Artist insights, creative techniques, suggested art supplies, and guided exercises for January 2026
by Elizabeth Ragona, with art by Han Wirth. © 2026 Alabama Art Supply.

Working outdoors sharpens awareness of light, color, and atmosphere.

January is a season of fresh starts—new habits, new perspectives, and a chance to slow down and really see. For watercolor artists. or anyone who loves the outdoors, it’s also an ideal time to explore plein air painting: creating artwork outdoors, directly from observation.

In Alabama, winter offers mild temperatures, softer light, and quieter landscapes—perfect conditions for stepping outside with a sketchbook and a small watercolor kit. Plein air painting isn’t about perfection or finishing a masterpiece. It’s about learning to observe, respond, and trust the process.

This month, we’re embracing Plein Air Beginnings and featuring the landscape art of Han Wirth as an invitation to start simply and paint where you are.

What Is Plein Air Painting?

“Plein air” comes from the French phrase en plein air, meaning “in the open air.” Rather than working from photographs or imagination, plein air artists paint directly from life—capturing light, atmosphere, and mood in real time.

Watercolor is especially well suited for plein air work:

• It’s portable and quick to set up
• It encourages loose, expressive marks
• It rewards observation over correction
• You don’t need a sweeping mountain vista to begin. A city skyline, a neighborhood street, a park bench, or even your backyard can become a compelling subject.

Why Start in January?

While plein air painting is often associated with warm spring days, winter has its own advantages—especially in the South.

• Cooler temperatures mean longer, more comfortable painting sessions
• Lower sun angles create dramatic light and shadow
• Muted color palettes help you focus on values and atmosphere
• Fewer distractions invite quiet observation

January plein air painting isn’t about endurance. It’s about clarity.

What to Bring (Keep It Simple)

One of the biggest barriers to plein air painting is thinking you need too much. You don’t.

A basic setup might include:

• A small watercolor sketchbook or block
• A watercolor set with a limited palette (6–12 colors is plenty)
• One or two brushes
• A water container
• Paper towels or a small sponge

The goal is mobility, not completeness. If you can carry it comfortably, you’re doing it right.

Observation Over Detail

Outdoors, conditions change quickly—clouds move, shadows shift, light fades. Instead of chasing details, focus on:

• Big shapes
• Light vs. dark
• Temperature (warm vs. cool)
• Mood

Let buildings soften. Let trees blur. Let edges disappear. Watercolor excels at suggestion, and plein air painting is the perfect place to practice letting go.

Learning from the Landscape

Plein air painting isn’t about producing finished work every time. It’s a way to:

• Train your eye
• Build confidence with color and value
• Develop speed and decisiveness
• Deepen your connection to place

Each outdoor sketch becomes a lesson—whether it “works” or not.

Your Plein Air Beginning

This month’s exercises are designed to help you start gently: short studies, limited palettes, and simple prompts that encourage observation over outcome.

You don’t need perfect weather, expensive gear, or a dramatic location. You just need a willingness to step outside, slow down, and paint what you see.

That’s where plein air begins.

Suggested Products (January, Week 1-4)

Week 1: Setting Up Plein Air

• Winsor & Newton Professional Field watercolor set (compact travel palette)
• Pocket sketchbook / Watercolor block
• Portable stool or lapboard

Week 2: Light & Atmosphere

• Cotman Skyscape Watercolor sets (student or professional grade)
• Travel-friendly brushes (e.g., Gray Matters Pocket Brushes)
• Portable water jar

Week 3: Color Relationships

• Color wheel reference (paper or pocket-sized)
• Aqua Pro Palette or watercolor paint palette
• Grumbacher or Daniel Smith watercolor tubes

Week 4: Quick Studies & Series

• Palette knife (for texture/expression)
• Extra sketchbooks (multiple studies)
• Brush washer with lid (travel convenience)

TRY IT NOW: Plein Air Beginnings

January 2026 Studio Notes Exercise Guide

Inspired by the work of watercolor artist Han Wirth

Plein air painting is about learning to see—light, color, and atmosphere—by working directly from life. These weekly exercises are designed to be short, approachable, and flexible. You don’t need perfect weather or a dramatic view. A porch, park bench, city street, or backyard works just fine.

Each exercise can be completed in 20–40 minutes and is meant to build confidence, not perfection.

WEEK 1: Winter Light & Sky

What

Paint a quick outdoor sky study, focusing only on light, color shifts, and atmosphere. Leave out buildings, trees, and details.

Why

The sky sets the mood of a landscape. Winter skies often have softer transitions, cooler tones, and subtle warmth near the horizon—perfect for watercolor. By isolating the sky, you learn to observe color changes without distraction.

How

• Choose a simple view of the sky
• Use large, loose brushstrokes
• Let colors blend naturally on the paper
• Stop after 10–15 minutes, even if it feels unfinished
• Tip: Tilt your paper slightly and let gravity help the wash move.

WEEK 2: Three-Color Landscape

What

Paint an outdoor scene using only three watercolor colors plus water—one warm, one cool, and one neutral.

Why

Limiting your palette reduces decision fatigue and helps you focus on values and relationships instead of exact color matches. This exercise strengthens color mixing skills and creates visual harmony.

How

• Choose three colors before you start
• Lightly sketch the major shapes
• Mix colors on your palette and on the paper
• Avoid adding extra colors, even if it’s tempting
• Tip: Neutral tones created by mixing your colors are often more interesting than premixed grays.

WEEK 3: Edges & Atmosphere

What

Paint a winter scene and intentionally soften or lose edges in the background to suggest distance and atmosphere.

Why

Sharp edges pull attention forward; soft edges create depth. Watercolor excels at atmospheric perspective, and winter scenes naturally support softer transitions.

How

• Begin with lighter background shapes
• Use clean water to soften edges while paint is still damp
• Let some areas fade into the paper
• Keep sharper edges only where you want focus
• Tip: If everything is sharp, nothing stands out.

WEEK 4: Light on Structures

What

Paint buildings, rooftops, or trees outdoors, focusing first on light and shadow, not detail.

Why

Urban and architectural subjects are excellent for plein air practice. Winter light creates strong value contrasts that help simplify complex forms.

How

• Identify where the light is coming from
• Block in light, midtone, and dark shapes first
• Add color only after values feel balanced
• Let details remain suggested, not defined
• Tip: Squint at your subject to simplify shapes and values.

A Final Thought

These exercises aren’t about finishing a painting—they’re about showing up, observing, and practicing. Each study is a step forward, whether it “works” or not.

Paint what you see. Paint where you are. Let the process lead.

⭐ Share Your Process

Trying the exercises? Finished or not, your process matters.

We’d love to see what you’re working on. Share your piece on social media and tag @AlabamaArtSupply or use #StudioNotesAAS so we can follow along.

Featured Artist Connection

This Studio Notes art blog is inspired by the work and approach of a featured artist at Alabama Art Supply. Visit the artist’s feature to explore their work, background, and creative perspective in more depth.

→ Meet the Featured Artist: Han Wirth

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