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