PSWC Magazine Fall 2023

Dear Members,

The PASTELS USA exhibition is the PSWC’s most important event of the year and a tradition for 37 years. It represents our largest competition, and it is open to both members and non-members, domestic and international. Each year, some of the finest pastel artists in the world submit their paintings for acceptance. Paintings were accepted in three categories: Contemporary Realism, Contemporary Impressionism, and Modern/Experimental.

Three dedicated jurors, each talented artists in their own right, used their expert perspective and knowledge of the category to select the best paintings in that group. All three, Marcia Holmes (Modern/ Experimental), Tony Allain (Contemporary Impressionism), and Cuong Nguyen (Contemporary Realism) were impressed by the quality of the art they saw. The decisions were not easy, but they made their choices. Then it was the job of our esteemed judge, Mary Platt, APR Executive Director of the Hilbert Museum of California Art at Chapman University to pick the winners of awards. After several hours of viewing and reviewing each piece, she made her choices. And the results are in this issue!

Another tradition in the PSWC is the selection of a Pastel Laureate. This is the highest honor we bestow on a member. It is based on a combination of artistic skill, competitions won, contributions made to the Society, and contributions made to the artistic community at large, such as teaching, authorship, speaking engagements, and so on, and it is voted on by the Board. So far, we have only chosen eight Pastel Laureates. This year we chose our ninth, Dug Waggoner. He is a talented artist, to be sure, having won dozens of awards in various competitions (including, but not limited to the PSWC’s). He has taught, judged, volunteered, written for the Magazine, and has managed our MOOS show for years. He is the resident graphic artist, creating and tracking all our print and social media art, as well as designing art for our shows, and our presence at the IAPS convention. Many hats, not nearly enough thank-yous to cover what he does. Congratulations, Dug!

One of the most exciting parts of being the president of this organization is tapping into the incredible creativity of our members beyond their artistic talent. Ideas pop up from every corner. We are working to make the Society a place that all levels of artists − from beginners to award winners − can feel included and find benefits in membership. Our regional reps are organizing paint-outs and get togethers, We Talk Art is pursuing artists to interview and asking the questions we want to know. We will continue to have demos at our quarterly meetings, and we will continue to publish the Magazine online, and once a year in printed copy, which you will be getting soon.

Be inspired!

PSWC President

“Laughter and art are universal languages that can transcend cultural barriers.”

Dear Pastelists,

Welcome to our new issue of the PSWC Magazine! this issue also serves as the catalog for PASTELS USA: 99 Voices in Pastel 2023. There’s always a lot to pack into these issues. Pam Comfort interviewed the marvelous Marla Baggetta, which is a delightful read. Marla also prepared our Art School segment about challenging your perspective with nocturnes.

I interviewed BF Reed of Jacksonville, North Carolina for this issue’s Meet the Member section. Her art is amazing, and not just her pastels! She Has worked in multiple mediums during her long and varied career as an artist and teacher. If you ever have a chance to meet her at a convention or class, make sure you grab her and go for coffee. You will have a lovely break and a new best friend.

We have been sponsoring quarterly painting challenges. So far, we have had three with a fourth 21-day challenge coming up in October. Each one has a theme, and the most recent one was Nocturnes. There was some amazing art that came out of this.

Our Regional Representatives are doing their best to get everyone back out and painting in nature. This month, Pam talked to Jan Prisco and Bobbye West-Thompson. These two women, along with the three people interviewed in our last issue, are making a difference to the artists in their area. Paint-outs are fun, challenging, and fruitful. And these artist reps are immensely talented. You can learn so much at the events. Contact Pam if you are interested in becoming a regional rep for your area.

We are always looking for stories and people to interview for the Magazine. If you know of someone who has a story or want to be considered, contact me at art@sabrinahill.com.

Bonnie Griffith gave us an update on her series, We Talk Art. She interviewed Aaron Schuerr, a wonderful member of PSWC and an amazing artist. These chats are so interesting; I always learn something about both art and artist. Thanks for doing this, Bonnie!

Our next issue will be out in February, 2024. Happy Painting,

Sabrina Hill

President and Editor,

WANT TO GET INVOLVED?

There’s always room for more. Let us know what you want to do, and we’ll find a spot for you!

KEEP IN TOUCH & FOLLOW US!

PSWC Vice

PSWC Magazine

We. Are. Pastelists.

You don’t have to live on the West Coast to become a member. With PSWC members located around the US, as well as international members, the Pastel Society of the West Coast offers a strong voice for expanding the presence of soft pastel as a major fine art painting medium.

PSWC was organized in 1984 to promote pastel artists and the medium of soft pastel. Today, we are one of the most recognized pastel societies in the country, with an ever-increasing international presence. Benefits include: Pastels USA Annual Exhibition | Members Only Online Competition | In-person and Virtual Workshops by Noted Pastel Artists | PSWC Magazine | PSWC Social Media Exposure Opportunities | We Talk Art Interview Series | Regional In-person Events | Online Demonstrations | Free Online Gallery | Membership in IAPS.

All levels of artists are welcome to join.

Our goal is to promote the art of pastels through education and competition and also to make it easier for you to become a well-connected, well-informed pastel artist. We look forward to including you on our Society’s roster!

News and Notes

There are always things happening with the PSWC membership! We have expanded our painting challenges to four per year. It is wonderful to see the entries each day on Facebook and Instagram. We have some very talented artists in our midst! We have also started a new program called We Talk Art with Bonnie Griffith (see page 10 for more information).

Western Art Sale in Solvang, California

Jean Myers is exhibiting work along with 30 other artists in an Annual Western Art Sale held at a horse breeding/training facility called Flag Is Up Farms on Sept. 22-24. The address is 901 E. Hwy 246, Solvang, CA. All types of art media will be represented including Pastel, Oil, Watercolor, Acrylic and Sculpture. www.the-slopoke.com/

Donkey Steals The Show by Jean Myers

Almost Home by Jean Myers

Beautiful Remains by Jean Myers

The Art of Jean Myers

Paint in our CHALLENGE events! After developing a popular following for our 10-day and 21-day painting challenges, we expanded it in 2023 to include four different events. The challenge is to create a painting every day for 10 or 21 days.

CHALLENGE FOUR: October 1st-21st, 2023: #21N21– The big challenge, 21 paintings in 21 days. Great way to get some holiday gifts done or ready to sell. You may even create the painting you enter in MOOS in 2024!

Prizes: 3 $100 prizes chosen at random from pool of artists who entered every day.

The rules are simple, post on Facebook or Instagram every day, use mostly pastels, and include the hashtag #pswc10n10 (for 10-day events) or #pswc21n21 (for 21-day event). Here are some suggestions for the challenges:

CHALLENGE ONE: February 19th – 28th, 2023: Portraits with a Twist! 10-day challenge- Create a portrait in a realistic or impressionist style, then twist it up in the abstract style

CHALLENGE TWO: April 16th – 25th, 2023: Palette Play 10-day challenge- Using an analogous or monochromatic color palette plus one pop of color, try painting subjects you don’t normally paint like a building, an old truck, a windowsill.

DONE DONE DONE

CHALLENGE THREE: July 16th – 25th, 2023: Lazy Nights of Summer 10-day challenge- Nocturnes and deep shadows will be the challenge for this month. From neon signs to fireflies, lots of life happens when the sun sets.

• Limit painting time. We suggest 30-45 minutes.

• Limit palette. Try a limited palette. Experiment with temperature and hue

• Try different pastels. Work with hard instead of soft or soft pastels instead of hard. Try pastel pencils.

• Change subject matter. If you paint plein air, try a still life or a portrait. Try Abstract.

• Experiment with underpainting. Try a wet underpainting with water or denatured alcohol. One artist in our society underpaints with splashes of ink.

Go challenge yourself!

Nocturne by Jennifer Von Bergen

Nocturne by Dug Waggoner

Nocturne by Teresa Steinbach Garcia

Some paintings from Challenge Three: Nocturnes

We Talk Art is the new quarterly Zoom presentation for members of the PSWC. Bonnie Zahn Griffith chats with well known artists in an informal virtual setting.

I had a great time visiting with Montana artist Aaron Schuerr in his studio in Livingston, Montana last week. He and his wife built a beautiful studio on their property this year with wonderful light and space where Aaron can create his oil and pastel paintings in style! Aaron is a great story teller and he entertained the Zoom audience with stories of hiking and painting through the mountains of Montana on solo treks with encounters of a variety of wildlife and adventure. He is the example of a successful artist who has embraced art as a career and who has done what he needed to make art a priority and a sustainable business. If you didn’t get a chance to watch the Zoom We Talk Art with Aaron, it is available to watch on our YouTube channel.

So what’s next? In September I am honored to give the membership an interview with Michell Albala the author of Landscape Painting and The Landscape Painters Workbook. (If you can, I recommend adding these books to your art library.) The Zoom session will be live at noon PDT September 24th. Don’t miss this We Talk Art. Michell is a fantastic artist and educator who will share a wealth of art knowledge

to our audience.

In October I am looking forward to visiting with our fellow pastelist and long time member of PSWC, Clark Mitchell. That Zoom will happen October 15. Looking to the future, I am planning on interviews not only with pastelists, but artists of note in other mediums and also gallerists who can enlighten our membership with that part of the art business. In November or early December I am scheduling a We Talk with a multimedia artist who has experience and knowledge of the world of NFTs. This is a foreign world to me and I suspect to a lot of others. There are lots of scams out there in that world so this should be an informative interview!

On a final note, I am always looking for interesting and knowledgeable people to interview, so if you are one of those or know of someone you would like to hear on We Talk Art, please email me and I will add them to the list! (bzgriff53@gmail.com). We Talk Art is being offered at least quarterly, on Sundays at noon, however when the opportunity arises to interview someone on other days of the week or a more frequent interval, we will do that as well.

With that said paint on and keep the pastel dust flying!

Watch our web page for the next broadcast!

Bonnie Griffith

The Art of Aaron Schuerr

Sedona Towers by Aaron Schuerr Winter Waters by Aaron Schuerr

Bright Angel Boulders by Aaron Schuerr

Artist Aaron Schuerr

PSWC Status Awards

PSWC offers a comprehensive program of status levels designed to encourage and inspire artistic growth and reward talent and hard work. Members earn points when competing in our two annual PSWC sponsored competitions, PASTELS USA and MOOS (Membership Online Only Show). Members receiving any status distinction must be in good standing with membership continuous since joining society and dues paid and current.

The levels are as follows:

Signature Member (PSWC)

There are two ways to achieve Signature status:

Option 1

Member receives award in Membership show, and

Member receives acceptance into two Pastel USA shows or

Option 2

Member is accepted into three Pastel USA shows. Once the Signature status is earned, member may use the letters PSWC after their name.

Distinguished Pastelist (PSWC-DP)

Member has achieved signature status in PSWC. Member receives awards in three Pastel USA shows in five consecutive years.

Member may use the letters PSWC-DP after their name.

Elite Pastelist (PSWC-EP) (new in 2020)

Member has achieved Distinguish Pastelist status in PSWC.

Member receives additional awards (separate from DP) in three Pastel USA shows in five consecutive years.

Member may use the letters PSWC–EP after their name.

Pastel Laureate(PSWC-PL)

Pastel Laureate is determined by the PSWC Board based on protocol for this award as outlined in the PSWC By-Laws.

Member receives additional awards in four Pastel USA shows.

Member has taught the art of pastels for a minimum of five years.

Member has published a book or has been included in a publication of merit related to pastels and pastel art.

Member has made significant and lasting contribution to the art of pastel painting.

Member may use the PSWC–PL after their name. The PSWC Board of Directors will nominate and select the recipient of this award. A combination of all factors will be considered.

2023 AWARDS

Pastel Laureate

Dug Waggoner, PSWC-PL

Distinguished Pastelists

Susan Kuznitsky, PSWC-DP

Sally Strand, PSWC-DP

Signature Members

Donna Catotti, PSWC

Merrilyn Duzy, PSWC

Jeri Greenberg, PSWC

Deborah Pepin, PSWC

Tamra Sanchez, PSWC

Cheri Safro, PSWC

Pastel Laureates

2012 Richard McKinley, PSWC-PL, PSA-MP Arizona Impressions

2003

Daniel E. Greene, PSWC-PL, PSA-MP, NA Self Portrait Grand Central Station

2000

Albert Handell, PSWC-PL, PSA-MP Blue Wonder

2006

Margot Schulzke, PSWC-PL, PSA Quiet Sea

2008

Marbo Barnard, PSWC-PL, PSA Nõ Gaku

2004

Bob Gerbracht, PSWC-PL, PSA-MP Loraine

2009

Duane Wakeham, PSWC-PL, PSA-MP Sonoma, Summer Evening

2019

Gerald Boyd, PSWC PL, IAPS-MC, PSA Family at the Black Rodeo

2023

Dug Waggoner, PSWC PL, IAPS-MC, PSA 55th at Broadway

Pastel Laureate

Dug Waggoner

Our Newest Pastel Laureate! by

Gerald Boyd, PSWC-PL

I remember the exact moment I met Dug Waggoner and his wife Sonja for the first time. I was sitting at a table at the Sacramento Fine Arts Center in Carmichael, CA receiving accepted paintings for the 2007 PSWC Membership Show, of which I was chairman. In comes Dug with the bushy mustache, looking ever-so-much to me like Hollywood character actor Wilford Brimley, and sets his two paintings down on the table to get them registered. It was more than the quality of his work, which I immediately recognized as excellent, but the friendly demeanor and the way he carried himself that impressed me. I said to myself, “I hope this isn’t just a one-time entry. I hope he sticks around.”

Well, Dug has more than just “stuck around.” Since that first exhibit with PSWC, where he won an award, he has been one of the most consistent contributors and award-winners of excellence in both the PSWC Membership Show and our International Pastels USA Annual Show. Dug’s career in commercial art somewhat parallels my own when I read his artist bio and in the many conversations we’ve had. He earned a BFA degree in Advertising Design at The College of Arts in Oakland and worked in the art field as a designer for 40 years, I spent

42 years as a billboard and sign painter, though my art training does not include a degree. I soon found that Dug was always ready to lend a helping hand and on several occasions has helped me, as shipping agent, load a U-Haul trailer for the return of the paintings from a show back to my studio in Galt. Of course, PSWC shows are not the only ones Dug has excelled in, and he’s been involved in PSA, IAPS, and many other exhibitions. Both Dug and I received our IAPS Master Circle Medallion at the 2019 convention in Albuquerque and were part of that class. Along with that, we both had images in the pastel book “Pure Pastel”.

Since 2012, PSWC has held our Annual Pastels USA down in Morro Bay and have returned about every two years. I think Dug and Sonja have been there for each of those. I remember in 2014, there at the Morro Bay Arts Gallery, I was downstairs sitting in the basement room of the gallery when awards judge Clark Mitchell, came down to me and asked “there’s a painting upstairs that looks a little strange to me…could you look up the title” and he gave me the number and described it to me. Since I was Chairman and also shipping agent, I knew most

Pastel Laureate: Dug Waggoner

of the paintings by heart and I told Clark “the title is “Brace Yourself”. Clark said, “ok, that’s all I need to know” and he went upstairs and gave it the Terri Ford Award. The painting, by Dug, was of an old dilapidated building with a brick chimney that was leaning so badly it had to be braced up by boards.

Dug and Sonja live over in the Bay Area in the town of El Cerrito, and we’re 100 miles east of them in Galt, so we only get together at art functions, but on our several trips to Morro Bay, we’ve joined each other for dinner on the wharf overlooking the ocean and both he myself and our wives have become good friends. The pastel society was founded in 1985 in the Sacramento area, but with

time, early contributors have moved or drifted away so leadership is more spread out reaching a much wider area of Northern California. Dug has headed the Membership Show and continues to lend his support. I have utmost respect for Dug, his work, career, and friendship, and his many contributions to PSWC.

About the Author: Gerald Boyd has worn many hats over the years as a member of the PSWC and as a Board member. He chaired the PASTELS USA for many years and continues as our shipper. He has achieved the status of Pastel Laureate, our highest award. He continues to paint and enter competitions as he has for 8 decades.

www.dugwaggoner.com

Pastel Laureate: Dug Waggoner

Local’s Favorite by Dug Waggoner

The Art of Dug Waggoner

Pastel Laureate: Dug Waggoner

Wendy by Dug Waggoner

Pastel Laureate: Dug Waggoner

PASTELS USA 2023: 99 Voices in Pastel

The 37th Annual International Exhibition of PASTELS USA: 99 Voices in Pastel is officially judged and complete. We applaud every artist who was accepted, and we congratulate every artist who won an award. It was a tough year, but the spirit of these artists embody what it means to see good in the world and have faith in humanity.

Exhibitions like this take a village, as the saying goes. We are fortunate to have amazing volunteers who grab hold of a project and make it happen. President Pam Comfort kept us on track through the process. Francesca Droll, handled Ways and Means and corresponded with our donors and sponsors, who make so much of this possible. Jennifer Von Bergen managed our social media. Jerry Boyd collected all the shipped art and got it to the Haggin Museum, and he will also get it back safe and sound. Andrea Dompe of the Haggin Museum and her crew did an amazing job of getting everything gathered and hung Thank You! Finally, our deep gratitude to our jurors, Marcia Holmes, Tony Alain, and Cuong Nguyen for the awesome job they did in assessing the entries and to Mary Platt for her expert judging and commentary on the top five pieces.

This year’s show was managed by three long time members of the PSWC Board, Sabrina Hill (Vice President), W. Truman Hosner (Museum Liaison), and Dug Waggoner (MOOS Chairman). Our show would not go on if it weren’t for the technically talented Austin Hambly of Show Submit, who does all the Internet intricacies, sets up juror and judging panels and tracks the entries. Thank you team!

PASTELS USA: 99 Voices in Pastel Judge, Mary Platt

Mary Platt- APR Executive Director of the Hilbert Museum of California Art at Chapman University, Orange, California, United States

Executive director of the Hilbert Museum since 2017 and a professor at Chapman University. Platt has demonstrated a history of successful leadership in working with museums, higher education, and major performing arts institutions across the United States. Nationally accredited public relations professional (APR), with deep experience in Arts Communications and Marketing, Higher Education, Nonprofit Organizations, Arts Education, Museum Education, and Curatorial. Prior to accepting the executive directorship at the Hilbert Museum, she served as Communications and Media Relations Director for Chapman University for over 12 years.

B.A., M.A., Michigan State University.

“You never know where life will lead you when you follow your muse—so never stop learning.”

-Mary Platt

PASTELS USA: 99 Voices in Pastel Jurors

Marcia Holmes (Modern/Experimental)- New Orleans area artist, Marcia Holmes, native to Mississippi, is a PSA Master, IAPS Eminent-MC. Primarily an abstract pastelist, in 23 years, she has exhibited in over 17 solo gallery shows, with enumerable distinctions in juried group and museum exhibitions; notably, the prestigious Ogden Museum of Southern Art-Louisiana Contemporary Exh.(LA), Butler Institute (OH), Lauren Rogers Museum of Art (permanent collection-MS), Festival International du Pastel - Feytiat & Salon du Pastel International-Giverny, France, Vose Galleries (MA), Salmagundi Club & National Arts Club (NY). Known for her water lily paintings, Marcia received Best Floral for her pastel by Plein Air Magazine (Oct. 2022-Plein Air Salon). Spring 2022, Marcia received Pastel Journal’s top Founder’s Award-Pastel 100 feature, and her abstract expressionist painting was juried into AWA “BREAKING THROUGH: The Rise of American Women Artists” - Customs House Museum (TN). Selected featured publications and books include Fine Art Connoisseur, Plein Air Magazine, American Art Collector, Pastel Journal; Art Journey Abstract Painting: A Celebration of Contemporary Art, Pure Pastel: Contemporary Works by Today’s Top Artists and Practique des Art. https://www.MarciaHolmes.com

Tony Allain, IAPS-EP, PSA (Contemporary Impressionism) Tony Allain is an award-winning painter instructor and author and has been painting for over 50 years. Membership includes the Pastel Society UK, A full member of the Royal Society of Marine Artist, UK. He is also an Eminent Pastelist and a member of the Master Circle of IAPS (International Association of Pastel Societies). A Signature Member of the Pastel Society of America and a Master Pastel Artists of New Zealand. Exhibitions include The Pastel Society of America in New York, The Royal Society of Marine Artists in London the inaugural International Pastel Exhibition in Suzhou China and the Pastel Society at the Mall Gallery in London. Born and raised in the Channel Islands where he studied life drawing from observation and painting from life. He moved to paint and live in Cornwall to capture the unique clarity of light living on the peninsular of the West Country. Tony has exhibited extensively over the years, his work can be found in many leading galleries as well as private and corporate collections worldwide, including the Maritime Museum, Guernsey and Queen Mary 2, Cunard Liner. www.tonyallainfineart.com

Cuong Nguyen, PSWC-DP, IAPS-MC, PSA (Contemporary Realism)

Trained to be a traditional portraitist at the age of 10 in his native Vietnam, Cuong has always had a passion for drawing human faces. His paintings depend on the dramatic portrayal of light, shadow and environment to create their mood and sense of realism. He believes that a successful painting requires that he establish an emotional connection with his subject, so that the viewer in turn connects at an emotional level with his work.

Cuong has been invited to teach around the globe, in places such as China, Italy, Belgium, Spain, Argentina and Mexico. Cuong has won many awards for his paintings, including Prix de Pastel at the IAPS’s 2011 Master Circle Exhibition, Grand Prize Award 2010 Pastel Journal Magazine. Cuong earned his PSA, Master Pastelist, Master Circle status of IAPS, and Distinguished Pastelist of PSWC. www.icuong.com

PASTELS USA 2023: 99 Voices in Pastel Awards

Each artist puts their heart and very soul into their work. These awards are a validation of that effort and emotion. We encourage our readers to consider making an awards donation in future shows. It is a wonderful way to honor an artist, in the present or posthumously. Please contact our president or treasurer to discuss making a donation.

PASTELS USA 2023: 99 Voices in Pastel Show Winners

DANIEL E. GREENE MEMORIAL AWARD: BEST IN SHOW

Browsing by Bithia Bjurman, PSWC Lake Oswego, Oregon

PASTELS USA 2023: 99 Voices in Pastel Show Winners

PLEIN AIR MAGAZINE AWARD

Elphaba and Nessarose with Nikko (Before Oz)

by Sharon Pomales Tousey Rancho Palos Verdes, California

CONTEMPORARY IMPRESSIONISM

WAKEHAM SUTHERLAND AWARD

Past Presidents Award

Goodmundson Family

Sabrina Hill in Memory of Ruth Cabrera

WAKEHAM/SUTHERLAND AWARD

1ST PLACE

1ST PLACE CONTEMPORARY REALISM

Shower Door by Sally Strand, PSWC-DP Capistrano Beach, California

Baby, It’s Cold Outside by Kim Lordier, PSWC-DP Millbrae, California

1ST PLACE MODERN/EXPERIMENTAL

Over the Falls by Ellen Gust, PSWC Palo Alto, California

2ND PLACE CONTEMPORARY REALISM

Royal Talens/PSWC Award

No Place to Be But Here by Carol Peebles

New Orleans, Louisiana

2ND PLACE CONTEMPORARY IMPRESSIONISM

FASO/Bold Brush/PSWC Award

Taking Flight by Jill Storey Boise, Idaho

2ND PLACE MODERN/EXPERIMENTAL

Dakota Art/PSWC Award

Garden Impression by Debora Stewart Clinton, Iowa

3RD PLACE CONTEMPORARY REALISM President’s Award-Pamela Comfort

Tapestry by Patti Arbino Northridge, California

Everything Past and Present by W. Truman Hosner, PSWC-DP Ferndale, Michigan

Family Fun by Glen Maxion San Diego, California

3RD PLACE CONTEMPORARY IMPRESSIONISM Pastel Painters Society of Cape Cod Award

3RD PLACE MODERN/EXPERIMENTAL Mark and Elisabeth Sarrow Award

The Shop Down in Nassau Town by Gerald Boyd, PSWC-PL | Galt, California

Sunset Stroll at Crescent Beach by Donna Catotti, PSWC Haines, Alaska

Vintage Marbles by Nanette Catigbe Fairfax, Virginia

Cheap Joe’s Art Stuff Award

Thinking Pattern by Alex Kasyan Montreal, Canada

Jack Richeson Award

Bonnie Zahn Griffith Award

Terry Ludwig Pastels Award

HK Holbien, Inc. Award

Pastel Society of America Award

Waif Mullins Award Blick Art Supplies Award

Artichokes by BF Reed, PSWC Jacksonville, North Carolina

Basking in Dusk by Terry Ford, PSWC-DP San Jose, California

Emergence by Jim Tyler PSWC-DP San Luis Obispo, California

Beyond by Christina Williams Daly City, California

Jerry’s Artarama Award

Connecticut Pastel Society Award

Show Submit Award

Monterey Twilight by Clark Mitchell, PSWC-DP Cotati, California

Girl With Pierced Earring by Laura Mocnik Flat Rock, Michigan

The Dress Shop by Susan Kuznitsky, PSWC-DP Portland, Oregon

Golden Peak Media Award

Capt. Garland by Jay DeChesere Wilmington, North Carolina

Strut by Nancie King Mertz, PSWC-DP Rockford, Illinois

Sundowners by Pat Aragon Stoddard New Castle, California

Armadillo Art & Craft Award

Ampersand Art Supply & Diane Townsend Award

Airfloat Systems Award

Golden Artist Colors/Pan Pastels Award

Badlands by John Sherry Bend, Oregon

Enduring Blooms by TaiMing Lim, PSWC Beranang, Selangor, Malaysia

Dry Dock by Matt Lister, PSWC-DP El Dorado Hills, California

Wired by Anne Spivey Atlanta, Georgia

Pat Aragon Stoddard Award

Rita Kirkman Award

Jean Vineyard Myers Award Roland Miller Award

Deborah Pepin Award

Tamra Sanchez Award

Sphinx by John Plishka Lindhurst, Illinois

Contra Costa Twilight by Marsha Dalmas Berkeley, California

Flash Mob by Mike Kolasinski Chicago, Illinois.

Roaring Camp Forest Train by Marie Gonzales, PSWC Folsom, California

ACCEPTED ENTRIES

Clothed in Strength by Mary Aslin, PSWC-DP San Juan Capistrano, California

Refreshing Stroll by Robin Diane Angelides Santa Monica, California

Athabasca Falls by Marcia A. Ballowe Great Falls, Montana

The Joy of the Islands by Steve Bennett PSWC Jacksonville, Oregon

Circus by Johanne Boisvert Notre-Dame-de-Pontmain, Québec, Canada

Quiet Thoughts by Darlene Bigus-Doheny New Orleans, Louisiana

Yosemite by Diane Sauble Breuer, PSWC Fresno, California

Go Big or Go Home by Jennifer Blackburn San Rafael, California

Perfect Ending by Joan Brewster Aberdeen, Washington

Quiet Evening by Pamela J Cook Leland, North Carolin

Yellow Radiance by Stephanie Brown Philadelphia, Pennsylvanian

C’est Si Bon à Paris by Dawn Buckingham Orange, Californi

An Evening Gift by Francesca Droll Bigfork, Montana

Reaching the Sea by Keith Demanche Rochester, New Hampshire

My Little Man by Kathy Despot Bridgeport, Connecticut

Voluptuary by Kathe Knight Drake Edina, Minnesota

Jimmy by Merrilyn Duzy, PSWC West Hills, California

Viewpoint by Linda G Evans Brookings, Oregon

Morning Arrives by Diane Fechenbach, PSWC-DP Highlands Ranch, Colorado

Summer Path by Ted Fuka Mokena, Illinois

Girl In Window by Jeri Greenberg, PSWC Leland, North Carolina

Tiny On Stripes by Karen Horne PSWC Salt Lake City, Utah

Summer Breeze by Catherine Howe Hopkinton, Massachusetts

Morning Meditation by Kelly Ann Hine Santa Ynez, California

Minus Ten Degrees by Bonnie Zahn Griffith PSWC Meridian, Idaho

Beaver Tail Still Life 2 by Larry G Hemmerich Thousand Palms, California

Devereux Slough Morning by Virginia Kamhi, PSWC Thousand Oaks, California

Shrimp by Hsiu-Min Hung Kaohsiung, Taiwan

High Sierra Mountain Glow by Lucinda Johnson Roseville, California

Bouganvilla at Casa Del Prado by Anne Kullaf Boulder, Colorado

Spring Rush by Allison Krajcik North Easton, Massachusetts

Lily by Judith Kazdym Leeds, PSWC-DP Montville, New Jersey Bean Hollow Beach by Tatiana Mahkt San Jose, California

Hong Kong Boat by Andrew McDermott, PSWC Vancouver, British Columbia, Canada

Exuberance by Carmen Lamp Westlake Village, California

Summer Oasis by Shuk Susan Lee, PSWC Newton Upper Falls, Massachusetts

Long Tall Eucalyptus by Margaret Larlham San Diego, California

Hong Kong Boat by Andrew McDermott, PSWC Vancouver, British Columbia, Canada

Evening Glow by Eveline Miller, PSWC Beaufort, South Carolina

Tumble by Jan Y Miller, PSWC Roseville, California

Golden Slough by Linda Louis Mutti PSWC Santa Barbara, California

November Reflections by Karen A Miller, PSWC Healdsburg, California

Morning Glory by Deborah Pepin, PSWC Sanger, California

Step Up by Nancy O’Hara Germantown, New Yor

LGeometrica by Janet Patterson Ashland, Oregon

Golden Moment by Sandra Place, PSWC Santa Fe, New Mexico

Carrizo Backroad by Erika Perloff, PSWC Santa Cruz, California

Long Distance by Patricia Prendergast Sacramento, California

Saturated by Peggy Davidson Post, PSWC Pebble Beach, California

Monterey Morning Glow by Natalie Richards San Bernardino, California

Swan Story by Barbara Reich PSWC-DP Traverse City, Michigan

Crystal Springs by Teresa Ruzzo PSWC Mountain View, California

Synchronicity by Carole Rogers Little Silver, New Jersey

Slice of Orange by Cheri Saffro, PSWC Highland Park, Illinois

Brushed With Gold by Sarah Rose Bayfield, Colorado

River Rush by Tamra Sanchez, PSWC Santa Rosa, California

Imperious by William Schneider, PSWC Naples, Florida

Winter Color by Ann Sanders, PSWC Goleta, California

Lavender Bee by Teresa A Steinbach-Garcia Wilton, California

Loki’s Feather by Kathleen E Shy Reno, Nevada

Tilted by Vianna Szabo, PSWC Romeo, Michigan

Sunset Reflection by Carol Strock Wasson Union City, Indiana

Range #1 by Carol Talley, PSWC Santa Barbara, California

St Lawrence Revisited by Dug Waggoner PSWC-DP El Cerrito, California

Crack of Light in the Treeline by Avon Waters Converse, Indiana

Poser by Donna Theresa, PSWC Aptos, California

Mariachi Singer by Nori M Thorne, PSWC Sedona, Arizona

Tamra

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Painting by Teresa Saia

Marla Baggetta is an accomplished and widely acclaimed artist. I have been taking online workshops from Marla for several years and know her to be a thoughtful and very successful instructor. In my mind, she has the heart of a teacher. It was a pleasure to join her on a recent Zoom call, this time to have an extended one-on-one conversation.

Marla Baggetta

Q: Did you always consider yourself an artist?

A: That’s an interesting and multi-faceted question. From the time I was young, I was always making things with my hands. My mom was a Girl Scout leader for my sister, so we were always making stuff: macrame, crochet, decoupage, anything you can thing of with crafts, we were doing it. We were never sitting in front of the TV without something in our hands. Then I got into drawing. I think the moment was when my mom saw my drawing from the TV Guide contest “draw Goofy.” So, I drew Goofy, and I guess I did it pretty well. I was about five, and my mom saw me doing that. After that, she was always making sure that I had materials for drawing, and later for painting.

So, from the time I was really little I was making art. I guess I considered myself an artist when I was very young and then growing up, I considered

a variety of potential careers, but I did go to art school. After graduating from Art Center College of Design, I worked as an illustrator for a number of years, which was amazing training. Even that early, I was teaching illustration. At the time, I considered myself as an illustrator − distinct from being an artist, because I felt that to label yourself

Marla talks to Pam Comfort

Images by Marla Baggetta © All Rights Reserved

Our Featured Artist: Marla Baggetta

Marla Baggetta

an artist came with so much cultural baggage that I didn’t want. I know I was an artist, but I didn’t want to call myself an artist until, actually pretty recently, surprisingly. For several years I said, “Oh, I’m a painter,” (laughing) I was hedging, then I finally came to the point where I arrived at, “No, I am an artist, through and through.” It was a liberating thing to finally own that in a powerful way for myself. It was a big deal.

I think that anyone can call him or her self an artist, and the truth is we all are artists to one degree or another. I truly believe that. Even people who say, “I can’t even draw a stick figure!” I know there’s an artist of some kind in there. But I think that for a long time I was wanting to have a certain level of professionalism about what I did and because I had gone to school for it, even when I was raising my kids,I didn’t want to be just a hobbyist mom doing art.  I was really serious about it even then. I was

in a sort of egoic way … concerned about what it all meant. Now I see that was silly, and I’m glad I’ve outgrown it.

Q: Who or what has had a strong influence on your work?

A: In terms of support, so many people – especially my mom. But influencing me in terms of artists … I’ve made a list and it’s really long! When I was a little girl, I loved looking at artists who did wildlife art and animal art like Robert Bateman and Bob Kuhn, and then later on when I worked as an illustrator the list goes on. I was really intrigued by Thomas Hart Benton, Edward Hopper, Rockwell Kent, George Bellows and contemporary illustrators at the time like Patrick Nagel, and Drew Strusan. Then as I moved into landscape painting, the list is huge! I’m a big fan of dipping into the well of all the artists

Our Featured Artist: Marla Baggetta

Rooster by Marla Baggetta

that we have that we can look at and learn from like George Inness, Bonnard, Odilon Redon, Arthur Streeton, and Henri le Sidner. Carl William Peters is a guy whose work I absolutely love, along with Nicolai Fetchin. In terms of more contemporary influences there’s Richard Schmid, a northwest painter named Marcus Bohne, and a friend of mine Eric Jacobson, whose work is just incredible. Then there are impressionists who I overlooked early on in my career, but now I’m really drawn to such as Renoir, Cassat, even Monet. He’s so popular it’s easy to kind of discount him in a certain way, which is surprising, but true. Now as I’m working on this body of abstract work, I’m looking at Lee Krasner, Helen Frankenthaler, and Brian Rutenberg. I went to San Francisco recently on a trip by myself for two days, specifically to see the John Singer Sergeant show, and I stayed about a block from MOMA. I took pictures of almost every single piece of art, but I will never forget walking into the room where they have this amazing, astounding, heart-wrenching painting by Lee Krasner. It’s enormous. I just stood there

and stood there and cried. I was so moved by that work, I forgot to take a picture. So, the influences are vast, they extend across eras and cultural ideas, and I just try to drink it all in. I feel that we are so fortunate to have it.

Q: Even in the few years I’ve been following you I’ve seen that your work is ever evolving. You are an explorer. What are you exploring now?

A: Yes! I am an explorer. The landscape form is still of great interest to me, and I don’t intend to stop doing pastels or landscapes. But I think it’s shifted a bit. I’ve also become a big gardener in the last several years, and my garden is epic! So, my interest is in exploring how to paint the garden. How do I get all of those close-up views, and the tangles and the flowers and grasses? I don’t know how to do them yet, but I’ll have to figure that out because that is where I see the intersection of the landscapes and my abstracts. Those close-up views are much

Our Featured Artist: Marla Baggetta

Buffalo by Marla Baggetta

Trees by Marla Baggetta

more abstract and more in alignment with what I am doing with the abstracts. So, I see them coming together in some way. I don’t know how yet.

I have the freedom to explore, because of my teaching. Providing the online lessons affords me a lot of freedom that I might not otherwise have, because I do not have a life partner and must make a living to support myself. Doing the lessons means I don’t have to sell as much work or be focused on doing shows all the time. So, I can play around and engage in exploration. Also, artists don’t really retire, so I’ll be standing here in front of the easel as long as I can hold the brush in my hand. I would be so bored otherwise! I can’t just be lying on the beach. It’s in my blood. I love every minute of it. Going back to the question about whether I consider myself an artist, now I am aware of it from the moment I wake up. I meditate and I walk and that’s part of it, the meditation and the walking are readying me for seeing and awareness to be able to do the work of art. So, everything that I do is purposed towards making art. Pretty much. Except for Netflix!

Q: You work in oils and acrylics and a bunch of different media. But you haven’t let go of the pastels. How do you feel about pastels versus the other mediums?

A: Well, they’re like my children. I love them. I have my tray set out and organized in a particular way that serves my painting but also serves my teaching. It’s beautiful. So, when I walk into my studio and see it, it still just takes my breath away. It’s an incredible visual representation of my art making and the way I think about teaching. I love how tactile and direct

they are, and how they have served me personally on my art journey. I’m sort of grateful to them in a way. Pastels will always have a place in whatever I do, I know that. As far as the other mediums, it’s tough because there’s the idea of staying in one lane, working with one medium. I think that’s a good thing. I always talk about mileage and how important that is and it’s true. If you only have a certain limited amount of time, that’s probably a really good way to go. However, I was exposed to all these other things in art school, and I love them too. I love it all. I consider myself a pretty decent oil painter and a pretty good acrylic painter. They each have their own power. I love watercolor too, and I wish I was a lot better at it. I’m in awe of some artists who do incredible watercolor work. I haven’t spent as much time with it, so I’m more of a watercolor sketcher, which I find is a great medium for that. I love the smell and the colors of art materials. I would rather go to an art store than shop for clothes. It feels like it’s really a spot where I belong, and I love it!

Q: What do you think about when choosing pieces for a show? Do you usually submit more than one work?

A; If I enter a show, my intent is to get in, hopefully. Winning prizes is always nice. So, if they allow you to submit three pieces for consideration, I’ll submit three. Many shows only accept one piece per artist, depending upon the exhibition space. If I have pieces that I feel have merit, which usually I do, I’ll submit them. Choosing work for a one person or group gallery show is obviously different. You’re looking for a theme or some consistency that ties the pieces together. When I’m entering a competition, I don’t

Our Featured Artist: Marla Baggetta

Flowers by Marla Baggetta

feel I need to do that. So, I’m looking for pieces that have a high level of craftsmanship, have some uniqueness in terms of creativity, and have respect for the materials. You can enter pieces that you think might be “show stoppers” or artists’ pieces, but I just submit what I think is my current best work. I feel as though our best work is pretty obvious to us. It’s not hard to pick those.

Q: How has your artistic process changed over the years? And how does that reflect your personal evolution as an artist?

A: That’s a really big question, because to me, process includes things like: How did I eat today? How did I sleep? Did I meditate? Did I go for a walk? How present am I, or do I have too much chaos going on? So it includes a lot more than just, “Did I get to the easel today?” It’s how did I get to the easel and what state of mind was I in when I did that? Because if I’m distracted or not focused it shows up in the work. So, to that degree, that has changed over the years. I used to just try to come in and slam away at it and I don’t do that so much anymore. I try to be more conscious about getting to the easel.

I don’t get to the easel every single day, because I have a lot of obligations around the online lessons. But I do paint almost every day. Process-wise, once I have drawn some conclusions about what to paint, then there’s so much involved there. It’s how I see the “whats,” what I know I can do, and that’s based on my personal history and experience as a painter, and what I know I can do intersecting with what I

want to challenge myself to do. It’s twofold and paradoxical in a way, which I think is always exciting. If it’s not challenging, it’s boring. I want to be excited, challenged, and surprised by my work. When I walk, I also talk, making voice notes to myself. This morning I was talking about trusting the process. I don’t go to the easel with the belief that every single thing has to be of merit or good at all. I don’t have to have it be good. And I don’t necessarily want it to be good every time, because for one thing, it’s just not going to be! So instead, I can trust the process that I’ve put forth for myself such as, how I think about it, how I choose, how I know what I can do and what I know I’m not sure about, and how I’m going to select the materials that intersect with those things. I can further my idea by making certain choices about materials and process, like whether to use an underpainting, and what kind of underpainting, for example. We have a myriad of choices about starting a painting.

Once I’m in it, sometimes you’ve begun and you have a good start and there’s an inkling of something you can build on, and you know where the next thing goes, and the next, but then inevitably there’s a point where there is a little frustration because it’s not turning out the way you envisioned it to turn out, so you have to overcome that and get over that little hump by persevering and having patience. That is where the real trust must come in. You tell yourself, “Ok, I’ve set myself up here as best I can and now, I’m just going to trust it, and see it through.” I don’t usually give up on anything. That doesn’t mean I don’t throw things away at the end because I do

Our Featured Artist: Marla Baggetta

Snow in Fall by Marla Baggetta

that sometimes. That’s the thing, I have to trust in the process and know that it’s not really for me to say.

I interviewed Colette Odya Smith recently and she is delightful, just such an eloquent speaker about her process. I have known her as a colleague, admirer of her work and through IAPS over the years. She is a gentle person. In preparation for the interview, I went to her website, and on her bio at the end she writes “... and I offer my work as service.” I asked her about that, and she was so gracious. She talked about her spiritual path and that she felt strongly that her work was offering an insight about beauty and love to her viewers. I thought, whoa! That’s exactly how I feel. I also have a spiritual practice that is an important part of what I do, and part of my life. But it’s all woven into that idea that Colette said so simply. I had not yet been able to articulate this to myself or others. So, I’m very grateful to her for that.

Q: You’ve created a really nurturing space for your students and built a true learning community. I’ve had a lifelong career as an educator, and I recognize that in addition to being an artist, you also have the heart of an educator. You encourage your students to work within a “zone of proximal development” – going beyond what they can do without support and daring to work on what they can currently only do with the support of a teacher or peer. Where did you learn that?

A: Actually, I am currently rereading Howard Gardner’s The Art, Mind and Brain. There’s this little, tiny chapter about adult learning at the end, which is too bad. The vast majority of my students didn’t

come to art young, because they had careers and families and didn’t have the time or inclination. Now they are finding it and time is short, so depending on your intent, you’ve got to get on it. I know that for many of my students the intention is solely around the enjoyment of making art. It makes you feel good. There’s nothing better because you can’t do it unless you are in the flow – you can’t be thinking about your bills, etc. Making art takes you away, much like meditation. I feel so strongly that I was given such a gift of being able to do this always, that my way of giving back is to help as many people as possible to be able to do this at whatever level and for whatever purpose they want. I have been teaching since I graduated from Art Center at the age of 22. From that time on, I was learning about teaching and connecting with students. Then when I moved to Oregon, I taught adult education in my local community, and then as I began to be known a little bit in the pastel world which started early on in my thirties, I was getting invited to teach workshops. I found myself traveling all over the country. I’ve been to 43 states!

Teaching is amazing and the thing about teaching in that way is that you might walk into the room and have 20 people who you don’t know. You have no idea what their skill level is, and you’ve got maybe three to five days to connect with them, figure out what they need and how much you can push them. You know, you don’t want to make anyone cry! I have made a couple of people cry over the years unfortunately, but you know my whole thing is there’s no reason to make anybody cry or feel bad in any way. There’s no reason for us not to be doing

Our Featured Artist: Marla Baggetta

Dance of Fall by Marla Baggetta

this with a joyful heart. I do my very best to come at it with sensitivity, yet honesty. You can still be honest and kind at the same time and you can also give actionable advice. I would never say something like “Those colors are garish; I just don’t know why they don’t work.” I would never say anything like that. I might say, “Let’s look at your colors, and figure out why they aren’t interacting in a way that’s satisfying.” “Let’s analyze this together and figure it out.”

As much as I consider myself this weird, extroverted introvert because I will do a workshop, and at the end of the day I need to go off to my room, I do enjoy reading the room, and helping people, and figuring out who needs what. I can tell this person is pretty sensitive and is not going to take anything tough in terms of feedback, and the next person has got a little chutzpah, and I can push them a bit more. It’s fun to figure that out and it’s fun to help people make art because I can’t think of one better thing to do.

With my team, we talk about the fact that it’s painting, and if something doesn’t get done no one’s going to get seriously hurt. We are not surgeons. And my little team that I work with - we’re all on that same sweetness train. That’s what I call it. We are all about being sweet to everyone that we interact with and with each other too. We don’t have urgencies or hard deadlines; we only have goals. If somebody makes a mistake, somebody fixes it. So that’s how the business side is in alignment with the way I feel about making art.

the blog that Loriann Signori had written about you, where she asked about the 100 variations. I noticed that she went on to post multiple blogs referring to that and doing her own variations. I imagine there were a lot of other artists, beginners and your peers who were inspired.

Q: I wanted to ask you about your 100 variations, and I know it’s been a long time since you did that, but I read that you had said it really kind of broke something open for you artistically. I was reading

A: Yes, it was really cool because I did inspire a lot of people. A lot of people tried and didn’t get all the way, but it was neat. It’s funny when you have this online presence, and one of the very first YouTube videos I did was one of the variations and my son filmed it. This was many years ago, and it was before I did the variation series per se, but I remember I got this one comment, “Why would you do one hundred of anything? How could you possibly learn from that?” My thought was, “Oh, dude you don’t know!” I never respond to that kind of stuff. I just let it fall off my shoulder. For me there are so many things I have learned. One of the most important is that there’s always another piece of paper, there’s always another chance. As long as I’ve got another piece of paper, I have another opportunity to explore and to be amazed and inspired. In terms of pastel and creating different avenues for using pastel, it was so eye-opening because when I started out, I wasn’t trying to do different seasons or times of day. I was just trying to see how many different ways I could make the value and color combinations work and so I explored that, and then I explored underpainting techniques and mixed media. I always had the same basic composition, the same size and it had to have some amount of pastel on it, but other than that I just let myself go. I could use ink, oil, watercolor or acrylic. I could do mono-printing or whatever, as long as I stayed within those little constraints.

Our Featured Artist: Marla Baggetta

Deep Reflections by Marla Baggetta

I do think it’s good to have some constraints. It taught me that constraints can create freedom. If you give yourself some framework to work within, that can (though it seems counterintuitive) let you bust open. Now when I have the opportunity to do that same kind of thing with another subject matter, I always take it. My first pass at something is only that. I was working on something today and thought the first pass did not look so good, but next time I will come at it with more information, more awareness, more profundity, and it will be better. So, it taught me that too, that exhausting possibilities is good, because our first effort isn’t always going to be that good.

Q: In terms of the online learning, you were doing that before everybody had to do it. So, you were already right there in that space with so much experience and really refining it, and it is very successful both for you and for your students. What are the main things that you consider having made your online learning work so successful?

A: It’s my team. One hundred percent. I have the best people. I work with the best and the smartest. That’s my secret weapon. As an example, Kevin, who is my editor has worked with me for 8 years, but he is an artist himself, as is his wife. He’s very creative and such a loyal, dedicated worker and I’m so grateful to him because he adds so much. We talk about our ideas and kind of play with things here in the studio. He doesn’t mind getting into the studio stuff that we need to do around here, like fixing things up. We’re getting ready to hold two weeks of in-person workshops, so we’re dialing things in, but the space

isn’t big. We are trying to figure out how to maximize by moving some things around. We plan to set it all up prior and do a dry run. Kevin really enjoys doing that kind of thing too, in addition to all the technical stuff.

And then there’s Bryce, who’s amazing in terms of doing live streams and Zooms and anything having to do with the computers. Both guys are so sweet and such good people. Also, when somebody emails our support team, they are always great. They just know how to be. It’s amazing. I feel very fortunate.

Before I was doing the online dedicated site it was when artists were all starting to do DVDs and I knew I should do that. It would be another way of earning income, so I needed to learn that. The question I asked myself was, “How do I do that?” A friend of mine helped me. This led to my learning another thing about teaching because he helped me learn how to approach the learning. He didn’t teach me how to do it. I had to learn how to run the cameras, how to do Photoshop, how to work with InDesign, how to use Illustrator - all those Adobe products. He showed me how to go about the learning, such as total immersion and how to space it out. It was about how to learn, and this was me at 50 something. And I did it! That was the greatest gift anyone has ever given me to this day.

That is what I want to do for my students. Following the lessons and copying the lessons is cool. It’s great, but that’s not where it’s at. Where it’s at is how you learn this stuff that we’re doing.

Q: You use a very classic teaching strategy which is:

Our Featured Artist: Marla Baggetta

Blue Storm by Marla Baggetta

I Do (You’re watching me paint); We Do (You paint along with me); and You Do (You paint one of your own). It’s a gradual release strategy.

A: Yes, that’s exactly right. When we were doing a Procreate Workshop that was crucial because I was doing something that was kind of technical in some regard and people had to follow. If you were trying to follow along with me then, boom! You would just get lost. So, I suggest that students watch first, then do it with me and then do it by yourself. It’s similar to what I learned early on about teaching presentations: Tell them what you’re going to tell them. Then tell them. Then tell them what you told them. It’s simple, but it’s kind of all you need to do when you’re designing a class or a presentation. It doesn’t have to be much more than that, though it is. It always is.

Q: What advice would you give to your 20-year-old self regarding art?

A: My 20-year-old self was in art school, and I had these amazing instructors at Art Center who were what I thought of at the time as old geezers, old pros. I had this one instructor, Gene Fleury who was probably in his late 60s early 70s. Eugene Fleury was a luminary at Art Center and worked for Disney and his accomplishments went on and on, and he and his wife both taught there. Then there was Mr. (Paul) Souza who taught head painting, and the man who taught perspective, Ted Youngkin, was amazing, too. But there were some of the instructors like Gene and some others that I thought, “Oh, I don’t have time for that. That’s not where my interest is.” I didn’t pay as much attention to them as I now wish I had. That’s what I would tell

my 20-year-old self, “Just sit your butt down and pay attention to these people because they have wisdom that you can’t even comprehend yet. You might not comprehend what they’re saying for 20 something years but do listen anyhow.” That’s what I would say because we all take in the bits of information, the five foundations that we are evolving around, and we do that throughout our lives and careers. We come into them at different points and can embrace them and integrate them into what we’re doing at different points. So, I wish I would have been a better listener.

Q: You’ve just described spiral learning which is based on the premise that a learner learns more about a subject each time the topic is reviewed or encountered. It recognizes learning as an ongoing cyclical process.

A: Right. Spiraled instead of linear. Linear is not good for learning art, it doesn’t make sense. We introduced Learning Pathways this year, and we called them beginning, intermediate, and advanced, and I just kind of gritted my teeth. I don’t really like that idea, though I know it is sort of helpful to some people so we did it. We’re going to post other Pathways that have more to do with subject and color and composition, those foundational skills because I see people that hardly ever touched it; they are beginners, and they have beginners’ mind. They just come at it in a completely different way. Then you get to be an intermediate student, and then you know too much for your own good, and you get frustrated. But yes, I really feel strongly about the fact that it’s a spiral, it’s not a straight line.

Our Featured Artist: Marla Baggetta

Peppermints by Marla Baggetta

Q: What’s the one question you wish people would ask you about being an artist?

A: The question I wish they didn’t ask is “Isn’t it so great that you get to always be doing what you love?”

I think people really glamorize that to a high degree. And it is great, I’m not saying it isn’t. I have profound gratitude for that. I really do. It is amazing that my whole focus is on how I can engage in the beauty of the world and show it in a visual form. I’ve been so lucky to do that my whole life, but I think that people don’t recognize that it’s a lot of work, and it’s frustrating, and it’s an enigma. There are days when it hurts a lot. The other day I was in a little bit of a funk, and I know better than that now so I’m able to tell myself, “Don’t do that”.

One thing I would say to my students is I do know what I have to say has a lot of impact to them, and I am very sensitive to that. But sometimes I really need to give strong feedback. It hurts me when I believe I have something to say that might feel negative to a student. Critiques hurt me, too. I don’t have a thick skin. I try so hard to be careful and thoughtful when giving critiques and advice. You can’t let everything

impact you, but I do also strongly believe that the idea of having a thick skin isn’t necessarily where I want to be either. So, if I enter a show and I don’t get in - that stings me, too. I feel all that. On balance, it’s all such an amazing thing, and I do it so humbly and with gratitude. Like everything, it’s got it’s “stuff.” I just agree with Colette. I do this all in-service and with love in my heart, and I feel lucky and thank you for letting me share with you!

From her website: Marla graduated from Art Center College of Design in Pasadena, Ca. She worked as a commercial illustrator for 25 years. After moving to Oregon in 1993, she was inspired by the beauty of the Willamette Valley and began painting landscapes that blend realism and abstraction that convey a sense of calm and balance.

Among her numerous awards and honors are Arts for the Parks Annual Juried Exhibition. She has been featured in the Pastel Journal and is included in Pure Color: The Best of Pastel and Sketchbook Confidential II. She is the author of Step by Step Pastel by Walter Foster Publishing. Her paintings can be found in numerous public and private collections throughout the country.

www.marlabaggetta.com

Our Featured Artist: Marla Baggetta

Night Fall by Marla Baggetta

To see BF Reed’s art is to know her. Vibrant, precise, varied (she does not limit herself to pastels), interesting, and striking with lots of attention to detail. We spoke at length about art, her art, and all the turns in the road that lead us to our current destination. BF taught art in the public schools for many years, and I was so envious of those lucky students who had her guidance and mentorship. Check out her website for many more examples of her many styles.

Q: Did you always consider yourself an artist? Or was there one day, when you realized that you were one? Tell me a little about that shift in awareness.

A: I have been an artist at least all of this life time. I was the kid that drew all over her walls, much to her mother’s dismay and displeasure. When I was about 10, my mother repainted my walls and strenuously dissuaded me from marking them again. When I was about 14, I went to her with a plan and a plea. The plan was for a mural for my bedroom wall and the plea was for her to allow it and buy me paint!! Since she was THE BEST mom ever, she said yes.

Q: Who or what has had a strong influence in your work?

A: The influences have changed through the years. I remember being blown away by watching billboard painters when I was a kid and really wanting to do that. That influenced the decision to follow the graphic arts path.

In terms of artists that I have and do respect, there

BF Reed,

PSWC, PSA, AWA

by BF Reed with Sabrina Hill

are Steve Hanks and Dean Mitchell in watercolor that I deeply admire. In pastel, I am so extremely and completely impressed with Lyn Diefenbach. I also really love what Laura Pollak is doing now. I could name so many, many more and feel badly for not doing so.

Q: What other jobs have you done?

A: This question makes me think of the Frank Sinatra song, “That’s Life” where he sings, “… I’ve been a puppet, a pauper, a pirate, a poet, a pawn, and a king …” Lol! While that is a bit of an exaggeration, I have worked in a variety of positions through the years. My degree is in graphic design and I have worked as a medical illustrator and a graphic artist. I have worked a frame builder in a frame shop. I worked as a computer sign designer. I have had my own custom desserts business. I even owned a retail games store. Mostly, however, I have taught

Images by BF Reed © All Rights Reserved

Artist BF Reed

public school art. I have moved around a fair bit, so I have taught all grade levels at some point.

Q: Do you work exclusively in pastels?

A: I don’t. I spend a lot of time creating large acrylic abstracts. That work is the polar opposite of my pastel work. When the work is seen together, people say they think is by two different artists. I always jokingly say it is the advantage of having multiple personality disorder!

I use several different mediums. I have done watercolor for years and while I still do them, it is infrequently now. I also do oil but not enough to have learned its rhythm for working and drying. It often seems to need for me to stop and wait for it to dry a bit before I can go on. Pastel allows me to work as long as I want. Pastels are also a sensuous medium. One feels them differently and more intimately than other media. Though I do other kinds of work, pastels always beckon me back.

Q: What do you think about when choosing multiple pieces for a show? What do you look for in a piece

to be selected for a show?

A: I always look for what I consider to be my current best when choosing multiple pieces for a show. While working, I give thought to composition, value and design etc. So, when choosing for a show, I hope those are not my chief concerns. If it is a solo show, I give thought to how they will hang and show together either thematically or by design or color. If it is a juried show, I consider ones with a strong graphic punch. Then I pray.

Q: For many artists, the idea of entering a juried show or competition is terrifying. What advice would you differ to artists contemplating an entry in a show?

A: We are all scared, however, there is a unique learning experience that I gather from seeing my work next to other artist’s work. When I work on a piece, I focus on it completely. When I see it hanging next to other pieces, I can finally see it more objectively. Competitions also allow me to see other artists’ styles and approaches.

Reflection with Strawberry by BF Reed

Azalea Drama by BF Reed

Before the Pie by BF Reed

I would also add that these competitions are subjective. Sometimes you get in and sometimes you don’t. Sometimes you win and sometimes you don’t. Do not let either outcome stray from your journey. Lastly, I would like to say is none of those things are really the point. That point is showing up doing the work to the best of your current ability. The point is developing a good relationship with your Muse. The point is to do the work on good days and on bad days and happy days and sad days. The rest of it is just stuff that happens. We are artists. We create art. The end.

Q: What’s the one question you wish people would ask you about being an artist?

A: Lol!! “In what form would you like your payment?” Seriously, while I can’t think of a question, there is something I would like people to know. So often I hear people say about my painting, “this must be so relaxing!“ For me, it isn’t. Not even a little bit. Not even on the good days. This is not a hobby; it is a job. It is hard work. Artists create something out of nothing. We stare at a blank canvas and it stares back until we strip ourselves down to our vulnerabilities and go to battle. Again, this is NOT easy. But most of all, I love it and I wouldn’t trade it for anything.

Q: What advice would you

give to your 20 year-old-self regarding art?

A: I would say, yes, it is worth it. Keep it up. And spend more time with your sketch book!! And when you hear about APPLE … INVEST!!

From her website: Award-winning artist BF Reed had the good fortune to receive a scholarship the respected Moore College of Art. She later transferred and completed her formal studies at the prestigious Tyler School of Art, earning a Bachelor of Fine Arts degree. Both schools had rigorous and demanding programs but with differencing focuses. This divergence in educational view point enhanced and completed her overall background. This education launched her professional career as Medical Illustrator at Temple University’s Medical School. There, she created exquisitely detailed images of animal and human biological and surgical illustrations and procedures. As a “visual translator,” she converted complex scientific information into a visual form to address the needs of an array of health science professionals. BF Reed’s work has been accepted into many national and international competitive exhibitions and has won awards in those arenas. Her exquisite water color and pastel paintings and acrylic abstracts have been exhibited in numerous galleries across the United States and internationally. Her paintings are held in various private, diplomatic and corporate collections in the US and abroad.

Meet the Member: BF Reed

Top: Carrots, Middle: Peppers, Bottom: Radishes all by BF Reed

Untitled by Jan Prisco

Jan Prisco

by Pam Comfort

Jan Prisco lives in an area rich with painting opportunity. Not only does she have access to the beautiful landscape of the Bay Area peninsula, but she has also forged friendships with local, pastel world treasures: Kim Lordier and Terri Ford. Jan credits them for being role models, not only in terms of painting, but also as promoters of pastel as a medium. Jan’s goal as a Regional Rep is to spread the wealth of knowledge she has received.

Q: What has been your experience regarding painting with others, rather than painting alone?

A: I really enjoy painting with others and nearly always come home from these events feeling fulfilled and content, whether I am teaching or painting with peers. Part of the reason for that, I believe, is that shared creativity provides a unique way to relate to others. When I paint with other artists, there is always a connection − personalities, painting styles, and other considerations aside. We are all facing our blank pieces of paper and sharing the beauty of our world together.

My experience with other artists is that they are kind and sensitive people. When it comes right down to it, we are all facing our own challenges to succeed and grow. I like to laugh and relish shared experiences, ideas and challenges with others in a group. I always learn from other artists and hopefully provide some value back to them in return. We all grow that way and create a type of community.

I also enjoy painting alone, but being with others has the above advantages.

Q: What are the advantages of gathering with others?

A: When you make commitments to meet other artists, you show up, you paint, you grow as an artist, you build new knowledge and you enjoy doing it. Also, on a personal note, I can be quite the procrastinator and often get pulled away from my planned painting times for

Images by Jan Prisco © All Rights Reserved

Artist Jan Prisco

other responsibilities or fall into the “Oh, I will just do it tomorrow,” trap which can turn into days away from my easel.

Q: What kinds of regional events have you had, or do you plan to have?

A: In June I hosted a group of artists in Half Moon Bay. When we arrived, we were pleasantly surprised by the presence of a herd of goats that had been deployed at our painting spot to chow down on unwanted flora. So some of us did our first “herd of goats” paintings. It was challenging and a good learning experience. We had a pro in our group, Kim Lordier, who gave us a tip or two.

Plans are being formulated for another event in early October, either at a local nursery or at the pumpkin fields of Half Moon Bay. The fall is such a beautiful time to paint on the San Francisco peninsula, and usually the weather is cooperative. I would also like to do a critique session, possibly in the fall/winter.

Q: How has being a rep impacted your practice (or how do you anticipate it will)?

A: For the last ten years, I have taught pastel painting at Filoli Historic House and Garden (in Woodside, California) and other venues. My upcoming class in the fall is a studio class for Pacific Art League in Palo

Alto. Experience painting with others, I believe, will provide growth as a teacher as well as help me grow as an artist. Also, importantly, painting with other pastel artists is a reminder to me of the uniqueness of the medium. The unequaled immediacy and beauty of pastel painting is often overlooked or unacknowledged, and being with other artists who love it also is a reminder to spread the word.

Q: What advice would offer to other artists interested in group paint-outs, paint-ins, critiques, etc.?

A: Please find time to do it. Don’t worry about your skill level or shyness or lack of experience. You will get better with every painting you do, have fun in the process, and meet some lovely people.

In addition to exhibiting her work at Portola Art Gallery in Menlo Park, California, Jan teaches pastel painting, both studio and plein air, on an ongoing basis at Pacific Art League and has taught at University Art Store (UART) in Redwood City, California and for Atherton Arts Foundation. It would not be unusual to come across Jan sitting on the coast studying the waves.

For more information about the PSWC Regional Representatives program visit https://pswc.ws/regional-events/

For more information about Jan and her art go to www.janprisco.com

For Every Season by Jan Prisco

Bobbye West-Thompson

by Pam Comfort

Bobbye West-Thompson has been accused of being a very curious person. It’s something she does not deny. That sense of curiosity and exploration have served her well in her role as a PSWC Regional Representative, and engaging in that role has led her to some wonderful discoveries. I visited Bobbye at the start of the year at her beautiful home studio and garden. I found her enthusiasm to be contagious.

Q: What has been your experience regarding painting with others, rather than painting alone?

A: Painting with others is pure joy! The ability to be out of doors, in the moment, sharing the time with other artists with similar interests is one of the best ways to hone your techniques and sharpen your skills. Even if you don’t agree with or use their suggestions, being able to have instant feed-back on problem solving is a great advantage. In spite of potential inclement weather, bugs, curious critters and talkative visitors, plein air painting is absolutely the best way to absorb the environment and to see your subject first hand – without filters. Of course, it’s also a lesson in what to eliminate as much as what to include in your work – not always easy. Sharing those difficulties and/or surprises with other artists just makes the experience more pleasurable all ‘round.

Q: What are the advantages of gathering with others?

A: I’ve found that doing a brief critique at the end of a plein air session is wonderfully helpful. Not only do you share your work and receive positive comments as well as possible ways to improve your work, you’re also exposed to others’ work, their techniques and problem-solving skills. Working with all levels of talent and seeing what others have accomplished is inspiring.

Q: What kinds of regional events have you had, or do you plan to have?

A: As the relatively new Regional Rep for PSWC, I’ve only planned three events to date. We’re fortunate here on California’s central coast to have so many choices for places to paint en plein air. We’ve painted

Images by Bobbye West-Thonpson © All Rights Reserved

Artist Bobbye West-Thompson

Meet the Regional Reps: Bobbye West-Thompson

at O’Brien’s Nursery, a lovely setting with formal gardens as well as an old barn, farm house and covered bridge, that is not regularly open to the public,. Our group had as much fun exploring the old barn and its contents and taking reference photos for studio work, as we did painting outdoors.

Sweet Springs Nature Preserve is operated by the Audubon Society and includes an eagle refuge. The group set up under the eucalyptus trees with views of the back bay and Morro Rock. Coming soon, we will be at The Bees Knees Fruit Farm/Farm Stay with a beautiful turn-of-the-century home and barn, fruit

Eagle’s Flight by Bobbye West-Thompson

Meet the Regional Reps: Bobbye West-Thompson

Moonlight in December by Bobbye West-Thompson

trees, a relocated tree house and tiny treasures everywhere.

Q: How has being a rep impacted your practice (or how do you anticipate it will)?

A: Being a regional rep has inspired me to find new and exciting places to paint as well as returning to my own special venues – a great way of sharing these places with other artists. It’s also a way for me to inspire other artists/friends to get out and paint more often. At each location where we’ve had a paint out, some are seeing these places for the first time even though they may be local residents. They’re excited about discovering these new opportunities, sometimes right in their “own back yard.”

There are seven other plein air groups in the general area! So, that very fact inspires and challenges me to find unique places that are truly interesting. I’m naturally a wanderer. I like to put my dogs in the car

and search for interesting places to paint. Being a regional rep gives me yet another reason to set off and explore.

Q: What advice would you offer to other artists interested in group paint-outs, paint-ins, critiques, etc.?

A: When I first painted with a plein air group, I felt overwhelmed, somewhat intimidated and, certainly, unsure of exactly what to paint even though we were in a great painting spot. I quickly learned how helpful other artists can be and how easy it was to integrate myself into the group. I received lots of great feed-back and support from some of the best painters here on the central coast. It was also wonderful to see the progress I made just by being in the presence of other artists, new and experienced, but don’t expect to create a masterpiece at each session. Have fun. Take lots of reference photos for use in the studio and for tweaking your plein

Nancy’s Friend by Bobbye West-Thompson

Meet the Regional Reps: Bobbye West-Thompson

air work, at a later time. I would encourage anyone new to plein air painting to get out there, haul your gear to various locations and learn what you truly need and what to eliminate by way of supplies. I paint exclusively with pastels and have found that a portable, wheeled box with collapsible handle, my light-weight folding chair and small folding table and a hat is all I need. Of course, having a “handy husband” who made my plein air pastel box, is also a big plus. I recommend any artist, any medium, to get out doors, find a group and paint often. You’ll meet great people and make new friends who share similar ideas and passions. And, it’s a wonderful learning experience.

Bobbye is a connector and relationship builder. She is responsible for making the connection that enabled PSWC to have shows at the Morro Bay Art Association gallery, and her willingness to connect with new people has helped her to secure previously undiscovered plein air

venues. One sign of a budding friendship: an invitation to her annual Cider Making Party! She is the author of “Art Aardvark” published by The Learning Works, Santa Barbara, and is currently writing / illustrating a children’s book with imaginative “Pig” characters filling various rolls in the workforce. Her interests are varied and include past SCUBA diving adventures, hiking, gardening, photography and, finally, the pursuit of a lifelong passion for art. Bobbye is a member of California Central Coast Pastel Society; Pastel Society of the West Coast; Cayucos Art Association; San Luis Obispo Museum of Art and volunteers at Pacific Wildlife Care, Morro Bay, California. She and her husband and four-legged critters reside in Los Osos, California. www.bobbyewestthompson.com

Morro Rock Reflections by Bobbye West-Thompson

Meet the Regional Reps: Bobbye West-Thompson

At an Art Show with Bobbye West-Thompson

Winter Dunes by Bobbye West-Thompson

Meet the Regional Reps: Bobbye West-Thompson

Art School

Reimaging Your References with “The Mocturne”

by Marla Baggetta

Throughout my career I’ve been teaching folks to paint, from beginners to professional artists who want to sharpen their skills or change their style. They don’t come to me to paint more realistic images; they come to me to “loosen up!”

WHAT IS LOOSENING UP?

This is different for everyone. Does it involve gestural strokes, a less literal interpretation, a more dreamlike or dynamic style, or increased expressiveness?

For me, loosening up involves painting with confidence and authority. Some of this naturally comes with experience, but it can also arise from a beginner’s mindset, the willingness to take risks because there’s nothing to lose. This is one of the reasons I like to work with groups of various skill levels. Everyone has something different to contribute. Your idea of loosening up may involve making marks with economy or seeing the most with the least. It may mean not being married to your reference material so you can open a more creative approach to the work.

After a time, I think artists become dissatisfied with copying exactly what is observed. We want more from our work. But funny enough, I occasionally find myself working with a photo and end up with a painting that is a copy of it! This can result in a frozen, lifeless image. That’s not what I want!

DEFINING “LOOSE”

• Less restrained strokes

• Less literal interpretation of reference

• Less detail

• More dreamlike (think alpha brain waves)

• Economy of marks

• Saying the most with the least

• Painting with confidence and authority

WHAT IT’S NOT

• Not about going faster (though this can help if you paint very slow)

• Not about blending more or less

• Not about putting down more or less material

Marla in her studio

MAKING THE MENTAL SHIFT

Move away from your reference- and fast. The sooner I can let go of the reference, the sooner I can begin to bring more expression, emotion, rhythm and respond to the image I’m creating! There are many ways to trick yourself into doing this, but one very effective and exciting approach is to create a “Mockturne.”

You quite literally can paint any reference photo as a nocturne by swapping the color scheme for that of moonlight or sunset one. This is a fun and powerful exercise. Once you get the hang of doing this, the world is your oyster! You are no longer wedded to your reference material in the same way. Translating your scene into black and white may help you to do this. It forces you to invent the color rather than be tempted to stay faithful to your reference.

From reference photo to black and white photo to finished piece

Example One

Example Two

From reference photo to black and white photo to finished piece

VALUE PREDOMINANCE

When you are painting a night scene, you are grouping value masses at the low key end of the value scale which creates an unequal distribution of value. The darks dominate. This makes for high contrast and high drama! Think Rembrandt’s portraits with large areas of darks and small bits of white. Subtle shifts in value in the darks can make for very interesting shadow areas when an artist varies the intensity of the strokes.

Keep your values compressed in the darks and vibrant in the lights.

THE DEMO - CREATING A MOCTURNE

For the demonstration, I took the idea of moving away from my reference a step further. I used a finished painting that I very much like and used it as the basis for a “Mockturne.” This is just another way to be inventive, innovative and just play in the studio.

Materials:

12” x 12” White Pastelmat Charcoal Pencil Various pastels

Fluid Acrylics - Quinacridone Magenta, Dioxazine Purple, Burnt Siena, Phthalo Blue

Rembrandt’s Self Portrait as a Young Man

START WITH YOUR REFERENCE 1

My Reference:

Fall Light 12”x 12” Pastel on Pastelmat

You may use a previous painting or photo. Convert it to a black and white sketch.

I used a hard pastel to loosely sketch in the foliage masses, the small structure, and to establish the horizon. At this point, everything is open to revision, and it’s merely an idea of a starting point.

UNDERPAINTING

Working with a brush, I laid in a very saturated ground with fluid acrylics, letting the edges soften and bloom as the colors mix on the paper and mesh with the drawing. This naturally sets up an evocative and spontaneous base from which to delve into the image.

Quinacridone

Magenta

Dioxazine Purple

Burnt Siena

Phthalo Blue

APPLY LAYERS 3

Here, I begin to apply layers of pastel, keeping the values in the middle and dark range while varying the hue and saturation of the sticks. I used mostly Terry Ludwig pastels for those luscious darks.

Pastel Palette

ADD DETAILS 4

I continued to layer pastels and add details. The small structure serves as a well-placed focal point and color relief. The stream creates a good visual path to the structure and is so pretty. Now I’m having some real fun!

Pastel Palette

REFINE FOCUS 5

I decided to add the moon and think it might be done at this point. So, I took a short break to consider it. I also took a picture to see it as it would be viewed from a distance. This reveals a few things that I decided to resolve.

FINAL TOUCHES 6

I brought a bit of the foliage line behind the little structure. I tamped down the saturation in the sky by layering with a middle gray over the saturated pink. I also mopped in some brown in the sky to settled it down an marry the layers. Finally, I added some of my signature scratchy marks for good measure!

I hope you enjoyed the lesson! For more information on my Monthly Pastel Painting Lessons Online Subscription and my other online workshops visit www.paintinglessonwithmarla.com

Pastel Palette

Pastel Palette

Art Workshop AARON SCHUERR, PSWC

Alpine Landscapes and Coastal Seascapes

A Virtual Workshop with Aaron Schuerr, PSWC, AIS, PSA, LPAPA, September 16-17,2023, $265,per person

Daily Schedule

Day 1

9am- 12. I’ll introduce basic elements of the Alpine Landscape with some simplified studies. I’ll follow this with an alpine demo.

1-4pm. Students will work on an alpine landscape and I will be available to answer questions and provide individual critiques. I will provide images for students to work from. (If you have your own, that’s great!)

Day 2

9am-12. I’ll introduce basic elements of coastal landscapes with some simplified studies followed by a coastal demo.

1-4. Students will work on a coastal landscape and I will be available to answer questions and provide individual critiques. We will finish the day with a group critique. I will provide images for students to work from. (If you have your own, that’s great!)

About the Artist

Aaron Schuerr has embarked on solo painting treks across the Grand Canyon and across mountain ranges of the west. His work has been featured in publications as diverse as The Daily Telegraph, The Times of London, My Modern Met, Southwest Art, Art of the West, The Pastel Journal, and Plein Air Magazine. Schuerr is a frequent contributing writer to The Pastel Journal and The Artist Magazine. He has taught at the International Association of Pastel Societies, The Plein Air Convention, has developed an online pastel course with Sentient Academy, and recently filmed instructional videos with Streamline Publishing. He is represented by Illume Gallery West, Montana Trails Gallery, and Huse/Skelly Fine Art Gallery. Schuerr resides in Livingston, Montana with his wife and three sons.

This workshop is offered through PSWC. Please register online on our website at www.pswc.ws

www.aaronschuerr.com

Art Workshop

NANCY KING MERTZ, PSWC-DP

Puzzled by Perspective?

A 3-day virtual workshop with Nancy King Mertz, PSWC, IAPS-EP, PSA, CPP

November 16-18, 2023

Open to Members and Non-Members $360

In this workshop Nancy intends to help artists understand 1 & 2 point perspective when including man-made structures in their work. Cityscapes, villages and rural subjects will be provided as reference if painters do not have their own photos. An hour and a half demo will start each morning, with questions encouraged along the way. Artists will paint until 3-3:30 with frequent progress photos emailed to me for assistance. Near the end of each session, the work will be shared with the class for group critique.

This workshop is appropriate for Beginners with some pastel experience, as well as Intermediate and Advanced pastelists.

About the Artist

Nancie King Mertz, has spent her lifetime painting in oil & pastel. She was awarded the Master Circle by Int’l Assoc. of Pastel Societies, Eminent Pastelist in 2018, and is a Master Signature member of Pastel Society of America & Chicago Pastel Painters. Nancie juries, demos & teaches numerous workshops across the US, Italy, France & Croatia. She is on the faculty for the Plein Air Convention, Plein Air South, and the IAPS Convention.

IAPS awarded her the Prix de Pastel in 2018. She was the lead juror for the 2019 IAPS Masters’ Show, and juried the 2022 PSA Enduring Brilliance Exhibition. Her work has been featured in Plein Air Magazine, Southwest Art, American Artist, French & Chinese magazines, as well as the cover and several articles in Pastel Journal.

Nancie was a 3 year Instructor of Art at Eastern IL University where she received her MA in Painting two years after completing her BFA in Painting at the University of IL. She and her husband recently opened a Learning Center & gallery in their home in Rockford, IL for pastel immersion, where artists can stay.

This workshop is offered through PSWC. Please register online on our website at www.pswc.ws

www.nanciekingmertz.com

Art Workshop

RITA KIRKMAN, PSA-MP, CPS, IAPS-EP

Layering The Light

In this virtual Zoom, 3-day workshop, you will learn how to create a vibrant sense of glowing light in your pastel paintings. February 23-25, 2024 | $285 per person

Instruction emphasizes value and temperature as keys to unlocking the light.

Learn an underpainting method using pastel primers to “nail the values!”

Multiple small works are encouraged for speedy artistic growth. For adventurous beginners all the way to advanced pastelists.

Rita will demo an average of twice daily, and at least three hours each day will be devoted to individual feedback using Padlet to upload students’ works in progress for critiquing.

This workshop is not subject specific. Students can work from their own photos, and Rita will share some of her own photos via Google Drive. Demos will be mostly animals, with one or two landscapes thrown in.

Daily Schedule

• 3 hours morning / 3 hours afternoon

• 2 hour lunch (to relieve any strain from sitting or computer use)

• 9am-5pm Pacific Time (8am to 4pm if class prefers)

About the Artist

Rita was born an artist. She has been using pastel since she was 11 years old and had her first paid portrait commission at 17. Since 2003, Kirkman has improved her own style and technique with pastel through independent study and workshops with renowned artists each year. This effort has been consistently rewarded with major awards in national and international competitions. Her work has been featured in the Pastel Journal and the Pratique des Arts Spécial Pastel, and published in many others. She is a Pastel Society of America Master Pastelist and an Eminent Pastelist with the International Association of Pastel Societies. Her portraits and paintings are in private collections all over the world, including the United States, Canada, Mexico, Europe, Japan, Africa, and Australia.

Rita has become a popular workshop instructor. At the heart of her teaching is recognizing value and temperature over color, simplifying and strengthening composition, and working small.

www.ritakirkman.com

Art Workshop VIANNA SZABO,

Expressive Portraiture

January /13 - 14, 2024

Details to be announced in the Fall

Zoom Workshop. Details will be sent out in mid-fall. Using expressive color, Vianna interprets the world around her to tell a visual story. Whether she is working in pastel, oil or watercolor she’s inspired to capture a moment by painting light and atmosphere to express emotion. Vianna believes painting is a journey of creative study and encourages her students to learn the fundamentals so they express their own artistic voice.

Vianna exhibits regularly in national juried shows including the Pastel Society of America, The Portrait Society of America, and Oil Painters of America, and the American Impressionist Society, The Michigan Watercolor Society and The Adirondacks Watercolor Society She has acted as a juror in shows including the Pastel Society of the West Coast, The International Association of Pastel Societies, and the Figurative/Portrait Juror for the Pastel Journal’s Pastel 100 competition.

Vianna is a popular and passionate instructor and teaches workshops nationally and abroad. She has a BS in Education from Eastern Michigan University but credits her art education to books, long hours at the easel, and the generosity of talented friends. Vianna is a signature member of the Pastel Society of America and has achieved Distinguished Pastellist status in the Pastel Society of the West Coast. She was inducted into the International Association of Pastel Societies Master Circle in 2011 and achieved Eminent Pastelist status in 2015 and earned signature member status in the Michigan Watercolor Society in 2020.

Vianna lives with her husband, Mark, in Romeo, MI. They have two grown children, Shawn and Anna, who have served as her models and inspiration.

www.viannaszabo.com

IAPS EP, PSA, PSWC DP, MWCS, GLPS

Art Workshop

JUDY LEEDS, PSWC, IAPS-MC, PSA

Capturing the Person Behind the Pose

In this virtual Zoom, 2-day workshop, you will learn find the elements that give character to portraiture. `May 11 - 12, 2024 | TBD

Judith Leeds is an internationally known award winning artist who has created over 3,000 book jackets including the classic book, THE COLOR PURPLE. Her work has appeared in both national and international magazines having won numerous prestigious awards and medals. She was named by PRINT Magazine, in its 40 year Design Retrospective, as being among the elite group of artists who had created the most innovative designs in the United States over a 40 year period.

Judith paints portraits, still lives and landscapes in both pastels and oils. Her work has garnered many awards, medals and honors some of which are: Elected a Signature Member of The Pastel Society of America, Elected into the International Association of Pastel Societies’ Master Circle, a Fourth Place and Honorable Mention from the Portrait Society of America, a Finalist in Artist’s Magazine Annual Competition, a First Place and Second Place Award from the Pastel Society of the West Coast, a Finalist in Richeson75 International Exhibition, Audubon Artist’s 70th Annual Silver Medal of Honor, and four Best in Show from the Pastel Society of New Jersey, among many others. She was selected as the monthly featured artist for the Pastel Society of America. Her work has appeared in the Slater Memorial Museum, Norwich, Connecticut and is in the permanent collection of the Mayo Performing Arts Center. She is an Elected Member of The Salmagundi Club, New York City, New York.

She gives workshops and demonstrations throughout the United States.

“Judith’s art reflect “her up-beat, colorful and personal view of the world around us.”

“I especially love painting people in their personal comfort zones. People have their lives etched into their faces. To me that is true beauty. It’s the intimate moments that define a life and I try to capture these fleeting impressions in my paintings.”

Judith graduated cum laude from Boston University’s School of Fine Arts and served for six years as Program Director on the Board of the Pastel Society of New Jersey.

Her work can be found in both public and private collections. www.judithleeds.com

PSWC HOUSEKEEPING

EXHIBITION NEWS

Our premier event, PASTELS USA: 99 Voices in Pastel is celebrating it’s 37th year in 2023. We will be exhibiting at the Haggin Museum in Stockton, California from August 31, 2023 to October 29, 2023. Come Join us for our awards ceremony on Saturday, September 9th from 2:00 p.m. - 4:00 p.m. This is a wonderful opportunity to meet many members of PSWC and see the outstanding work from pastel artists around the world.

ALWAYS LOOKING FOR VOLUNTEERS

Members, we need your other talents, too! We have the lots of opportunities for volunteers from working on the PASTELS USA Show to hosting Paint-outs to working on the Magazine. Please contact Pam Comfort for more information here.

MEMBERSHIP DRIVE

One of the best ways to support a healthy society is to bring in new members. There are lots of good reasons to join. If you have artist-friends who are not members, now’s the time to invite them to join. Contact Karen Jones, if you have questions or would like more information.

WORKSHOPS

If you are looking for a workshop to take or are a pastel teacher looking to teach a workshop, contact us! Jean Myers is our workshop coordinator, and she is awesome. We are currently offering in-person and ZOOM classes with some of the best pastel teachers on the planet.

NEW MEMBERS - 2023

ELECTED BOARD POSITIONS

President/Scholarship

& Regional Reps

Pam Comfort

e: pam@pamelacomfort.com

Vice President/Editor

Sabrina Hill

e: Art@sabrinahill.com

Secretary Bonnie Griffith

e: bzgriff53@gmail.com

Treasurer

Deborah Pepin

e: deb.treas.pswc@gmail.com

COMMITTEE APPOINTEES

Eblast Coordinator/Publicity

Cynthia Riordan

e: clriordan@gmail.com

Facebook/Social Media

Jennifer Von Bergen

e: jenandjewel@gmail.com

Membership Chair

Karen Jones

e: pswcmembership@gmail.com

MOOS & PASTELS USA Chair

Dug Waggoner

e: dugwaggoner@att.net

Museum Liaison

W. Truman Hosner

e: truman@wtrumanhosner.com

Ways and Means

Francesca Droll

e: fd@abacusgraphics.com

Website Coordinator

Diane Breuer

e: diane@dianebreuer.com

Workshop Coordinator

Jean Myers

e: jeanmyers1990@gmail.com