May 2016 Watermark Part 2
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Early MorningEarly MorningReflections Reflections Studio Tours were enjoyed by many May 2016 Gordon House Tour By Susan Gunter and Tina Fels On Saturday WSO Members had the opportunity to tour the only Frank Lloyd Wright designed building in Oregon. In 1956 Conrad and Evelyn Gordon commissioned Frank r e Lloyd Wright to design a t n u G n home for them along the a s u banks of the Willamette S WSO members tour the only Frank Lloyd Wright River. It was finished in designed house in Oregon. 1964 and Mr. and Mrs. Gordon lived there for the rest of lattice detail. Most of the rooms their lives. are small and functional. How- r e t n u G ever the living and dining areas Mr. Wright designed the n a s u Gordon House in line with the idea are spacious with twelve-foot S that the location of a home dictated floor-to- ceiling windows. Concerts are given quite often at the Gordon House. how a house should look. The The Gordon property was Gordon House is also one of Frank eventually sold, and the new The house was deconstructed in Lloyd Wright's Usonian homes, owners agreed to donate the 2001 and moved to the Oregon which were designed for families house to the Frank Lloyd Wright Garden from its original site in with modest income. The house is Building Conservancy, a charitable Wilsonville. It opened to the constructed of cedar and painted organization whose mission is to public in March 2002. cinder blocks with cut out window preserve Wright's building legacy. critiqued to ask questions particularly when it comes to portrai- concerning what she had ture. Make darks even darker than said. you think. Remember your light source. Watch for fragmented designs; Critique # 2 darks can hold them together. By Barbara Lae Distribution of color is important. Eighteen WSO Members Abstract paintings sometimes need to submitted their work for be chopped and shapes allowed to scrutiny during Kathleen come off the edge of the paper. Bring Conover's afternoon critique together an abstract painting that is session. Here are some of the inspired by water using lines, shape, s and mass. Calm a background that is w e important highlights that our h t a too busy or bold with a glaze over it; M e i amazing Juror noted for more b b o gray is the best color to use if you B successful paintings and fewer rejections: cannot decide what to use. When Critique #1 with Kathleen painting something like flowers, the “Be aware of what your goal is in first background wash should include Convover your painting; is it Realism or By Bobbie Matthews all the colors in your painting. And Abstraction? Have a sense of mystery when using texture in your work, The first of Juror Kathleen in your paintings. Watch the negative watch your value differences.” Conover's two critiques at mid- spaces, organic grids, and composi- day was a full house. Many of the tion. Think shape, value, line, and We thank our Juror, Kathleen participants took time to munch motion. Simplify and vary your Conover, for taking the time and on lunch while Kathleen Conover shapes and have interesting negative effort to offer so much helpful critiqued the entered painting shapes. Be careful of shapes that point advice to improve our paintings images. She added a new twist to the viewer out of the painting. Z and for acceptance into future shows. the program. She invited F shapes work well in landscape Members whose paintings she design. Watch your drawing skills, 12 Early MorningEarly MorningReflections Reflections Studio Tours were enjoyed by many May 2016 Steve Kleier Downtown Silverton Paint Out By Bobbie Matthews Many a WSO Paint Out has been interrupted by weather and one time was even canceled for mud. With showers in the But Steve Kleier's Paint Out was forecast, Steve picked a interrupted by the raucous sound great place to paint...on of someone using a power washer a covered bridge with a nice view of the river close by. Despite the noise, Steve below. gave the participants a masterful and painterly example of his plein t l u air technique. a g r u o B l Steve began with a value u a study. Then he covered the paper P with a wash of warm and cool Steve performing his magic colors. Steve paid little attention window and door shapes. As he to the noise while calmly complet- completed his painting he added a ing a beautiful example of the bit of red to help indicate the point t l u view from the bridge. I particu- of interest. And at the conclusion of a g r u o B the Paint Out the power washer larly like the way he painted in l u a the building before adding finally ceased. P Judy Morris - Think Differently about Design By Linda Rothchild Ollis “THERE'S MORE TO A PAINTING THAN WHAT THE EYE SEES. Putting one's head, one's eye, and one's heart on the same piece of paper is a PAINTING,” is the quote s s a r g Judy gave each artist who d o n S - n attended her session. We certainly a m f f o s i H saw excellent examples of how l l a O d n d l i y L Judy expresses what is in her h c h t o R head, her eyes, and in her heart. a d n i Each of her paintings is an exam- L ple of her ongoing creative genius. Judy demonstrates her new technique of applying chalkboard paint with a foam rubber roller. How does she do it? She designs each piece so that it captures and calligraphy, she then painted holds the viewer's attention. white lettering onto the black Chalkboard paint is one of the chalkboard paint. The participants new materials Judy demonstrated watched closely as Judy demon- for us. She applied it with a strated how to have fun with sponge roller over an area she FRESH painting techniques that wanted to “re-create.” Then she she has incorporated into her dipped alphabet letter stamps into recent paintings. You can see chalkboard paint to print words. Judy's paintings and workshop After stamping words, Judy information at www.judymorris- dipped a small flat brush into art.com white matte acrylic latex. Using 13 Early MorningEarly MorningReflections Reflections Studio Tours were enjoyed by many May 2016 Michael Schlicting - From There to Here, The Accidental Making of an Art Career By Mary Elle Ever since my husband and I stumbled upon Michael Schlicting's gallery in Neskowin, I have loved Michael's work. e l Michael's presentation was amus- l E y r a ing and informative. He accompa- M nied wonderful stories of his Ruth Armitage shares some of her secrets career as an artist, with photos of to success wth Michael and the class. his watercolor and acrylic paint- includes painting a couple of Dark ings. In fact, his very first entry to Horse Comics covers and being a a WSO show, submitted by his cultural speaker for the arts in mother, won Best of Show. Mali through the Art in the e l l Michael continues to find Embassy program. Michael's story E y r a M success as an artist, teacher, and is an entertaining and uplifting Michael Schlicting world traveler. His varied career artist's success story. Sally Bills Bailey Bold their hand at this BOLD approach, Color Bold Shapes it meant taking a leap of faith that By Robin Becic one could use more paint, less water, and a bigger brush, and still An eager participant in Sally Bills get exciting results. But this Bailey's workshop Bold Color approach translated into colorful Bold Shapes, remarked, “I'm going and dynamic workshop paintings. to start using bigger brushes and bigger pieces of paper!” Class participants watched in awe as s s a r Sally confidently demonstrated g d o n S - her approach to painting with “lots n a m f f o of paint, not much water.” Her rich H a d n saturated style of painting creates y L colorful dynamic landscapes. She revealed that using large tubes of Cheap Joe's watercolor paints and “Skipper Brushes,” created by Skip Lawrence, are the secrets to spreading around large swaths of color on to a large sheet of paper. Sally demonstrated her approach using a reference landscape photo; she quickly c i c e c B i sketched in her design with yellow c n i e b B o n R i paint and then dove into her pallet b o R with the skipper brushes to apply Sally demonstrates her technique Sally’s rich saturated style creates saturated color to the paper. As of painting with “lots of paint, not colorful, dynamic landscapes. much water.” the workshop participants tried 14 May 2016 Wet and Wild Paint with Corrine Loomis Dietz By Jennifer Starr Corrine Loomis Dietz is a Certified GOLDEN Working Artist of 16 years. She brought her experience and knowledge of over 1000 water media custom products that GOLDEN has evolved and innovated to this fun and interest- t ing demo/lecture. l u a g r u o I was particularly interested in B l u a knowing more about the QoR P watercolors and ended up being Corrine had large group of people in both her morning and afternoon sessions.