Same View, Different Color

Lake Superior Sunset, Lavender, Pastel 4.25" x 4.25"

Here is another image in the "Twilight" series. The colors in my paintings often bear no resemblance to the local colors I see. However, this and last week's post really do represent the amazing light changes one can experience on Lake Superior's north shore. In both cases the colors are accurate. The light is really gorgeous there. It is a wonderful place to be and a real treat for a painter.

The fact that it is 66 degrees Fahrenheit in Grand Marais right now while we are sweltering in record humidity and temperatures in White Bear Lake makes the lure of the cabin a strong one.

Luminous Twilight Colors

Lake Superior Sunset, Peach Pastel, 4.25"x4.25"

This small painting was done looking west along the shore of Lake Superior to what is known as the Sawtooth Mountain Range.

I started this painting with a watercolor wash to lay in some complementary colors to the pastels used to render the final image. You can see the texture of of the cold pressed Arches watercolor paper. The texture worked out well to help me show both the small waves on the water and the rough rocks of the shoreline. I primarily used Rembrandt and Unison pastels and then put in some details with Carb-Othello pastel pencils.

Pastels work especially well to capture the luminous colors of the long twilight along the north shore of Lake Superior. We are located about forty miles from the Canadian border where in midsummer twilight lasts until after 10 PM on the summer solstice--noticeably longer than twilight in Minneapolis and St. Paul. Not quite the same as the "White Nights" of a Scandinavian summer, but almost.

As I sit here describing this painting, I realize the titles of this series should have been "twilight" not "sunset." Too late: the titles are posted on the gallery walls. If you want to see them in person go to Betsy Bowen's gallery in Grand Marais, Minnesota. The Summer Underground Show will be there until July 27.

New Show

The University of Minnesota Morris is the setting of the lastest Project Art for Nature (PAN) Show. I'll be exhibiting along with twelve other artists. PAN is a collaboration of artists and illustrators from Minnesota and Wisconsin who work independently and collaboratively to create artwork which promotes stewardship of threatened natural areas.


Dusk, 6 x16 1/2", pastel

The two locations I focus on for the PAN collaborative are the area near our cabin on the north shore of Lake Superior and the large open space between Bald Eagle Lake and Otter Lake, two of the many lakes in the Twin Cities area in Minnesota. The open space is filled with meadows, woods and marshes. The imagery of the marshes is often found in my art.

Evening, 5 x 16 1/2", pastel

The two small pastels above will be in the Morris show along with several other pastels and a set of four monotypes. 20% of the proceeds from sales of the art work are donated to non-profit environmental conservation organizations.

The show opens tomorow, Thursday, Ocotber 22, 7-9 pm at the Humanities Fine Art Gallery, University of Minnesota Morris. 104 Humanities Building, 600 East 4th St., Morris, MN. Gallery hours are Monday-Thursday: 9 am - 8 pm; Friday: 9 am - 6 pm; Sunday: pm - 4 pm.

Please come see the show if you are in the area.

Do those thumbnails!

Hayfield in July


Recently I was out scouting for good places to paint and came upon this newly mown hayfield in northern Washington County. Minnesota is gorgeous at this time of year. The day was sunny and it was later in the afternoon--perfect to begin to see the landscape defined by the shadows.

I made some quick thumbnail sketches (below). It is important to establish some abstract shapes to carry the painting and I also needed to decide how best to convey the sweep of the vista and yet zero in on the really interesting roll of the nearby fields. Thumbnails are invaluable to help establish the masses and format for a painting. Without some good "bones" it is pointless to continue. Get those established and you have a fighting chance to get a good painting.

The masses of trees on the left were so interesting and they swept nicely into the trees on the ridgeline. All together they made a nice shape that hung together as a single mass.

The sun was blistering hot by the time I finished the block in of the pastel. Maybe that is why the orange I chose for the closest part of the field seemed to be an appropriate color to use. I decided to stop and leave the piece with just a few layers of pastel. At this point I needed my umbrella and had not brought it. My wide brimmed staw hat was just not giving me enough protection. More work on the piece would have to wait for a return trip to the site or another day in the studio.

However, the sketches and block in make my favorite point: values and good shapes give you a darned good start.

Using Art Materials

Stage 1


Stage 2

In a recent pastel class I taught I gave the class several pieces of an interesting (that means I don't know what kind it actually was) brown paper that my friend Roz Stendahl had passed off to me. The color and texture was much like the brown kraft paper you find in grocery bags but with a little more tooth. The paper came from Wet Paint in St. Paul in a 9x12" tablet. Though not archival, it is fun to work on and I'm going to try to find some more.

As an experiment I tested how it pastel would work on it quickly blocking in the main masses I see of the scene outside my studio window (Stage 1, above). The next test was to see how well the paper took another layer of pastel. I gave the painting a spray with Krylon workable fixative and started in again. The pastel took remarkably well (Stage 2 above).

Another spray of fixative and I worked more on the piece as my cousin Leslie looked on. Too much talking--I forgot to take a photo of the next stages. I gave the painting to one of the students so I can't show you the result but suffice it to say, the paper kept on receiving pastel although with less enthusiasm.

The most fun of this paper was the abandon with which the students used it in class. I handed out several sheets to each one and suggested they just go-for-it. After all, it was free paper and they could experiment without the concern that they are going to "ruin" "perfectly good" art materials.

Which brings me to the point of this post: Work often and try to forget the cost of the art materials you use. Your time is your most precious commodity. Yes, art materials are often expensive, but the way to become the artist you want to be is to use those materials--the more the better. Be confident that the Universe will find a way for you and, maybe, some free art materials along the way. Works for me.

From My Sketchbook: Testing Some New Colors

Last week I talked about two new watercolors I tried: Daniel Smith's Transparent Red Oxide and Schmincke's Translucent Orange. (Note the Red Oxide is in tube form, the Translucent Orange is in pan form.) I did several experiments in the field and show some of them here. These pigments used with Cobalt Blue or Indanthrene Blue (PB 60) make some beautiful grays that are really good at capturing the array of grays the deciduous trees and bushes present at this time of the year.

Those of you who know my pastel paintings might wonder why I am trying to portray local color since my paintings are often anything but! Must be from looking at leafless trees so much of the year in Minnesota and wondering how to depict them poetically. This month, while waiting for the leaves to come out, I am simply acknowledging they are simply many, many shades of gray.

These images are from a small 4.5" x 5.5" journal made with Folio paper by Roz Stendahl. It is perfect size for carrying around on walks. I can paint in it and then hold it open while it dries and I am off to the next scene.

New Class Added

Above: Fishing the Gallatin, © Diane Wesman, approx. 8 x 12". Pastel on Canson Mi Tientes Paper.

Past students have asked for another pastel class at Como Park Zoo and Conservatory. So now we have one: Tuesdays, from April 21 to May 26, 6:30 to 9 p.m. We will meet to work in the luscious medium of pastel. This will be an intermediate class for those who have taken a pastel class from me or for anyone who has some experience working with soft chalk pastels.

Use the link to Como Park Zoo and Conservatory to sign up.

When the weather permits we will work outside. For those who would like to start landscape painting, they will have that option. Others may choose to stick with painting their favorite plants and that is OK, too.

Fishing the Gallatin, above, like many of my paintings, was done while my husband was fly fishing. Here I used Rembrandt pastels. They are the real work horses in my pastel collection. They travel well, are widely available and economically priced.

We won't have this stunning vista but we will have Como Park! I hope you will join me to explore the wonderful possibilities of pastel.

It's Spring—Time to Start Something New

Left: Purple Marsh, ©2009 Diane Wesman, 9 x 12 inches, pastel on board.

Spring is officially here. The days are getting warmer in Minnesota. This is my last plein air painting for the winter. It captures the view across the marsh from my house.

Welcome to my blog. I'll be an occasional blogger writing from time to time about my artwork, how I think about painting, and the challenges and rewards of landscape painting. I'll also share information about materials and techniques. You'll get the opportunity to look inside my sketchbook and see how those entries evolve into paintings. My journals will provide a window into my life.

I hope that my blog will provide information to past and future students. I teach pastel painting at Como Park Zoo and Conservatory. You can view additional selections of my artwork at Project Art for Nature.

In Purple Marsh (above), the intense purples and rusts are colors typical of my winter palette. They reflect the moodiness of a late winter sunset. As things green up I'll start using greens and pinks from my spring palette. But, never one to stick to local color, you will see plenty of purple and any other deep color that will give me the dark values I love.

See Purple Marsh in person at The Lake Country Pastel Society Spring Show, March 31 to May 8, 2009 at the Sherburne County Government Center. Join me and the other artists at the opening reception, Saturday, April 4, 2 to 4:30 p.m.