the value of painting on location and the benefits of working from references. Finding a balance between the two can open doors to fresh and distinctive creative results.

Пленэр в Павловском парке. Лодочная станция

Пленэр в Павловском парке. An open air session in Pavlovsk Park

How to Get Ready for a Plein Air Painting Session

Heading out to paint outdoors is just as thrilling as setting off on a hike or any big adventure. But to make sure your time outside is both enjoyable and productive, it’s important to prepare thoroughly so you don’t leave anything behind. Here are some key points to keep in mind:

  • Dress for the weather, keeping in mind possible changes like fog, light rain, heat, or bright sun.
  • Plan your food and water needs carefully.
  • Double-check that you have all your supplies.
    If you’re an oil painter, bring canvases, primed boards, paints, and solvents. If you work with watercolor or gouache, besides paints, sketchbooks, and pads, make sure you carry enough water for mixing colors and cleaning brushes, since finding water nearby might not be easy.
  • Set clear goals for your session.
    This will help you decide which brushes and colors to pack. If you’re focusing on quick sketches or small studies to explore tones and color relationships, a small, portable easel works best. But if you want to create a larger piece for framing back home, you might need a bigger easel that can hold a canvas with a stretcher, like one around 60 cm on the short side.

Selecting the right subject for your future landscape is crucial.

Composition forms the backbone of any painting—it draws the viewer in and invites them to explore the scene. A poorly arranged canvas feels much like a dull detective novel: from the very first pages, you know you won’t want to keep reading. Many beginner artists simply paint whatever catches their eye without putting in the effort to find a truly engaging view. Often, they settle for convenient spots, like the closest park bench, which usually leads to disappointment once they see the final result, especially after traveling from home.

To avoid frustration, it’s worth thinking about some key equipment. A lightweight folding chair, for instance, can give you the freedom to pick your ideal spot, while an artist’s umbrella offers much-needed protection from the sun. While finding a comfortable seat isn’t often a problem, finding effective sunshade is trickier. Many umbrellas sold online or in stores aren’t designed with artists in mind—often, they’re too small to cover both the canvas and palette adequately. Plus, most attach to easels, which can be impractical, especially on windy days when they catch the breeze like sails.

In the past, umbrellas made by the Podolsk Art Materials Factory were nearly perfect. They provided full coverage of the workspace and could be anchored into the ground with adjustable height, though they weren’t suitable for rocky or paved areas. Sadly, these models are no longer available. Nowadays, some artists turn to beach umbrellas, but these usually don’t have the black interior lining needed to minimize reflections on the canvas.

  • Let’s talk about the Sun

Sunlight is a true ally for artists, as it enhances the brightness and color richness of illuminated objects. However, it can also be treacherous. For example, if you choose a location but the sunlight hits your canvas or paper unevenly, the glare can make it difficult to work. A solution to this is using an umbrella.

Sometimes, sunlight may shine directly onto the back of your canvas, revealing thread patterns and disrupting the integrity of the texture. A simple hack is to attach something dark and light-absorbing to the back of the frame. A piece of black plastic wrap, cardboard, or hardboard will do.

Pay attention to lighting conditions. On overcast days, the light remains consistent. However, during sunny weather, midday offers the longest period of ideal lighting, making it convenient for artists to focus on details. If you prefer painting in the morning or evening, prepare for shorter sessions; you might need to return to the location multiple times. Given the unpredictable weather in our regions, reassessing your goals for the painting or sketch is wise.

  • Remember!

Nothing is minor when painting outdoors. Even the lack of a simple trash bag can create discomfort. You wouldn’t leave soiled rags, paper, or old brushes behind where you created your masterpiece. Protect nature!

Кисти, краски и другие принадлежности для пленэра

Собираемся на пленэр. Getting Ready for Outdoor Painting

Advantages and Disadvantages of Working En Plein Air

After going through such detailed instructions, you might ask yourself: is all this effort really justified for a piece of art measuring around 40 by 50 centimeters? Wouldn’t it be simpler to work in a studio where everything is within easy reach? Let’s take a closer look at the main advantages and disadvantages, beginning with the downsides. That said, it’s important to remember that what appears as a drawback can often be seen in a positive light.

На пленэре в Павловском парке. Художник Евгений Малых

Пленэр в Павловском парке. An open air session at Pavlovsk Park rain or shine without fail

My workshop feels like a fortress, but the call of nature is hard to ignore.

On one pleasant autumn day, an artist friend of mine remarked, “This year’s golden autumn is wonderful. I should go to the suburbs to photograph park landscapes and then create a series for myself; perhaps some pieces will even make it to an exhibition.”

Some might be surprised to hear this from an artist. But it’s important not to react with frustration or unfair judgment. The truth is, there are two kinds of artists: those who paint outdoors, directly in nature, and those who prefer the quiet focus of their studio. My friend, a thoughtful and dedicated artist, clearly belongs to the latter group. These artists often work from reference, gathering material, reflecting on it, and then shaping their own vision to share with others. Those who favor the studio have good reasons—everything they need is right at hand, and their flow isn’t interrupted by a missing brush or paint tube. Still, the two approaches don’t have to be at odds. Outdoor sketches and photographs can add depth to studio work, and spending time outside can refresh both the mind and body.

Как закрыть от солнца оборотную часть холста

Как защитить оборотную часть холста от солнца. How to protect the back of a stretched canvas from the sun rays

Plein air painting may seem outdated at first glance, yet it poses a unique challenge

Think about the load a professional artist hauls when heading outdoors to create. If they choose to paint an oil canvas around 60 by 70 centimeters, the gear quickly adds up. There’s the bulky wooden easel, brushes, tubes of paint, solvents, a canopy for shade, and a portable stool. Depending on the weather, some items might be left behind, but the total weight can easily climb to 15 or 20 kilograms, which is no small feat.

Hunting for the ideal scene can almost feel like a sport in itself. Many artists prefer to scout locations first and then return later with their supplies. While this method might seem old-school, it’s practical. Photography offers a more contemporary shortcut, capturing scenes instantly. Ironically, the least modern approach is actually working inside a studio using reference materials. For hundreds of years, artists painted landscapes or elements for larger works indoors, relying on tools like the camera obscura, rulers, sketches, and eventually photographs.

It wasn’t until the 1870s that the French Impressionists shook things up, changing how reality, color, and interpretation were understood. They embraced photography’s influence in a unique way, focusing on capturing fleeting moments from life and nature. Think of Edouard Manet’s “Bar at the Folies-Bergère” or Edgar Degas’ dancers. This approach soon found its way into cinema, influencing how stories were visually told.

Экипировка художника на пленэре

Экипировка художника на пленэре. The artist’s equipment for the painting in the open air

The Inability to Complete the Painting

Painting en plein air presents a host of challenges for the artist. Beyond managing their mood, health, and creative drive, they must stay vigilant about the weather, which plays a crucial role in whether a piece can be completed. In southern regions with mild climates and plenty of sunshine, artists tend to feel more comfortable than in northern areas where wind and rain are common. For example, in late 19th-century France, Impressionist painters could often return to their favorite outdoor spots within a couple of weeks to finish and polish their landscapes. By contrast, Russian artists faced far fewer chances to do this because unpredictable weather frequently disrupted their plans. Another significant challenge comes from the constantly shifting light and reflections caused by the environment, which influence how colors are perceived. Unlike a camera, the human eye doesn’t simply capture and store a scene instantly. This means no camera, no matter how advanced, can truly replicate the depth and variety of colors as they appear to us. By moving their gaze from one element to another, artists engage more deeply with nature and develop a richer understanding of it.

Achieving a hyper-realistic finish outdoors is nearly impossible. While an artist might feel their work is mostly complete, true mastery involves balancing fine detail with the overall atmosphere to avoid a cluttered or chaotic result. Finishing a painting outside is naturally tougher than working inside a studio, where lighting is controlled and steady. Still, despite these hurdles, the experience of painting in nature is far more immersive and rewarding.

Stepping into the World

No matter how carefully we select a quiet spot to work, there’s almost always someone whose curiosity pulls them in to see what we’re creating. This is especially true when painting outdoors in the city—we’re not isolated from the world around us. It’s important to be ready to interact with this unexpected audience, keeping in mind that not every encounter will be kind or thoughtful.

Receiving honest feedback can be valuable: if someone appreciates your work, it’s insightful to hear what resonates with them; if they don’t, understanding their viewpoint can be just as meaningful. Children’s sincere reactions are often especially touching when they meet a real artist at work. Yet, some moments can catch you off guard. For instance, when a person lingers behind you, repeatedly asking, “How much does it cost?” they’re often not truly interested in buying. Their look might reveal they’re more curious about your potential earnings than your art. In these situations, it’s best to gently steer the conversation away with replies like, “I’m still working on it,” or “This one’s not for sale.”

Handing out a business card can be a smart move, giving them a chance to think it over later. Genuine buyer interest is much rarer than casual curiosity. It’s a mistake to assume that every passerby will suddenly become a collector ready to pay for your work. While inspiration is vital, it’s also practical to carry a stack of business cards with your contact details—website, social media, phone number—so those who are interested can reach out when the time is right.

The most intriguing aspect

A plein air outing isn’t really my thing,’ a well-known artist once remarked. ‘Those who do it are either struggling or short on cash.’ While that’s a funny perspective, it’s worth digging a little deeper. First off, let’s consider what it actually takes to do plein air painting professionally. What gear does an artist need to feel comfortable working outdoors? Think about the cost of a good easel, a sturdy backpack, stretched canvas, brushes, paints, and then add travel expenses if you need to go somewhere special. The costs can pile up quickly. How soon can an artist expect to make that money back? It depends on a lot of things—how good the work is, how well it’s marketed, and the state of the art market at the time.

As for the health angle, there’s some truth to the idea that nature and fresh air are better medicine than most prescriptions. Plein air painting can act as a kind of art therapy, soothing the nerves and helping to restore mental balance. It’s also good for your eyes—you don’t have to carve out time for eye exercises at home because you’re naturally doing them by looking out at the horizon. But if serious health issues come up, it’s best to see a professional at a health resort rather than just escaping into the woods.

Another wonderful thing about plein air outings is how they open up conversations beyond just money. For artists who are focused on growth and enjoy social interaction, group plein air sessions and workshops offer a great opportunity. There are plenty of options, from local meet-ups to national and international events. Ultimately, the choice is yours.

Summarising the Results

To sum up, after a thorough discussion, it may appear that we haven’t arrived at any firm conclusions about the pros and cons of plein air painting. We didn’t set out to offer strict rules or step-by-step instructions, and that was intentional.

Art, much like life, is a deeply personal journey. Every artist makes their own choices—whether it’s about style, materials, subjects, techniques, or the tools they rely on.

What truly matters is how skillfully you bring all these elements together. The aim isn’t to replicate nature exactly, but to create a work that expresses your individual vision. Nature should inspire you, not limit you, giving space for your creativity to grow. Each artist’s path is unique, and the true value lies in the personal discovery and expression that come with painting outdoors.

На пленэре в Павловском парке

Пленэр — это удовольствие. Having a plein air session is a pleasure