tag:blogger.com,1999:blog-187658882024-03-12T20:42:36.126-07:00Painting Journalon my way
to artDiane Widler Wenzelhttp://www.blogger.com/profile/05270246393901276648noreply@blogger.comBlogger820125tag:blogger.com,1999:blog-18765888.post-14227514328055226292014-04-08T16:11:00.002-07:002014-04-08T16:11:41.609-07:00 Frederick Heidel's method based on a color hue observationFrederick Heidel was one of my art instructors at Portland State University in the the early 60's. His observation on color was that colors of about the same range of darkness placed together on a painting relate to one another in lively interactions. Form and depth can be created without dark to light drawing.<br />
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I am exploring his process of making somewhat of a grid, playing with color not as a chart but in a non-academic way, allowing a feeling to lead my way. Soon these non-objective paintings take on shapes that suggest something familiar to people. Such is the case in this full sheet watercolor, "Playful, Cad Red to Viridian.Diane Widler Wenzelhttp://www.blogger.com/profile/05270246393901276648noreply@blogger.com2tag:blogger.com,1999:blog-18765888.post-70147701877366252732014-04-03T14:47:00.000-07:002014-04-03T14:47:23.957-07:00Experiencing spring color through watercolor painting<div class="separator" style="clear: both; text-align: center;">
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The top painting is Kona, Hawaii color. The framed painting is Fredrick Heidel's, my instructor in 1962. The other paintings are about what I see from my window. Like my first assignment for oil painting, I feel wonderfully involved just looking outdoors and trying out the colors on my paper to see which colors please me. As he taught, the colors are loosely on a grid. Frederich Heidel said, "Do not make academic exercises." So I am in the process of seeing how the colors not only look but also work together in an expressive way. Diane Widler Wenzelhttp://www.blogger.com/profile/05270246393901276648noreply@blogger.com0tag:blogger.com,1999:blog-18765888.post-49556612558636018302014-03-16T18:26:00.001-07:002014-03-16T18:26:56.687-07:00Three and a half hours of painting at JJ's house rental<div class="separator" style="clear: both; text-align: center;">
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With a limited number of colors and time, I had a few false starts.Diane Widler Wenzelhttp://www.blogger.com/profile/05270246393901276648noreply@blogger.com1tag:blogger.com,1999:blog-18765888.post-82164370810533816822014-03-16T18:07:00.000-07:002014-03-16T18:07:46.539-07:00Jenny Jacob's stairway to the beach.<div class="separator" style="clear: both; text-align: center;">
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The problem of painting a hole in your middle ground, I thought would be easily overcome, because of the design of the roped railing leading the eye across the sand.. Well, for awhile the sandy beach needed doctoring to make it readable.Diane Widler Wenzelhttp://www.blogger.com/profile/05270246393901276648noreply@blogger.com0tag:blogger.com,1999:blog-18765888.post-39668666789859256222014-03-16T17:57:00.001-07:002014-03-16T17:57:49.790-07:00Watercolor painting at Jenny Jacob's studio window.<div class="separator" style="clear: both; text-align: center;">
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After the third night at JJ's Beach House Vacation Rental in Yachats, Oregon the paint flowed and I had the feeling that the paintings painted themselves. Of course the energy of the house was at play.Diane Widler Wenzelhttp://www.blogger.com/profile/05270246393901276648noreply@blogger.com0tag:blogger.com,1999:blog-18765888.post-11537037378284452132014-03-10T14:30:00.000-07:002014-03-10T14:30:14.358-07:00My Hawaiian color palette # 3<div class="separator" style="clear: both; text-align: center;">
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Diane Widler Wenzelhttp://www.blogger.com/profile/05270246393901276648noreply@blogger.com0tag:blogger.com,1999:blog-18765888.post-46036368353926972292014-03-08T17:36:00.003-08:002014-03-08T17:38:17.283-08:00Hawaii pallet abstract #2 <div class="separator" style="clear: both; text-align: center;">
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My attention was divided between three aspects of painting. One was relating colors one next to another. I asked how additions of compliments or white would change the way the colors looked in relationships with other colors in their neighborhoods One neighborhood was the blues and the other warmer roses and oranges.. The other was watching the paint react on its own. No use for masking to force the paint what it will do. I tried very wet pools of color that dried with a darker line along their edges. Another natural paint characteristic is the blooms that occur when one part fof the pool dries faster than another. When one pool comes in contact with another the pool with the most water will flow paint into the thirsty pool no matter how small a little bridge there is between them.<br />
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The most important part of making this painting is feeling good about the Hawaiian colors and how them make me feel. This painting is on a full sheet of cold press Arches watercolor paper.Diane Widler Wenzelhttp://www.blogger.com/profile/05270246393901276648noreply@blogger.com0tag:blogger.com,1999:blog-18765888.post-49196012511251425072014-03-08T13:47:00.003-08:002014-03-08T17:38:53.495-08:00Hawaii color pallet abstract #1<div class="separator" style="clear: both; text-align: center;">
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Before our February 4 - 18 th trip to Kailua-Kona, I purchased some colors I anticipated using to paint the surf and lava rocks. This abstracted memory painting has Prussian blue, Naples yellow, viridian, Windsor red and cobalt turquoise. When I was on location my paintings were realistic and about mood and light. Now at home, I am released from the closely observed representational details. the experience of painting on location is still with me and influencing me.<br />
In Hawaii I learned to flood the paper with pools of wet color. It didn't take long to dry even in the humidity. When I did the same at home the color was heavy so I used the shower sprayer on the paper and the edges of the green and Naples yellow lifted leaving the white. Happy accident!Diane Widler Wenzelhttp://www.blogger.com/profile/05270246393901276648noreply@blogger.com0tag:blogger.com,1999:blog-18765888.post-75212439989169113632014-01-03T15:47:00.000-08:002014-01-03T15:47:06.506-08:00Water reflection, organic, collages<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-SewhXuKL_XQ/UsdGvbicKrI/AAAAAAAAHSE/gZG1XJ78lmc/s1600/DSCN3320.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="306" src="http://3.bp.blogspot.com/-SewhXuKL_XQ/UsdGvbicKrI/AAAAAAAAHSE/gZG1XJ78lmc/s640/DSCN3320.JPG" width="640" /></a></div>
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A work in progress.<br />
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Here I have selected scraps of paper that speak to me from my shelves of uninteresting works. It is difficult to throw away old work, but I am disposing a lot of paper especially ones with paint that is falling off the paper. I tried to reconstitute gouache and watercolors and they have failed to have enough medium to adhere to paper properly.</div>
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<a href="http://2.bp.blogspot.com/-tARxz8OIt64/UsdIeeAWvrI/AAAAAAAAHSY/o3e3rMo0s2k/s1600/DSCN3319.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/-tARxz8OIt64/UsdIeeAWvrI/AAAAAAAAHSY/o3e3rMo0s2k/s320/DSCN3319.JPG" width="212" /></a> This is a postcard sized beginning of a series. It looks like an ocean beach, foam line shape.</div>
<br />Diane Widler Wenzelhttp://www.blogger.com/profile/05270246393901276648noreply@blogger.com1tag:blogger.com,1999:blog-18765888.post-28608278801750108962014-01-01T10:51:00.001-08:002014-01-01T10:51:33.220-08:00Happy New Year<div class="separator" style="clear: both; text-align: center;">
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In 2014 I plan to do some more sewing like the dress under the jacquet. Been painting some ceramic plates with curvacious gray scale patterns upon which I will plan collages on a curves and torn edges.Diane Widler Wenzelhttp://www.blogger.com/profile/05270246393901276648noreply@blogger.com0tag:blogger.com,1999:blog-18765888.post-28810669319651441562013-12-14T19:19:00.001-08:002013-12-14T19:19:42.748-08:00Observing snow and making studies for future works<div class="separator" style="clear: both; text-align: center;">
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In my pile of collage papers I have found textured paper and suitable colors to make some collages of our snow days.</div>
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More snow is predicted.</div>
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<br />Diane Widler Wenzelhttp://www.blogger.com/profile/05270246393901276648noreply@blogger.com0tag:blogger.com,1999:blog-18765888.post-35619595949736489392013-11-21T15:45:00.000-08:002013-11-21T15:45:27.428-08:00 Japanese wood block greeting card and photos of mist taken in my back yard<div class="separator" style="clear: both; text-align: center;">
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<br />Diane Widler Wenzelhttp://www.blogger.com/profile/05270246393901276648noreply@blogger.com0tag:blogger.com,1999:blog-18765888.post-78829298507893474512013-11-12T18:15:00.001-08:002013-11-12T18:15:26.214-08:00Watercolors in progress.<div class="separator" style="clear: both; text-align: center;">
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<br />Diane Widler Wenzelhttp://www.blogger.com/profile/05270246393901276648noreply@blogger.com0tag:blogger.com,1999:blog-18765888.post-88389651769440408262013-11-03T17:54:00.002-08:002013-11-08T13:12:54.530-08:00Watercolor Demonstrations for November 2, Fall Creek Festival<div class="separator" style="clear: both; text-align: center;">
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On the top painting, I looked for the main directions on a complex piece of drift wood and thought of how I would place it on the entire rectangular space. Then the drawing was quick roughing in a generality of the gestural directions of the wood. Then with a big puddle of color made on a palette, I filled the negative space around the drift wood. Next I put in some more pencil lines trying to define the borders of the high light areas, the mid tones and the darks. After mixing several grayed down colors on the palette, I painted the values leaving the lightest light the white of the paper with the little speckles of neutral colors from the conditioning of the paper before the painting was started. Last I put a shadow under the drift wood and when some of the paint was used up, I warmed up the gray with a small amount of brown and added a few brushed lines to indicate the grain.<br />
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Less finished is the second painting started with defining the values of the wood itself. Then when that dried I put in the surrounding negative area. I did not finish the picture because the value changes in the wood are not strong enough considering the darkness of the background. <br />
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So obviously I am a better judge of how the painting is evolving if I paint the negative areas first. But of course experienced watercolorists can have their own process of painting suited to their expressive style.<br />
<br />Diane Widler Wenzelhttp://www.blogger.com/profile/05270246393901276648noreply@blogger.com0tag:blogger.com,1999:blog-18765888.post-39253669203546648702013-11-03T15:41:00.001-08:002013-11-04T11:42:08.930-08:00The confession of a Oregon Hatchery Research Center, Fall Creek Festival watercolor workshop teacher<div class="separator" style="clear: both; text-align: center;">
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Yesterday I stole this painting from a morning workshop student. It was an accident that I stuffed it in my bag with my demos. And I feel very bad about taking it because I promised to leave it out for him after my class. He cared about it so much that he wanted to take it right after lunch, but was OK with me using it as a demonstration. I am sorry I am not good at remembering names so if anyone knowing him sees this post please have him call me so I can return it with big apologies.</div>
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The stolen painting is a good example of what I was teaching - beginning a painting by marring the surface slightly by splattering a dilute neutral color and letting it dry.</div>
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The purpose of splattering the paper are four. First, slightly damaging the perfect machine made paper could help free a person from having to feel their work must be perfect. Second, leaving the objects almost pure white, while painting all around the object outline, the painter has an immediate feel for the whole picture plane without obsessing with the details of the object. Of course painting the negative area is not the only way to start a painting: I intend this beginning only for people who have not painted with watercolor. Third, the splattered white has a finished feel inside the object as soon as there is a good deal of color shapes in the picture. A slightly sullied white is a better reference than the unfinished look of unpainted paper. The splattered empty of detail is helpful for deciding where the lightest lights will be. Fourth, splattered or marred paper is helpful in adjusting the medium darks and darkest darks in relation to the lightest highlights in a watercolor painting. </div>
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If all else fails maybe next year, the stolen painting will be at the workshop and hopefully the wronged student will be back and will be able to claim it.</div>
<br />Diane Widler Wenzelhttp://www.blogger.com/profile/05270246393901276648noreply@blogger.com0tag:blogger.com,1999:blog-18765888.post-9159014314273824502013-10-27T08:07:00.001-07:002013-10-27T08:07:52.628-07:00"Duck Point", acrylic 24" x 20"<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-QjbzSkyRRLE/Um0qvBjOdBI/AAAAAAAAHPE/28kAliq14Zo/s1600/DSCN1533.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="http://3.bp.blogspot.com/-QjbzSkyRRLE/Um0qvBjOdBI/AAAAAAAAHPE/28kAliq14Zo/s640/DSCN1533.JPG" width="528" /></a></div>
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Late in a September day my husband took me and my canvas for a boat ride and we anchored off of Duck Point on the Siletz River. Fishermen know where it is because of the good hole there for catching Chinook. I sketched with pencil onto the canvas. Then the next day at the RV camp I painted it from memory of years past. Finally a month later I finished it at home.Diane Widler Wenzelhttp://www.blogger.com/profile/05270246393901276648noreply@blogger.com0tag:blogger.com,1999:blog-18765888.post-21141150167598685342013-10-20T10:18:00.001-07:002013-10-20T10:18:45.590-07:00"Lunch at Mildred's" - oil painting complete<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-WTa1OvfBbTg/UmQGnfHN4EI/AAAAAAAAHOM/hs9ARNv-ZtY/s1600/DSCN1507.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="502" src="http://4.bp.blogspot.com/-WTa1OvfBbTg/UmQGnfHN4EI/AAAAAAAAHOM/hs9ARNv-ZtY/s640/DSCN1507.JPG" width="640" /></a></div>
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For the past three months most of my painting time has been devoted to painting this 22" x 28" memory of our families' trip to Central America. At the table are representatives of three generations of a Mayan family, three generations of our family, and two generations of another family from Oregon. <br />
At the heart of our table are the tortillas. As an invitation to the viewer the empty chair at the bottom of the painting reveals the variety of foods provided by OAT, our tour company. We enjoyed many local foods accompanying the chicken soup. The line of the tablecloth, I hope points the eye eventually to the open side of the house and to the steaming volcano.<br />
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While painting I wondered what Mildred's values were in a land of earth quakes and volcanic eruptions. I had learned that the Mayan people believe they were created from maize. Corn is still a major part of their life along with Western China kept safe in a China cabinet anchored by ropes to a cement block wall. I have not figured how to depict the ropes meaningfully to the viewer but presentation of traditional and new foods must be high on a list of importance.Diane Widler Wenzelhttp://www.blogger.com/profile/05270246393901276648noreply@blogger.com2tag:blogger.com,1999:blog-18765888.post-24685675184449562132013-10-14T19:20:00.002-07:002013-10-15T18:26:20.867-07:00The oil painting of "Lunch at mIldred's may never be done.<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-w-SnJ65UVI0/UlygGXEkagI/AAAAAAAAHNU/W7wOoAFzo1s/s1600/DSCN1489.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://3.bp.blogspot.com/-w-SnJ65UVI0/UlygGXEkagI/AAAAAAAAHNU/W7wOoAFzo1s/s320/DSCN1489.JPG" width="320" /></a></div>
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Seventeen years old with a bust line like me at age 70! Hair too curly! A nose too much like mine! Over and over if I do not copy or even if I am looking at a picture, I tend to always paint me, I suppose that is natural.<br />
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<a href="http://4.bp.blogspot.com/-I7r1IV25m3g/UlyiGsQSISI/AAAAAAAAHNg/aS5dUFR5h0g/s1600/DSCN1487.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://4.bp.blogspot.com/-I7r1IV25m3g/UlyiGsQSISI/AAAAAAAAHNg/aS5dUFR5h0g/s320/DSCN1487.JPG" width="320" /></a></div>
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Mildred still doesn't look Mayan. With a pencil I drew in a new hair line. Brushing the brush strokes smooth with a soft clean brush does make skin look moist and glowing. The lower lip is even more full than Mildred's. The eyes are good because she is looking at the girl who is passing her a coup while speaking.</div>
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The five year old face also looked like me so with an exacto blade I scraped and added some whites.</div>
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Mildred is a weaver of Mayan women's blouses. So details in the weaving are important enough to try and depict more clearly.She also made a thin decorative braid for her daughter ending in a tassel. I hope people are familiar with shuttles for the loom. With a few corrections like eliminating the weaver's shuttle because it looks like some knitting not weaving. Also eliminating the clutter because the painting is about what we all felt about lunch. Also, the post between the dwellings opening needs clarity because people still see the openings as windows. Pertinent to the meal is the food storage in plastic covered buckets. I'll label them as being beans, rice, dried fish for protein, and dried corn. Since Mildred says she fixes chicken soup often, every market day means a meal with fresh foods. Food storage is important to the meal and should be a part of the painting.<br />
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<a href="http://2.bp.blogspot.com/-4pbIAlhL8uQ/UlymGHQOyaI/AAAAAAAAHN4/WhDPYIgXsIs/s1600/DSCN1491.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="253" src="http://2.bp.blogspot.com/-4pbIAlhL8uQ/UlymGHQOyaI/AAAAAAAAHN4/WhDPYIgXsIs/s320/DSCN1491.JPG" width="320" /></a></div>
Diane Widler Wenzelhttp://www.blogger.com/profile/05270246393901276648noreply@blogger.com0tag:blogger.com,1999:blog-18765888.post-9898967244005080122013-10-07T18:18:00.000-07:002013-10-07T18:19:42.948-07:00Acrylic painting in the rain -"Sunshine breaking through the mist." 44" x 60"<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-JPqz-HppuUw/UlNQRlhH1DI/AAAAAAAAHNE/Z6Ou78MLhZU/s1600/DSCN1486.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="470" src="http://1.bp.blogspot.com/-JPqz-HppuUw/UlNQRlhH1DI/AAAAAAAAHNE/Z6Ou78MLhZU/s640/DSCN1486.JPG" width="640" /></a></div>
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In the 80's I taught airbrush at Linn Benton Community College until my eyes swelled up from the detergent used to clean the brushes. furthermore I needed glasses to see up close and paint spray would obscure and then harden on my glasses or goggles. <br />
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Directions for airbrush-like soft blending on a large scale canvas.<br />
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One trick is to keep the surface damp without puddles. With a spray bottle or natures' sprinkles dampen the entire surface. Place canvas flat on the ground. Then with a cloth rag dip into jar of Liquitex Ultra Matte Gel. Spread gel thinly and evenly over the canvas. Keep the surface damp by spritzing with water. Next add a little color on rag saturated with gel. Spread colored gel over the still wet canvas. Then help along the spreading with more spritzing.<br />
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If luck is with you the sun will break through the mist and dry the canvas as it to my great pleasure today.<br />
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The upper half of painting "Sunshine....", required four layers of the gel treatment. <br />
<br />Diane Widler Wenzelhttp://www.blogger.com/profile/05270246393901276648noreply@blogger.com0tag:blogger.com,1999:blog-18765888.post-44867601934815995892013-10-05T12:15:00.000-07:002013-10-05T17:55:04.132-07:00 I am teaching Watercolor Accordion Books Saturday, Nov. 2, at Oregon Fall Creek FestivalPicture is of accordion watercolor book class participants<a href="http://3.bp.blogspot.com/_L92xjsN80FU/SQy2IFiYhxI/AAAAAAAAB9k/U9EGioGC4lM/s1600-h/dscn0089_fallcreek_family.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5263782314530866962" src="http://3.bp.blogspot.com/_L92xjsN80FU/SQy2IFiYhxI/AAAAAAAAB9k/U9EGioGC4lM/s400/dscn0089_fallcreek_family.jpg" style="cursor: hand; display: block; height: 300px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><br />
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One morning and one afternoon the workshops include my watercolor painting accordion books for the eighth year. Each year brings new exciting ideas about a family oriented crafts that include nature study. Other classes include fish printing, wire wrap Jewelry making, recycled grocery bag printing, and bird house making. Classes begin at 10:30 AM and 2 PM. At the Oregon Hatchery Research Center at Fall Creek Road 13 miles West of <span class="blsp-spelling-error" id="SPELLING_ERROR_1">Alsea</span> on Highway 34 the third annual Fall Creek Festival. This family event welcomes families with members of all generations. The event takes place in the classrooms of the Research Center overlooking spawning salmon in Fall Creek. A morning and afternoon workshop is <span style="color: red;">free</span> with all supplies and a<span style="color: red;"> free lunch</span> included. Also given is a vegetarian option. Don't miss the tour of the hatchery after lunch. The public is invited but <span style="color: red;">reservations are <span class="blsp-spelling-corrected" id="SPELLING_ERROR_3">necessary</span></span> as space is limited. This year will include found supplies, and demonstration of commercial papers, paper folding and ideas on seeing nature and keeping memories. To make reservations call 541-487-5512 or e-mail <a href="mailto:oregonhatchery.researchcenter@state.or.us">oregonhatchery.researchcenter@state.or.us</a> </div>
Diane Widler Wenzelhttp://www.blogger.com/profile/05270246393901276648noreply@blogger.com1tag:blogger.com,1999:blog-18765888.post-81902133890008857682013-10-04T10:13:00.002-07:002013-10-04T10:13:57.530-07:00The initial stage for a 5 foot long acrylic of sunshine breaking through the mist<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/--rI8ges7l9g/Uk72OP-sluI/AAAAAAAAHMw/UiXjqUszE04/s1600/DSCN1462.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://2.bp.blogspot.com/--rI8ges7l9g/Uk72OP-sluI/AAAAAAAAHMw/UiXjqUszE04/s320/DSCN1462.JPG" width="320" /></a></div>
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The challenge here is to decide whether or not to add a boat in the background or a dragon fly on the bent grass - or neither. Perhaps work more on the color of the light. The tender green grass wet might pick up more on the golden atmosphere. There might be more transition of the shallow water or mud.Diane Widler Wenzelhttp://www.blogger.com/profile/05270246393901276648noreply@blogger.com0tag:blogger.com,1999:blog-18765888.post-14559057380483205272013-10-04T10:07:00.000-07:002013-10-04T10:07:25.193-07:00Learning from painting, "Lunch at Mildred's"<a href="http://3.bp.blogspot.com/-SL_DZBRc6pM/Uk7vfJjTRzI/AAAAAAAAHMg/7CxD71wh5bw/s1600/DSCN1461.JPG" imageanchor="1"><img border="0" src="http://3.bp.blogspot.com/-SL_DZBRc6pM/Uk7vfJjTRzI/AAAAAAAAHMg/7CxD71wh5bw/s640/DSCN1461.JPG" /></a><br />
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"Lunch at Mildred's" on a rough self-prepared canvas allowed for a dry brush soft pastel effect. In landscapes the soft approach is easier than trying to do portraits on a rough surface. No wonder that commercial prepared smooth canvas and linen is advertised as being ideal for portraits.<br />
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The most important lesson is to keep from building up thick bulging strokes of paint. These ridges make shadows counter to the final shape of the face. Mixed texture gives the face multiple expressions in different lightnings. Likewise, just the smallest difference in color in any given part of the face can change expression from hope to impish mischief.<br />
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High lights are the brightest when thick and create a shadow to pop them. So thinking of the direction of light can wait until last.<br />
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Paul Cezanne was a good mentor for me because he selected hard edges and soft to create form. Also he painted wonderful whites.Diane Widler Wenzelhttp://www.blogger.com/profile/05270246393901276648noreply@blogger.com0tag:blogger.com,1999:blog-18765888.post-23436251392354301502013-10-03T21:12:00.000-07:002013-10-03T21:12:12.446-07:00Lunch at Guatemalan weaver's home - 22"x28" oil<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-KPYEUYtEOpo/Uk4I3aj14vI/AAAAAAAAHMQ/jbjAmCktk2g/s1600/DSCN1460.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="500" src="http://3.bp.blogspot.com/-KPYEUYtEOpo/Uk4I3aj14vI/AAAAAAAAHMQ/jbjAmCktk2g/s640/DSCN1460.JPG" width="640" /></a></div>
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Eleven people around a table is a challenge for me. Eleven portraits with facial and body language illustrating the group is engaged and relating to one another. There is outdoor light, reflected light from the white tablecloth, and light from a light bulb.<br />
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The biggest challenge is deciding what belongs in the painting and what would get in the way of telling a story. The composition needs to invite the viewer as though they were taking part. My device is to have the empty chair and table setting in the foreground. Central to the story is corn - the Mayan symbol for how they were created from corn. The corn plant in the opening of the home could be a ritual plant sewn by a child. The child takes a kernel from this plant and plants it again to see that each generation of corn is identical. The ritual teaches them that they are an identical seed to their ancestors. The tortillas in the center of the table is displayed in their handwoven cloth in a basket. A cloth in a kettle also made the tortillas the most attractively presented food.<br />
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This painting is almost done but the steaming volcano is important but too close to the edge so must be revised and made more prominent. Destructive explosions and earthquakes are a reality for Guatemalans.<br />
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As I keep saying every day for two weeks. Tommorrow will be the resolution.Diane Widler Wenzelhttp://www.blogger.com/profile/05270246393901276648noreply@blogger.com0tag:blogger.com,1999:blog-18765888.post-62030566036675319052013-09-16T13:27:00.001-07:002013-09-16T13:29:55.952-07:00Painting water reflections seen through blades of grass.<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-MJFwJipPBg4/Ujdmvqa9RwI/AAAAAAAAHL0/5AAmLxSIfOw/s1600/DSCN1402.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="http://1.bp.blogspot.com/-MJFwJipPBg4/Ujdmvqa9RwI/AAAAAAAAHL0/5AAmLxSIfOw/s640/DSCN1402.JPG" width="410" /></a></div>
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Mist is rising from the slightly breeze kissed water. The mist softens the forms of the grass. 55" long and 38" wide keeping the acrylic damp was possible because of the coastal mist and high humidity. The humidity dictates the way I paint outdoors especially on large canvases.<br />
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<a href="http://3.bp.blogspot.com/-s2IvlZ7n0C0/UjdoZBLE06I/AAAAAAAAHMA/GmA51moePQk/s1600/DSCN1398.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="316" src="http://3.bp.blogspot.com/-s2IvlZ7n0C0/UjdoZBLE06I/AAAAAAAAHMA/GmA51moePQk/s320/DSCN1398.JPG" width="320" /></a></div>
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In the tidal waters there should be no surprise in catching a crab with a worm.<br />
On this 18" square canvas I spent most of my time painting the grass because the blades tended to disappear in the lively sparkling waters. I also used acrylic on this painting begun on a less humid sunny day.Diane Widler Wenzelhttp://www.blogger.com/profile/05270246393901276648noreply@blogger.com4tag:blogger.com,1999:blog-18765888.post-9835258317447909012013-09-07T18:08:00.001-07:002013-10-04T18:48:06.069-07:00 Challenging Myself to More Difficult Painting - a journal<br />
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<span style="font-family: Calibri;"><span style="font-size: large;">Goal: Gain the satisfaction of having extended myself outside
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<span style="font-size: large;">What I did:</span></div>
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<span style="font-size: large;">Made video
recordings of my step by step resolution of a large outdoor oil painting.<o:p></o:p></span>
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</span>I have been inspired by Terrill Welch’s videos on
painting on larger canvases and feel gratified by the camaraderie of Facebook
artist acquaintances. Videos are an entirely new medium to me.<o:p></o:p></span><br />
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<span style="font-size: large;">Worked larger than I
thought I could any more.<o:p></o:p></span><br />
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</span>Since I have been working almost entirely in acrylic
for large paintings for 48 years, I am amazed how I remember how I used to
paint when I try some new ways to manage my solvents for oils. </span></div>
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<span style="font-size: large;">Learned that Trader
Joe’s vegetable soap and water are useful to break down the pigment washing brushes after
each painting session. This soap saved me from the fumes of paint thinner. A
big deal for me because these fumes can give me a head ache.<o:p></o:p></span><br />
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<span style="font-size: large;">Applied the paint in ways I do not
remember using before. In the past I have added linseed oil if the paint was
thick and drying out. But for painting mediums I used to use turpentine and
paint thinner.<span style="mso-spacerun: yes;"> </span>This time I used enough
linseed oil to making a spreading medium. The paint was thinned enough to drip on the canvas.
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<span style="font-size: large;">The linseed oil made the paint shinny before
drying.<span style="mso-spacerun: yes;"> </span>The paint dries in a couple of
days to a matt finish. More permanent is the liquid looking shape of the brush strokes.<o:p></o:p></span><br />
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<span style="font-size: large;">Became more aware of the stages of development
of the painting.<o:p></o:p></span><br />
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</span>The
first burst of energy can be frantic when performing in front of the camera because
I am trying to paint over a large area in a short time. The second stage is
where specific areas do not measure up to favorite areas. Quick fixes invite
picking at the painting.<span style="mso-spacerun: yes;"> </span>To avoid
picking, I kept saying I wanted to keep the whole painting in mind and work all
over but I could not avoid this stage. <span style="mso-spacerun: yes;"> </span>The next step is obvious - a rest where the
painting is put away or just left in view where the mind can subconsciously work
on it.<span style="mso-spacerun: yes;"> </span>The next stage is returning to
the canvas after working on others so the canvas is no longer precious and I
can try painting all over the canvas to resolve perhaps a new goal. The last
step should be the signing of the painting in which a few details are carefully
selected for revision. Revisions are to be consistent and important to the
meaning of the painting.<span style="mso-spacerun: yes;"> </span>Sometimes after
the signing, I continue to want to make changes.<o:p></o:p></span><br />
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<span style="font-size: large;">In my “Lunch at Mildred’s”, another painting done at the
same time as the video recordings of “Rhitner Creek”, I used a lot of paint out
of the tube without a medium to increase the soft pastel effect. I scrubbed
with the brush and mushed the colors together.<span style="mso-spacerun: yes;">
</span>To some degree the dry brush made a pleasant effect. The dry
application is usually unpleasant. Dry brush on a rough surface leaves specks of color underneath. </span><br />
<span style="font-size: large;"><span style="mso-spacerun: yes;"> </span>I was surprised to find a sketchy
area which was very direct with energetic movement.<span style="mso-spacerun: yes;"> </span>Overall the painting makes me want to put on
my glasses when I am, already, wearing them.<span style="mso-spacerun: yes;">
E</span>xpressions of the people are secondary to the softness and I want
their feelings to carry the painting more.<span style="mso-spacerun: yes;">
</span>I am thinking of painting another one of the lunch with decisive
outlines and strokes of color showing contrast.<o:p></o:p></span></div>
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<span style="font-size: large;">“Near Painted Hills” was a 15 minute tail gate painting
started in June. Then I worked on the foreground in three sessions.<span style="mso-spacerun: yes;"> </span>One right after returning home, I put the
painting up where I past it every day, then Sept. 3 at Coyote Rock Marina.<span style="mso-spacerun: yes;"> </span>Big drops of rain fell so I quickly used some
left over paint mixed in the lids of heavy body acrylics. The energy of the
storm and the pressure of finishing before the downpour psyched me up to the
same impulsiveness as when I started the painting on location.<o:p></o:p></span></div>
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Diane Widler Wenzelhttp://www.blogger.com/profile/05270246393901276648noreply@blogger.com4