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by Marc Dalessio

Winter Painting Gear

I’ve uploaded a video on my winter gear for plein air painting in snow. I realize it’s a bit late for the season, but now is a good time to buy winter clothes on sale. My apologies for the poor video quality, but it was filmed quickly on my phone after we returned from painting in Vermont last winter.

This is an update from my previous post on painting in extreme cold. The two major improvements I’ve made are switching to yak wool, as it’s warmer than merino, and getting a waterproof down jacket. In the video, I mention my strategy for layering a thin waterproof shell over an insulation layer and I think this strategy is great for a number of reasons, a couple of which I forgot to mention:

  • You can get better quality gear by purchasing the layers separately.
  • You can quickly dry the gear out if it gets wet by separating the layers.
  • You can use the shells in other seasons for painting in rain, and you can use the insulation alone if there is no wind or precipitation.

That said, I think that the jacket is the only place where separating the shell and the insulation is a bad idea as it restricts mobility too much. I was using a Jottnar Fjorm jacket before and when I had to put a shell on it for freezing rain or snow I lost too much dexterity in my arms. I’ve since switched to a waterproof Crux ‘expedition’ jacket and it works much better. I barely feel it when I’m painting, and it’s fantastically warm.

2022 update: Don’t buy Crux. My new one leaks badly in the rain and they don’t reply to emails regarding their warranty.

Here are links to the manufacturers in the video:
Overshoes.
Cabelas Trans Alaska boots: (I use the Harkila Inuit. They stopped making them, but you can find them on Ebay).
Khunu: Yak wool socks and sweater.
Kora: Yak wool long underwear.
Arc’teryx: Pants and gloves, both insulated layer and shell. Atom is their line of insulation, for the shell I get whatever is lightest.
Goosefeet Gear: Down Hibbard mitten. You have to write to him, but he can make anything for you.
Mountain Equipment Concordia Fleece (Polartec Thermal Pro is the heavy fleece fabric).
Crux: Waterproof down jackets, I have the Magma.
Rapha: Deep Winter Collar (balaclava).
Millet: Primaloft hat.

by Marc Dalessio

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.

by Marc Dalessio

Winter Gear for Plein Air Painting Part II

Winter clothes for plein air landscape painting.

My 2016 winter kit.

“There’s no such thing as bad weather, only unsuitable clothing.”

― A. Wainwright

Last year I wrote about the problems I was having painting outside in the Austrian Alps in February due to inadequate winter gear. This post is about some of the solutions I found after researching and purchasing kit this year. The listed price on some of this stuff is pretty high but buying in spring and summer, using sites like Steep and Cheap or Ebay, and finding an online store that I’m pretty sure had listed the wrong prices (they’ve since fixed them) allowed me to pick up most items for a fraction of the normal cost. And some items are just well worth the money.

My goal getting this kit was to be able to work outside all year without feeling any discomfort, despite the fact that I get cold really easily. I’m really happy with my current setup. It also breaths well so I can trudge around in the snow looking for my view without getting too hot. Furthermore, merino and down both regulate temperature rather than just insulating so I find I don’t have to change in and out of layers as the sun and/or wind comes and goes.

  • The Belay Jacket. A belay jacket is used by alpinists when they have to stop and wait around while climbing mountains. The advantages for plein air painters are threefold. First, the design of the sleeves is to allow for unrestricted movement while climbing (called articulated sleeves). This means that when painting you wont fight your sleeve. The second plus is that they are incredibly lightweight as they are usually stuffed into a stuff-sack and carried up the mountain. They use high-loft down or modern synthetic insulation (you can read about down and synthetic down jackets here) and this, combined with the articulated sleeves, means you really can’t feel the jacket at all when you’re holding your arm up. A normal winter jacket or parka will often have a noticeable pull. The real-world result is that I haven’t had my usual sore shoulder for a few days when I switched to a jacket this year. It’s not that big of a deal, but it is something to consider for anyone looking to pick up a dedicated winter plein air coat. The third thing about belay jackets is that they are very warm so you don’t need many layers to stay warm (though most decent winter jackets do fine here). Mountain Hardware, Rab, Arcteryx, Patagonia, and other mountaineering-gear companies all make belay jackets or parkas. For cottage companies, PHD (England), and Feathered Friends, Montbell (Japan), and Nunatak in the US are also making belay and expedition jackets and parkas. There are both down and synthetic versions. I went with down for the weight to warmth ratio. The synthetic ones will keep you warm even if they get wet, which seems to me to be more of an issue if your life depends on it high up on a mountain. 

    Update for 2020: I’ve switched to a waterproof Crux Magma and it’s much better. The problem with many belay jackets is they’re design for use with a shell in rain or snow, but for a painter you lose too much dexterity with two layers. The Crux has great mobility in the shoulders and is incredibly light and warm. And it’s completely waterproof, so you don’t have to worry about staying out too long in precipitation.

  • Mid-layer Sweaters. I bought a couple of ‘technical’ merino sweaters of different fabric weights that I switch depending on the temperature. They’re not stiff like some of the heavy sweaters I wore in the past to make up for my jackets never being warm enough. My favorite is a Bergans of Norway merino wool sweater that was reasonably priced and has a half-zipper to regulate the temperature better. It also comes with thumb-holes in case I ever need to do whatever it is you need thumb-holes for.

    Update for 2020: Yak Wool sweaters from Khunu are much warmer for their weight than merino. Unfortunately they sell out quickly. I will wear a fleece over the sweater when it’s really cold.

  • Merino Base Layers. I had a hard time finding expedition weight pure merino base layers in stores in continental Europe. As I mentioned last time, synthetic base layers are more designed for very active use, where wicking away sweat is important. For standing still the best thing I’ve found is a heavy weight merino base layer. This year I’m using 260 weight (gsm) leggings from Icebreaker and a 340 weight Deep Winter Base Layer top from Rapha, an English cycling gear company. The Rapha base layer is pricey but if you consider it’s also a balaclava and neck gaiter, as well as being a very high-quality piece of kit, it’s pretty reasonable. I’m very happy with mine. It’s one of the only things I paid full retail price for and I feel it was well worth it. Minus33 makes heavier duty baselayers (400 gsm), but we can’t get their stuff over here. Woolpro is a cottage company making merino gear in the US. 

    Update for 2020: I’ve switched to yak wool baselayers from Kora and find them warmer than merino for the same weight.

Image showing the size difference between Harkila Inuit pac-boots and normal insulated winter boots.

Size difference between Harkila Inuit pac boots and normal winter boots.

  • Pac Boots. I’ve always gotten by with cheap hiking boots with hand warmers stuffed in the toes. Other painters use normal insulated winter boots with their car mats or a piece of foam under their feet as most of the cold comes from touching the freezing ground. I wanted something that I could work outside for hours in without carrying extra gear so I picked up a pair of real pac boots based on Stapleton Kearns‘ recommendation of The Cabelas Trans-Alaskan III Pac Boots. Since we don’t have Cabelas in Europe I bought the similar-looking Harkila Inuits for the around the same price. They’re comically large boots, and online images don’t really show how big they are. You can’t drive while wearing them, so for scouting with a car one still needs a smaller winter boot to use the pedals safely. Like all pac boots, they’re actually two boots in one as there is an inner wool insert that your foot goes into, then that goes into the larger boot. They also have two insoles below the insert and my feet are kept about 4 inches (10 cm) off the ground. Despite the large size, the boots are actually very light and manageable for walking as the insoles are foam and the sole of the boot appears to be hollow, perhaps to insulate better. The important part is that I can stand for hours on snow and ice in complete comfort.
  • Primaloft/Coreloft pants. A number of companies make insulated pants, again mainly for belaying mountaineers. The difference between these and insulated ski pants is that they lack the Goretex or other durable waterproofing. I bought a pair of Arcteryx’s Atom pants made from their proprietary Coreloft insulation and it really feels like some sort of futuristic fabric. When you move the pants feel slightly cool on your legs so you don’t get warm, but when you stand still they really insulate well. They don’t swish when you walk like ski-pants and they look pretty discrete for working in them in the city. They were also significantly cheaper in Europe than the US for some reason. I have a Gore-Tex shell for when it rains and a good thing about dividing the insulation and the shell is that I can tune the clothes for the temperature better. I also use the shell for rain in warmer weather.
  • Flannel-lined pants. I bought a couple of pairs of flannel-lined pants and can’t believe I’ve suffered through European winters for 25 years without them. Besides being incredibly warm, they’re so comfy. It’s like wearing pajamas all day. I live in these now. I have a pair of Pranas and Craghoppers, the Pranas are much nicer as the lining is pure cotton and doesn’t cling to your legs. The Craghoppers are warmer as the synthetic material use doesn’t breathe as well. The Pranas cost twice as much. That said, for painting outside in the snow, I prefer the Coreloft pants as the side zipper makes it easier to switch from car-friendly shoes to pac boots.
  • Primaloft hats. The hood on the Jottnar jacket is very warm but I prefer wearing a hat so I can keep my peripheral vision. Outdoor Research, Montane, and Millet all make radar-style hats out of Primaloft (probably other companies too). I have the Millet one and insulates well, is water-resistant, and still breaths. I also think I look very French in it, which is always a good thing when painting outside.
  • Gloves for the non-painting hand. Update for 2017: I’ve switched to bicycling gloves for the non-painting hand. Garneau, Pearl Izumi, Castelli, Rapha, ect… all make gloves for bicycling in winter and I find that they have better dexterity and grip than ski or alpinist gloves.

    Down Hibbard Mitten for plein air painting in extreme cold.

    Custom-made down Hibbard mitten from Luke’s Ultralight.

  • Custom-Made Down Hibbard Mitten. In the past I’ve used a wool scarf sewn into a thumbless-mitten-shape to keep my painting hand warm. The design is called a Hibbard mitten after Aldro Hibbard who painted a lot outside in the New England winters. (Update for 2018) I had one made by Goosefeet Gear, a custom down-gear maker. It works great. It’s very warm and weighs only half an ounce (15g) so you barely feel it on your hand. It also comes with a removable waterproof shell for snow and rain. I should mention that with any Hibbard mitten I don’t wear it the whole time. I prefer to keep my hand exposed to handle the brush better, when it gets cold I put the mitten on until it warms up enough to take it off again.