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	<title>Mitchell Albala: Essential Concepts of Landscape Painting</title>
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		<title>Special Summer Workshop: Landscape Painting on Orcas Island, Wash., July 16–18</title>
		<link>http://blog.mitchalbala.com/?p=3223</link>
		<comments>http://blog.mitchalbala.com/?p=3223#comments</comments>
		<pubDate>Tue, 14 May 2013 22:34:57 +0000</pubDate>
		<dc:creator>Mitchell Albala</dc:creator>
				<category><![CDATA[STUDIO NEWS]]></category>

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		<description><![CDATA[A 3-day plein air immersion with author and teaching artist Mitchell Albala
]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Neutrals: Selecting the Right Neutral Pigment for Your Palette</title>
		<link>http://blog.mitchalbala.com/?p=3161</link>
		<comments>http://blog.mitchalbala.com/?p=3161#comments</comments>
		<pubDate>Fri, 10 May 2013 00:46:23 +0000</pubDate>
		<dc:creator>Mitchell Albala</dc:creator>
				<category><![CDATA[TECHNIQUE + MATERIALS]]></category>
		<category><![CDATA[THEORY + APPLICATION]]></category>

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		<description><![CDATA[Neutral colors can be mixed from primary colors, but a neutral pigment can be faster and help support the color direction of your painting]]></description>
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		<slash:comments>6</slash:comments>
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		<title>Using Photographs Like an Artist</title>
		<link>http://blog.mitchalbala.com/?p=3117</link>
		<comments>http://blog.mitchalbala.com/?p=3117#comments</comments>
		<pubDate>Fri, 12 Apr 2013 02:31:13 +0000</pubDate>
		<dc:creator>Mitchell Albala</dc:creator>
				<category><![CDATA[THEORY + APPLICATION]]></category>
		<category><![CDATA[WORKING WITH PHOTOS]]></category>

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		<description><![CDATA[Referencing photographs too closely can be hazardous to you work. Here are strategies to overcome the tyranny of the photo reference.]]></description>
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		<slash:comments>2</slash:comments>
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		<title>Picture Varnishing: Get the Streaks Out!</title>
		<link>http://blog.mitchalbala.com/?p=3081</link>
		<comments>http://blog.mitchalbala.com/?p=3081#comments</comments>
		<pubDate>Fri, 01 Mar 2013 15:50:52 +0000</pubDate>
		<dc:creator>Mitchell Albala</dc:creator>
				<category><![CDATA[TECHNIQUE + MATERIALS]]></category>

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		<description><![CDATA[An addendum to the popular February 2011 post discusses how to avoid those unsightly streaks.]]></description>
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		<slash:comments>3</slash:comments>
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		<title>Special Workshop: The Wisdom of Notan and the Dark-Light Composition</title>
		<link>http://blog.mitchalbala.com/?p=3037</link>
		<comments>http://blog.mitchalbala.com/?p=3037#comments</comments>
		<pubDate>Thu, 28 Feb 2013 17:17:41 +0000</pubDate>
		<dc:creator>Mitchell Albala</dc:creator>
				<category><![CDATA[STUDIO NEWS]]></category>
		<category><![CDATA[THEORY + APPLICATION]]></category>

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		<description><![CDATA[Pacific Northwest Art School Saturday/Sunday April 27–28 in Coupeville, Wash. (Whidbey Island) 9 am – 4 pm daily Cost: $255, payable to PNWAS Gage Academy of Fine Art Saturday/Sunday June 8–9 in Seattle, 9:30 am – 4:30 pm daily Cost: $195 payable to Gage Academy Visit my CLASSES page to see all 2013 offerings. Read the expanded definition of notan below....]]></description>
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		<slash:comments>4</slash:comments>
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		<title>Azure and Asphalt Series with Commentary: Ownership of Style and the Meaning of Originality</title>
		<link>http://blog.mitchalbala.com/?p=2935</link>
		<comments>http://blog.mitchalbala.com/?p=2935#comments</comments>
		<pubDate>Sat, 08 Dec 2012 01:19:58 +0000</pubDate>
		<dc:creator>Mitchell Albala</dc:creator>
				<category><![CDATA[STUDIO VISIT]]></category>
		<category><![CDATA[THEORY + APPLICATION]]></category>

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		<description><![CDATA[Introducing a new series — with a few strokes of philosophical commentary.]]></description>
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		<slash:comments>8</slash:comments>
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		<title>The Affect of Value on Color Identity in Impressionist Painting</title>
		<link>http://blog.mitchalbala.com/?p=2830</link>
		<comments>http://blog.mitchalbala.com/?p=2830#comments</comments>
		<pubDate>Sat, 13 Oct 2012 17:23:43 +0000</pubDate>
		<dc:creator>Mitchell Albala</dc:creator>
				<category><![CDATA[FEATURED ARTISTS]]></category>
		<category><![CDATA[THEORY + APPLICATION]]></category>

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		<description><![CDATA[The brilliance of a color does not occur independent of its value. With a “color-priority” system, Impressionists allowed colors to retain their intrinsic color identity.]]></description>
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		<slash:comments>3</slash:comments>
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		<title>Ways of Interpreting Color: In the Studio vs. Plein Air</title>
		<link>http://blog.mitchalbala.com/?p=2789</link>
		<comments>http://blog.mitchalbala.com/?p=2789#comments</comments>
		<pubDate>Tue, 04 Sep 2012 23:16:55 +0000</pubDate>
		<dc:creator>Mitchell Albala</dc:creator>
				<category><![CDATA[THEORY + APPLICATION]]></category>
		<category><![CDATA[WORKING WITH PHOTOS]]></category>

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		<description><![CDATA[In plein air we attempt a form of direct translation. In the studio, we may recall our observations of nature, but are freer to be inventive with color.]]></description>
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		<slash:comments>5</slash:comments>
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		<title>Composition Before Color — Considerations in the First Phases of Plein Air Painting</title>
		<link>http://blog.mitchalbala.com/?p=2642</link>
		<comments>http://blog.mitchalbala.com/?p=2642#comments</comments>
		<pubDate>Tue, 03 Jul 2012 23:30:11 +0000</pubDate>
		<dc:creator>Mitchell Albala</dc:creator>
				<category><![CDATA[THEORY + APPLICATION]]></category>

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		<description><![CDATA[In the rush to color, plein air painters often overlook the essential first steps that will establish a strong composition.]]></description>
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		<slash:comments>5</slash:comments>
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		<title>Framing Options for Paintings on Unstretched Canvas or Paper</title>
		<link>http://blog.mitchalbala.com/?p=2583</link>
		<comments>http://blog.mitchalbala.com/?p=2583#comments</comments>
		<pubDate>Fri, 08 Jun 2012 18:22:11 +0000</pubDate>
		<dc:creator>Mitchell Albala</dc:creator>
				<category><![CDATA[TECHNIQUE + MATERIALS]]></category>

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		<description><![CDATA[Painting on pre-primed, unstretched canvas is an inexpensive, lightweight, and liberating option. ]]></description>
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		<slash:comments>9</slash:comments>
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