| Planning a Painting:Okay, you've found it--the perfect | | | | sight of what attracted you to the scene at first. Was |
| scene, the one you think will make the perfect painting. | | | | the palette pleasing to you? Did it trigger certain |
| What's next? Different schools of thought broach the | | | | memories for you? Remember that. If it was the color, |
| subject. Some artist go straight to the paper (or | | | | you'll want to keep that in mind, especially if it is a |
| canvas, as it were) with brush in hand. The spontaneity | | | | break from your usual scheme. I've found more than |
| of the project is most important. Others will do a | | | | once that I was disappointed with a painting only to |
| detailed sketch, perhaps a small study of the scene. I'm | | | | recall that it wasn't the composition as much as the |
| a mixture of both. Once seized by an idea, I will do a | | | | color that attracted me, that I wanted to |
| sketch, but only the roughest of sketches. The shapes | | | | capture.Whatever element is the attraction don't let it |
| are crudely drawn, just to give me an idea of their | | | | stop once the painting is complete. A fitting title will |
| placement. From there, I proceed to transferring my | | | | reinforce this feeling.Chris Dinesen Rogers has worked |
| idea to my support. I've learned through the years that | | | | with local artists, but is primarily a self-taught and |
| if masking is involved, it's best just to draw the outline | | | | self-representing artist. Her work weaves a tapestry |
| and fill in the details later. Masking may remove my | | | | of the realistic, natural, imaginative and historic, reflecting |
| pencil lines. Besides, there's a risk of smudging the | | | | her deep love and commitment to the preservation of |
| lines.A friend of mine who also paints reminds of of | | | | the natural resources of the Upper Midwest. Her |
| another lesson that I've learned. He will want to stick | | | | paintings are found in collections over all the United |
| slavishly to a photo or scene. If what he sees isn't right, | | | | States and Canada. Her work has also placed in juried |
| he looks until he finds it. Other artists have taught me | | | | competitions. She is represented by Art in the Village |
| the value of rearranging things, moving objects to | | | | Frame Shoppe & Gallery, New London, MN and the |
| frame, point to, lead the eye around in a painting. Try to | | | | Earth Works Art Gallery & Studio in Penn Yan, New |
| do that. Notice how your eye moves through a scene, | | | | York.She is a long time supporter and volunteer of |
| what you notice first or don't notice. A truly excellent | | | | conservation efforts throughout the Midwest. In 2000, |
| book I found on the subject is Barbara Nuss's book, "14 | | | | Chris and her husband, Norm, were commissioned |
| Forumulas for Painting Fabulous Landscapes". The | | | | Colonels by the state of Kentucky for their volunteer |
| book has more info on oil than watercolor, but the | | | | efforts at Mammoth Cave National Park. Chris and |
| information is outstanding. Truly a book to help you | | | | Norm are also co-authors of "101 Things To Do on the |
| see.Another thing you want to keep in mind about your | | | | Wisconsin Great River Road." The book details the |
| work in progress is your own feelings to the subject. | | | | unique and wonderful of the Wisconsin Great River |
| That is the goal, isn't it? Developing your own style and | | | | Road. |
| your way of viewing the world around you. Don't lose | | | | |