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"Les Mourres"
Ghislaine Fabre
The Mask of Time
Ole Hedeager
Jim Humphreys
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Meet Ghislaine Fabre
Summer Get Dusty Competition winner
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Get Dusty results for June
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Library competition result
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Meet our Guest judge
Marjorie Vincent
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Summer Get Dusty Entries
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Meet Barbara Jaenicke
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Finland workshop report
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News
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Get Dusty Schedule
P a g e
Get Dusty
The winner of the Summer Free choice Competition is:
Ghislaine Fabre
WINNER
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Second place
Judges comment:
This is one of my favourite subjects; a
simple landscape, illuminated by the
warm orange light of the sun on the
verge of dropping behind the horizon.
The strong contrasts add an almost
dramatic dimension to the whole.
The composition is simple; a path
bordered by trees but which are
cleverly bent to lead us down the path
to the top left.
The limited palette brings out the light
which is really the main subject of the
painting. The path is just a pretext for
the play of the light.
The shadows, the one in the
foreground and the other which splits
the painting lengthwise, let us only
guess on the vegetation beneath. I love
how my eye doesn't stop only at what
we can see but also at what might be
further on outside the picture.
"Evening walk in Normandy" Ruth Mann
Third place
Judges comment:
While this is a subject which one has
already seen and which by itself may
not be the most original, this painting
is so beautifully executed that it had
to be included among the first three
places.
The pebbles are so remarkable that
we want to touch them and we could
spend an infinite time to observe
them one by one as they are so
similar and yet so different.
This is a work that must have taken a
lot of time and patience to paint.
The colours are delicate and
harmonious in shades of blue, grey,
green, and pinkish orange. The shine
is perfectly rendered.
"Pebbles" Jill Harker
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HONOURABLE MENTIONS
Judges comment:
The vertical size of the painting and the execution of its subject are in total harmony. These are wild flowers, simple
meadow flowers, and the execution is fast and vigorous.
The pyramidal composition gives strength to the subject and
naturally leads the eye towards the central flowers which are
the liveliest and most defined.
The values are spot-on yet subtle and suggest the density of
vegetation. The upper part of the painting which is executed
in a more fluent way lets our eyes drift on.
The complementary colours are perfectly matched. This is a
simple but well-executed painting.
Judges comment:
Even though the subject matter is perhaps not the most
original, the execution is neat, delicate and pleasing.
Simple in appearance, sunsets can quickly become "kitschy"
which in my opinion this one is not.
The composition gives the leading role to the magnificent
and delicate colours of the flaming sky.
The dark foreground values naturally lead us to the brightest spot in the painting, the sun. The halo around it and the
reflections on the surface of the water are very well executed and captivate the viewer. My gaze was drawn to this
bright streak in the sky that seems to be just a detail, like a
passing plane, but which gives life to the whole. I find this
painting very well thought out; a beautiful sunset we'd like
to admire in reality.
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Marjorie Vincent
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My
working
method
Since I
was
young I
only
painted
portraits,
for my
family or
friends,
and
Fleures de dunes
P a g e
a smell.
After all these years I still have the
same desire, feel the same pleasure.
I only work with my own photos. The
painting only takes shape after a
long period of observation and
numerous preparatory sketches to
study the composition, the values,
the light and the format. I think that
a well-prepared painting is already
half-done. I dont hesitate to remove
or add elements to balance my
composition.
After a detailed charcoal sketch, I
start by introducing the darkest
values and then continuing to the
lighter values, always working on the
whole painting. I do not hesitate to
break my pastel stick and use its
side; thus I paint more than I draw.
As Im still experimenting, I always
try out new papers with different
textures and colours, although my
current preference is for
Clairefontaine Pastelmat.
Like all artists I always have doubts
about my work; then I try to
remember what Marla Baggetta
said: Not every day is going to
produce a winner, not even every
other day or even every week. Thats
just part of the process, and the
bad ones are not just part of it but
a necessary part of it.
A cache cache
Conclusion
For my part, although I
was pushed to share my
work with others
through exhibitions, I
practice pastel painting
in a very selfish way. I
Ombres
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Ghislaine Fabre
By
Dorothea Schulz
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Get Dusty
The winner of the June Interpretation Get Dusty is
Ole Hedeager
WINNER
SECOND PLACE
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SECOND PLACE
Light on You
By Marie-France Oosterhof
The Judges say: This is a wonderful way to depict the
title Light on you. Imagine thousands of emperor
penguins at the Antarctica waiting for summer and
suddenly the biggest spotlight in the world suddenly
hits you!
The composition has a lot of tension with the
diagonals created by the penguins in one direction
and the sunbeam in the other. The cool blue and
violet colours contrast beautifully with the orange
sunlit penguins and guide us right to the focal area.
The painter shows skill and confidence in the
seemingly simple, and yet on the spot, painting style.
THIRD PLACE
Waiting for God
By Ruth Mann
The Judges say: The artist has managed to convey a completely silent mood as if frozen in time and yet a tension in
the anticipation that oozes out of the painting. The very
subdued colours strengthen this feeling. The contrasts are
made entirely with tints. This is a very well done portrait.
HONOURABLE MENTION
Not my Cup of tea
By Dirk Van der Veen
The Judges say: This painting leads the mind to Dali style.
The leadlight church windows in the sky give us a feeling of
serenity while the sauce is poured into the drain in the road
discarding it all. A seagull is looking back over its shoulder at
the strange world of mankind contrasting with the purity of
nature on the right. This is a fun and interesting painting.
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Annika stmann
PGE Photo Library challenge 2015
Wouldnt
it be nice
if we all
lived in a
location
where we
just had
to step
out the
door and
had hundreds of great photo ops? Or
good weather year round? But most of us
dont, so having access to photos is
sometimes our only option. We normally
find something we can paint among our
own photos, but again; sometimes we
dont. Giving our members access to
good reference photos without them
having to worry about the dreaded
copyright issue was the reason we
started our own PGE photo library in
2014 and why we had a photo library
painting challenge.
Of course, slavishly copying a photo is not
what this is about; but in a way we can
make someone elses photo our own
when we use it as a starting point and
create something new and unique.
I think our LIB challenge winner, Annika
stmann has shown us brilliantly how to
do this. She has created not one, but 4
paintings from the same reference photo
and each one is different. Well done,
Annika!
This is what Annika has to say about her
Lake series for the Lib challenge
I believe that anyone who begins to paint
must start by allowing herself / himself to
Picture 1
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Picture 2
Picture 3
Picture 4
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Dorothea Schulz
Barbara Jaenicke PSA is a well-known American landscape painter. She was born in New Jersey in 1964.
After studying art she worked as an art director and in corporate marketing. In 2002 she became a full-time
artist and art instructor . Her style is representational, with a colorists approach.
I was able to see her work during the IAPS convention when she gave a 3-hour demonstration about colour
harmony in the landscape.
When working en plein air, Barbara paints only sketches, setting down the light, temperature, colour family,
and takes photos. She creates no thumbnails on location.
When in the studio, she crops the digital image as a first step in her compositional process. She also lightens
the dark areas in the photo to get more information. Then she prints it out in black and white.
Barbara always starts with thumbnails to map out the placement of the main shapes und to decide on her
centre of interest. Using the rule of thirds, she moves tracing paper over a B/W print-out of her reference
photo until she has placed her focal point. Then she traces the main shapes. She shifts lines and masses until
she is satisfied with the composition.
The set-up; line tracing, value sketch, small preparatory painting, reference photo
The underpainting
For this demo piece, Barbara uses Uart 400 paper taped to foam board. She transfers her design using a
pastel pencil. Then she blocks in the big shapes with a small selection of hard pastels. She puts in the major
values in strong colours (dark-blue, violet, red-orange, peach) which are nowhere near the local colour. Also
all values she uses are darker than the original. She makes an underpainting using a bristle brush and
rubbing alcohol. By carefully dabbing on the alcohol (no scrubbing or smoothing it out) and letting the liquid
create the edges, she keeps the colours separate. By maneuvering the brush, she puts in more detail like
tree shapes or bushes. She repeatedly squints to make sure everything is in place.
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With thanks to Barbara Jaenicke for her permission to use the photos
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Ruth Mann
I had been looking forward to this
for so long. In July I set off for
Finland with a small selection of
pastels and lots of paper in
different sizes, sandwiched
between two pieces of foam core
which would double as drawing
boards. In Helsinki I met Karen and
one of the students, Anita, who had
travelled from the USA, and we
took the train to Vaasa, where we
were met by the workshop
organiser, PGE member and friend
Annika stman .
I had been to Annikas family
summer house before so I knew
just how wonderful it is there. It
has its own beach and slice of the
Baltic sea. I even swam while there.
The water was cold though! Each
evening the sunset lasted for hours
and it never got completely dark, so
different from the UK, even in
Midsummer.
The workshop ran for 4 days and
we all soon realised just what a
great and inspiring teacher Karen
is! She did many demos for us
during the course of the workshop
and it was wonderful to see how
she paints and at the same time
learn some of her methods, tricks
and tips to take to our own work.
We learned the advantages of
doing thumbnail value studies and
tiny colour sketches to give us the
starting point for a painting. I used
reference photos I took while in
Finland and found it so freeing to
plan a piece of work from a photo
the size of a thumbnail on my
camera screen! Once the thumbnail
and the sketch were done I could
turn the camera off and work from
those and from memory.
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NEWS ITEMS
DOLORES SAUL
Honu
Rain in Paja
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See http://paintdrawblend.com/2015/09/
carmen-griehl-gros/ for the full article
'The board has been discussing the Get Dusty competition and its future structure. We've decided
to continue offering a monthly competition but to move away from the fixed categories and try a broader approach.
2015 will be a year of experiments; have a look at the exciting challenges we will offer in the coming months!'
The Schedule
SEPTEMBER: Category: UnclassifiedTheme, Bad weather. Deadline 25th September 2015
CommentA landscape, seascape, skyscape or cityscape in rain, fog, snowstorm.
OCTOBER: Category, AnimalsTheme, Animals in their natural habitat. Deadline 25th October 2015
CommentFor example, frogs in a pond, a dragonfly on a water lily, a lion in the savannah etc.
NOVEMBER: Category, Still lifeTheme, Florals. Deadline 25th November 2015
CommentCan be flowers in a field, park or garden, or a close up of a bloom. Must not contain pots/vases etc.
December: Winter Free choice. Deadline 25th February 2016
CommentUse you Christmas gift pastels to produce a stunning work of art.
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Common blue
eye_of_the_beholder
Ole Hedeager
Dar Windflchter no 26
Frank M Schwietzer
Finland memory
Ruth Mann
Crazy bamboos!
Marie France Oosterhof
Hoiiday on Hiddensee
Elke Stegmann
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Orchard Blossom
Mary Ellen Brown
Le Loup
Ghislaine Fabre
Only the Lonely
Mary Ellen Brown
Sunny sid up
Dorothea Schulz
Schattenspender
Ute hansen
Too late for pina colada
Marie France Oosterhof
Segeln II
Dolores Saul
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Heideweg
Ute Hanson
Flat land
Annika Ostman
A Bowl of Cherries
Kerstin Birk
Surfin Hookipa
Dolores Saul
Cocktails
Sven Kinader
Test
Yvonne Jensen
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Ref;ections
Annika Ostman
Three colours
Kerstin Birk
Conversation Indienne
Ghislaine Fabre
Kirkstone pass
Jim Humphreys
Fusion Finery
Mary Ellen Brown
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Skagen
Ute hansen
Poppy Parade
Jim Humphreys
Aspen
Annika Ostman
Wastwater
Jkim Humphreys
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An Fenster
Alina Budnitzki
Deep Purple
Dorothea Schulz
Mecklenburger See
Ellke Stegmann
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