To many artists, from amateur to professional, the idea of working ?plein air? can be very intimidating. The elements can be uncontrollable or down right nasty outdoors. On top of this, the potential choices in subject matter are endless when we step out the door into the great wild.

What should our subject be and what technique should we employ to get our idea across to the viewer? This is the ?big picture? we need to get organized in our mind before we can do any actual painting. To artists, this really is the million dollar question. The most important decision we make as painters is invariably that initial one.

In practical terms, many of us act out of fear of failure so we dither and do not commit. We are afraid to discriminate in our choice of location, subject and technique. The simple and most intellectually honest way to handle this is to go with your gut instincts and only include what your emotions tell you to include in your work. Do not put anything in your paintings you do not want there. Period. You must learn to trust your own instincts and abilities and let them guide you in your choices. In effect, this becomes your ?artistic license? which will ultimately allow you freedom of expression and style. If you like the shape or colour of something you see, try to capture it in your work and make it visually more important. In the same vein, if a shape or colour is not to your liking or does not fit with what you're trying to say, make it visually less important or leave it out if possible.

If I feel it is necessary, I change numerous things in my paintings from what I actually see. Light, edges, shapes, colour, gradations, anything capable of being represented by paint is open to change if it brings me closer to my inspiration. In other paintings, I may be much truer to what I am actually looking at. Neither approach is aesthetically superior. In the end, all paintings are abstract ideas, not representations of a true reality. The person viewing your work has no idea what the scene really looked like, nor will they care. They often think you captured it, ?as it was.? In the end, all artists are illusionist of one kind
or another.

The foregoing applies to painting whether in the studio or on location. The difference between the two lies in the range of possibilities we open ourselves up to by practicing in outdoor locations, under ever-changing conditions, where the inspiration and potential truly becomes limitless. Deciding where and when to go to paint, will become a relatively easy decision with practice and time. You should do your ?plein air? work with the intent of gathering your subject matter where your heart and soul carries you. For some, that will be the backyard, for others some far flung exotic locale. If your approach is honest to your own bent, your choice of location to set up your easel, may just allow your inspiration and abilities to blossom forth into a true work of art.

Join Mike Svob for a trip to France from June 4th to 19th, 2005 and experience the wonders of painting in the outdoors - in France! To find out about this trip please visit Mike Sob website at www.mikesvob.com or visit the Opus Community Workshops & Classes database at www.opusframing.com/library/classes