Carbon Fiber Painting Equipment (2018)

This is another update in my continuing quest to build a lightweight and durable pochade box and mast system in carbon fiber.

I would first like to preface this post with the statement that I am not an expert in working with carbon fiber and, the truth is, I have no idea what I’m doing. When I was a teenager, I tried to make a skimboard out of fiberglass. While my project wasn’t all that successful, I did learn how to work with the resin and fabric composite system which is common to both fiberglass and carbon fiber. My recent foray was guided by that single experience 30 years prior, combined with online research and a few YouTube videos. This should in no way be taken as an expert guide on building painting equipment with carbon fiber, and there are almost certainly much better ways of doing this.

That said, I do now have a few working pochade boxes and a large format plein air easel, so I wanted to show how I did it. And with that in mind, here are all the parts I used for my box:

Materials for a carbon fiber paintbox.

Materials for a DIY carbon fiber pochade box

  1. Foam mold I cut for the box shape.
  2. Purchased pre-made carbon fiber reinforcements and wood slats for extra strength at the mast-hook and hinges.
  3. Nomex honeycomb for rigidity.
  4. Carbon fiber twill.
  5. Wood veneer.
  6. Epoxy resin (not shown).

And the method I used: First I covered my cut foam mold with released film.

Home made carbon fiber pochade box, step one.

Step 1: Foam mold covered with release film

Then I taped the wood veneer in place.

Step two for making a DIY carbon fiber pochade box.

Step 2: Wood veneer taped around mold.

Next I brushed on epoxy and wrapped it with a couple of layers of carbon fiber. I added extra layers of carbon fiber, as well as the pre-made carbon fiber bits and wood slats in sensitive areas, such as where it hooks to the mast and where the hinges would go, respectively. (I didn’t photograph this stage).

Then I wrapped the Nomex honeycomb cardboard around that.

DIY carbon fiber paintbox, showing the Nomex honeycomb support.

Step 4: Nomex honeycomb wrapped around the first two layers of carbon fiber.

Next I added final layers of carbon fiber (and epoxy), wrapped it with perforated release film and breather cloth, and and stuck it all in a vacuum bag.

Step 6: The box goes in a vacuum bag for 24 hours.

After the epoxy cured, I cut it the box in half with a Dremel, screwed in the hinges, and added another layer of carbon fiber to cover the hinges (not shown). Finally I cut the box in half again, cut holes for the mast-hook and my thumb, and sanded down everything.

Last stage of a DIY carbon fiber pochade box.

Step 8: The box has just been cut in half with a Dremel, and the mold pulled out.

Cutting and sanding composites such as fiberglass and carbon fiber creates a great deal of dust which is very dangerous to inhale. While working on these projects I wore a bunny suit, respirator, gloves, and protective goggles.

For the mast, I wrapped carbon fiber around a balsa wood slat with an attached Arca Swiss camera plate and put it in a vacuum bag. I folded the extra carbon fiber from one end up over a small foam rectangle (wrapped in release film) to make the hook for the box.

DIY carbon fiber painting mast in a vacuum bag.

DIY painting mast in a vacuum bag

For the panel holders I first wrapped tin foil around the mast to give some space, then wrapped that with release film, then wrapped carbon fiber again (with a bolt in the middle for the butterfly screw) and stuck it in a vacuum bag.

DIY carbon fiber painting mast with panel holders.

Panel holders tubes on my DIY carbon fiber mast.

Finally, I covered the panel holder tubes with carbon fiber layers and epoxy, and attached it to a mold with the shape I wanted for either panels or canvas or both, and put that into a food-storage vacuum bag. I switched to the food-storage vacuum bags so I could make a few at the same time. It works as well as my regular vacuum pump.

DIY carbon fiber with a food storage bag.

Making smaller carbon fiber mast clips with a food-storage vacuum bag

For the attachment on my Senz umbrella, I similarly wrapped both the cut-down umbrella shaft and the mast in carbon fiber, stuck them both into a vacuum bag, and then sanded everything down.

DIY carbon fiber mast attachment for a Senz umbrella.

Custom carbon fiber mast attachment for my Senz umbrella.

As I mentioned last time, I’m not convinced this set-up is all that superior to a cigar box attached to an aluminum tripod easel, but I have a working system now so I’ll stick with it. Here are a couple of shots of my set-up in the field:

Image of a carbon fiber pochade box and mast system for plein air landscape painting.

Small carbon fiber pochade set-up in the field.

Carbon fiber pochade box, mast, and Senz umbrella for painting in the rain.

Carbon fiber plein air painting system with a Senz umbrella.

The one area I have had great success with carbon fiber equipment is for larger, relatively lightweight easels. The one I currently use is shown in the photos below. It packs down small enough to fit into my suitcase, but expands to take up to a 47″ (120 cm) vertical stretcher bar. It attaches to a large Gitzo tripod via a heavy-duty ballhead. I also built a larger folding palette that I can both use in the studio, and then carry into the field and hook it to my smaller mast on the Sirui tripod. This way I’m always using the same paints, whether I’m working inside or out.

Photos of a large carbon fiber easel for plein air landscape painting.

Larger carbon fiber easel design.

Carbon fiber easel in use on Deer Isle, Maine.

My kit on site in Maine.

To make the larger easel, I cut the shape of the masts in balsa wood, and wrapped them with carbon fiber and Nomex honeycomb. The top and bottom wedges to hold the canvas were wrapped around a mold to get the shape. I did it in three steps to get the parts to fit together.

The stages of making a large carbon fiber easel for plein air landscape painting.

Larger carbon fiber easel in a vacuum bag.

How to build a large carbon fiber painting easel.

After the second stage of building a large carbon fiber easel.

Finished carbon fiber easel for landscape painting.

The finished easel. Brushes for scale.

My carbon fiber half of the easel weighs in at around 2.5 lbs (1.2 kg), and I attach it to a very sturdy Gitzo GT2541EX which is 4.1 lbs (1.8kg). I got a tripod with the column that can be set at any angle with the hopes I could avoid buying a ball head, but it hasn’t really worked out. To get enough height in some situations I need the column up pretty high and have to use a ball head to keep the easel perpendicular to the ground.

My next customization will be to attach webbing and a buckle system to both the easel and my backpack, so I can quickly attach and detach it, as well as carry my large canvases on my backpack. The two camera tripods fit into the pockets on my backpack.

Overall, it’s been a lot of work to get this system going. A few people have asked me to go into production with these but, for the moment, it’s too much work for me to produce even one working model. Maybe if I can find a partner to make them, I’ll look into it. In the meantime if anyone wants to use any of my ideas for their own projects, go for it. As I said earlier, you’re not missing out not using a carbon fiber easel, but they are very lightweight and (I think) they look pretty cool.

Ultralight Plein Air Landscape Painting Part II

This is an update to a post from a few years ago. I’ve been interested in developing a lightweight set-up for plein air painting and I feel I’ve finally achieved my goal. At the moment my backpack with gear for a day of plein air painting has a base-weight of around 8lbs, or under 4kg. For painting in rain, at night, or if I’m expecting variable weather I can add equipment as needed.

You can see the set-up in the images below:

Ultralight plein air painting set up.

My ultralight plein air painting kit.

Ultralight plein air landscape painting set-up with everything open.

My kit with everything opened.

Ultralight backpack for plein air landscape painting.

Everything in the backpack. Small dog for scale.

Here is the key for the numbers, with hyperlinks (some are referral):

  1. Foam-core panels with mounted linen.
  2. Drawing materials: Sketchbook, pencil, blade for sharpening, kneaded eraser.
  3. Small dog.
  4. Water bowl for the dog.
  5. Medium, thinner, and palette knife.
  6. Brushes (Zecchi series 102 sables and Cornelissen series 44 bristles).
  7. Extra blues, titanium white and Roman ochre.
  8. Multitool and allen key.
  9. Tent pegs.
  10. Custom carbon fiber pochade box.
  11. Sirui t-025x tripod. (The Sirui 5C is the same but newer and cheaper. I have both).
  12. Custom carbon fiber mast and panel clips.
  13. Rain pants, rain jacket, and umbrella with home-made attachment (situational).
  14. Down jacket, fleece, and windbreaker (situational).
  15. Phone, headphones, backup battery and stylus.
  16. Water and sunblock.
  17. Custom carbon fiber panel holder (takes two sizes).
  18. KS Ultralight backpack.

Most of my gear is normal painting equipment but I’ll go over some of the things.

1. New Traditions Gatorfoam panels with Claessens linen work very well. The glue never comes undone, even if the panels are left in a car window in August (I’ve tried it).

2. Kunst & Papier sketchbooks have the best paper of any I’ve found, and the paper binding makes them lighter than hardcover sketchbooks.

5. I use a Canada balsam/sun-thickened linseed oil mix for my medium, and lavender essence for my thinner. These aluminum bottles aren’t great as they start to leak after a year or so. I’m still on the lookout for a better system.

6. My set-up would be much lighter if I could learn to use fewer brushes. There are some very good painters out there who use one or two brushes for an entire oil painting. I don’t know how they do it.

7. Cadmium paints last a week on my palette, so I only bring tubes of the three blues I use (cobalt, ultramarine, cerulean), ochre, and titanium white. I go through a lot of those colors.

8. I probably use the Leatherman Skeletool once a year, and most times don’t carry it. Same with the allen key, once I get the proper tightness on the legs of the tripod I don’t really need it.

9. Most of the time the weight of the backpack and a water bottle is enough to keep the easel steady while I paint. In high winds the tent pegs work great. If I can’t get them into the soil I tie them to rocks or even lampposts or signposts in cities.

10. My next blog post will be on making a custom carbon fiber pochade box, mast set-up, and panel carrier (#12 and #17).

11. The Sirui t-025x tripod is the lightest tripod I could find that had decent stability and got up high enough for painting equipment.

13. For a rain jacket I really like the new Gore-Tex Shakedry jackets as they still breath even when you’re drenched in heavy rain. My previous jackets would ‘wet out’, meaning the face fabric would get soaked with water and keep the membrane from breathing, and the jacket would feel stuffy and suffocating in warm rain. This one breathes so well that I’ve even worn it in the summer as a bug jacket. The downside to the Arc’teryx version that I have is that the zipper leaks in really heavy rain. Other brands make them with better zippers. My umbrella is a Senz storm umbrella with a custom attachment that I made for the mast of my easel. It keeps the rain off of the painting and the palette, but unfortunately dumps it onto me while I work.

14. For carried clothes, the fleece/down/windbreaker jacket combo works great. Obviously I only take what I think I’ll need, but for shoulder seasons and places where the temperature can change dramatically (cough * the California coast * cough) the three layers give me a lot of versatility. Also, the dog gets cold quicker than I do, so she usually sleeps wrapped in one of the layers. In the past I carried a down vest rather than a jacket and I think vests are great for painters as allows for more mobility with our painting arms. And on the subject of shoulder mobility, climbing clothes are usually stitched differently so the sleeves can be raised easily. I find they work better than city or street clothes with the sleeves stitched in the ‘arms down’ position where you fight the fabric to raise your arm. It’s not a huge deal, but something to consider. All my shirts, jackets, and hats are black, dark grey, blue or dark blue so as to not reflect a confusing color back onto my painting when working contre-jour.

15. My current phone is a first generation 5″ Google Pixel. I wanted the larger storage (128GB) for shooting video while I travel, a high quality camera, and I prefer a headphone jack to the bluetooth-only design of newer phones. A powerbank is very useful for charging my phone when I forget to charge it at home, and the stylus works as a backup pencil if I need to sketch. In reality I almost never use it.

18. The KS Ultralight backpack works very well, but it’s not 100% waterproof. My worry with backpacks is that my medium will leak out, not that water will get in, so I’ve added an inner liner to the outer pocket where my pochade box goes.

This is still a work in progress, but I have arrived at a point where I don’t feel I can improve on anything in particular for the moment. Everything works great, and weighs as little as possible. My next goal is to get a similar set-up for carrying and working on very large plein air landscapes and I’ve almost got that working as well, so stay tuned.

Carbon Fiber Painting Gear

In my quest for a lighter and more portable plein air set-up I’m currently experimenting with a carbon fiber photography tripod and paint box.

Sirui tripod for plein air landscape painting.

My current camera tripod set-up.

The camera tripod I settled on is a Sirui T-025X with their C-10X ball head. It was originally recommended to me by plein air painter Paul Rafferty who has used one to great success for a year now. Sirui is a Chinese company who, apparently, used to make photo equipment for Gitzo (the very expensive Italian company) and are now making tripods with their own brand name. The tripod folds up to be tiny and weighs only 1.54 lb (0.7 kg) -slightly less than the Fome aluminum easel I’ve been using for a while. (For anyone thinking of getting the Sirui, you can find one on Amazon and support my site).

The tiny Sirui T-025x all folded up.

Sirui T-025x. Banana for scale.

To use sight-size one’s panel or canvas should ideally be at eye-level. This puts the surface quite high off the ground where stability becomes an issue. On the other hand, after years of working on canvas, I don’t really mind a little give while I’m applying paint. Even with my extremely light backpack hanging off the supplied carabiner, this set-up becomes stable enough for me to paint comfortably.

Sirui tripod for a painting easel.

The mast bolted to the Sirui quick-release plate.

I also don’t like the pochade-box-on-camera-tripod system that most plein air painters use. With sight-size it means the paints are right under my nose. The solution for me is to use a mast to get the panel high enough, and attach the paint box to the bottom. For the mast of this set-up I picked up a pre-made carbon fiber slat, drilled a hole with a 1/4″ drill-bit, and bolted it to the quick-release plate of the Sirui. The Sirui quick-release plate has screw threads out, so one can switch to a longer bolt without permanently affecting the tripod. One could drill a hole in the aluminum or steel mast of the Fome easels and get an even stiffer design. I settled on a shorter mast to be able to pack it in a suitcase easily. With the taller camera tripod it is still big enough for my 11″ x 14″ (25 x 35 cm) panels in a vertical position, even if I have the easel set up downhill.

Carbon fiber painting box for plein air landscape painting.

Carbon fiber ‘cigar box’ palette.

I’d love to be able to triumphantly declare that the carbon fiber painting box was a great success and is the future of plein air painting equipment. Unfortunately, after an annoying amount of time and money spent, I have to admit that a $5 dollar Ebay cigar-box works just as well. Leo Mancini-Hresko has written a good blog post on making one. The carbon fiber isn’t any lighter or sturdier, and it lacks the charm to boot.

Carbon fiber cigar box style palette.

Carbon fiber painting box.