Summer Travels and Plein Air practice
This summer, I took my paints and paper outside as much as possible. I was reminded to slow down, truly observe, and be in the moment. There were so many magical scenes that couldn’t be captured properly by a photo—so I painted instead, creating my own version of reality.
Beyond deciding what to paint, I had to figure out how to bring my supplies into the wilderness—and how to use them properly once I got there.
This summer took me to some truly special locations: a family trip to the Adirondacks, a hiking adventure in Ireland, and plenty of time close to home in Wissahickon Valley Park in Philadelphia.
Painting the Adirondacks
In June, I traveled to the Adirondacks with my family—and of course, I brought my paints along. We visited Lake Placid, the summit of Whiteface Mountain, and Lake George. Each location had its own challenges and unique beauty that I wanted to capture.
Whiteface Mountain peak, the mist rolling up and down the mountain top
At the top of Whiteface Mountain, reaching the summit was an adventure in itself—we had to drive and then hike a rocky path to get there. Once we arrived, mist kept rolling in, obscuring our view of the lakes below. Every so often, the clouds would part, revealing breathtaking vistas that stretched for miles. I did a quick sketch of the muted colors and the vibrant lichen (or was it moss?) clinging to the steep cliffs. My biggest challenge there was value—the subtle tones of the mountain blended with the stark whiteness of the mist.
That evening, I painted the calm waters of Lake Placid while lounging in an Adirondack chair, sipping a cold lager. I tried to capture the serenity that defines that place. Watching the sunset lazily sink behind the mountains was the perfect way to slow down and paint in peace.
Later, we traveled to Lake George—another stunning lake framed by high mountain peaks. I was drawn to the shifting waves and bursts of green along the shoreline. With the clouds constantly moving, casting quick shadows on the peaks, I had to work fast and make decisive choices with color and opacity. That painting was quick, spontaneous—and turned out beautifully.
Painting the Kerry Way, Ireland
In July, my in-laws went to Ireland for a family event, and I used the opportunity to plan a hiking trip. My husband and I hiked part of the Kerry Way, beginning in Killarney and ending in Waterville.
We crossed rocky pastures, dodged sheep dung and puddles, and pushed ourselves physically in ways I hadn’t anticipated. Whether it was the fatigue, the excitement, or the raw beauty of the landscape, the plein air paintings I created in Ireland are some of my favorites—the colors feel fresh, light, and alive.
View from Lord Brandons Cottage, the Kerry Way
How do you pack for an international painting trip? Very lightly.
Here was my setup:
A 5x8" landscape sketchbook (used on both sides for paintings and notes)
A Portable Painter palette (unsponsored), pre-filled with dry gouache that can be reactivated with a small makeup spray bottle
A small soft case with:
Micron pen
Mechanical pencil (Staedtler brand has a built-in sharpener)
Plastic eraser
Q-tips for cleaning
Masking tape
Paper towels or a sock paint rag
One small tube of titanium white (essential for opaque highlights)
It was a great setup—compact, flexible, and easy to carry.
Also essential, an IV bag’s worth of Liquid IV after a long, intense hiking day.
I took so many reference photos that I now have a backlog of ideas to paint this winter. Ireland is a magical, rugged place—the landscapes are dramatic, with cliffs jutting skyward and streams carving into the hills. Somehow, we missed all the rain and mist; every one of my paintings and photos is sunny and filled with infinite shades of green.
That VIEW!
View of the Reeks from Glencar
View of Glenbeigh
Painting at Home: Wissahickon Valley Park, Philadelphia
For the past five years, I’ve lived close to Wissahickon Valley Park, but this was the year I fully dedicated myself to painting its landscapes. The park is a sanctuary of light filtering through trees, casting patterns on rocks and trails. Documenting the shifts in the landscape has been endlessly inspiring—and deeply enjoyable.
Color and value forest sketches
In summer, the Wissahickon lights up every sense:
The scent of decaying leaves
The rustle of the canopy above
The babble of the creek below
The feel of rough bark or a soft leaf between your fingers
The Way. Trail to Forbidden Drive from Houston Meadow.
Sometimes, I’ll walk my dog, then settle into one spot to sketch a tree or rock formation for 30 minutes—just long enough before the light shifts too much to continue.
Detailed study of a Tulip Popular, plein air painting of a Tulip tree outdoors (right side)
Conclusion: Plein Air is a Process
Painting outdoors lets you capture light and texture in a way photography can’t. But it is challenging—finding the right setup, focusing on one subject when you're surrounded by inspiration, and working quickly to catch the fleeting light.
This summer, I’ve noticed real growth in how I see color and texture. Being out in the warm air, immersed in nature, made me a more responsive and present painter. I’ll carry these lessons into the studio as I continue exploring ways to express that intangible feeling of a place—whether it’s a misty mountain or a sunlit creek.
Marsh Creek State Park, October 2025. 30 minutes watching the sailboats practice.