PSWC Magazine Fall 2024

PASTELS USA: 99 VOICES IN PASTEL 2024

See all the award winners and accepted entries

Artist Barbara Jaenicke talks to Pamela Comfort

Meet the Members

Meet four of our wonderful Members! Our Featured Artist

Art School

Dawn Emerson on Ink and Pastel

PSWC magazine

FEATURES

SPECIAL SUPPLEMENT

PASTELS USA 2024 Winners & Accepted Entries

Featured Artist Barbara Jaenicke talks to Pamela Comfort

Meet the Members

Addren Doss, Linda Dragonette, September McGee, and Nancy Ness share their stories

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ABOUT ART

We Talk Art Bonnie Griffith on her Chat series for PSWC

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Art School Dawn Emerson Explores using ink and pastels

Art Workshops Workshops Coming 14

REGULARS

Letter from the PSWC President From Pamela Comfort

Letter from the Editor From Sabrina Hill

News & Notes Happenings around the globe with PSWC

PSWC Housekeeping Here’s who’s new in the Society

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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 2024.

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.

We are presenting four members of the society in our Meet the Members section. Addren Doss hails from North Carolina. As I was checking some final facts for the issue she told me she is raising money for victims of Hurricane Helene in Ashe County, North Carolina, which holds a special place in her heart. If you would like to buy a piece of her beautiful artwork (proceeds to go to Ashe County) go to her website at www.addrendoss. com). You will also meet Linda Dragonetta, a lovely woman from Florida who is losing her sight. Undaunted, she continues to paint. That’s inspiration in action! September McGee is a prolific painter who is as interesting as she is talented. Nancy Ness is from New York, and her work is vibrant and full of color and movement.

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.

Dawn Emerson has put together a fun and fast project for our Art School feature. Give it a try!

Our next issue will be out in December, 2024.

Happy Painting,

“I found I could say things with color and shapes that I couldn’t say any other way--things I had no words for.”

Georgia

O’Keeffe

PSWC Vice President and Editor, PSWC Magazine

Sabrina Hill

Contributors

Pam Comfort, President PSWC - In addition to serving as President, I chair the Scholarship Program, one of the ways we support students planning a career in art. My background is in the field of education. I earned a doctorate in Educational Leadership and Organizational Management, and retired from my position as Deputy Superintendent of Schools for Contra Costa County in 2018. Having only dabbled in art and music throughout my life, I discovered after retiring that I loved the immediacy and tactile satisfaction of working with pastels. love to travel and aspire to create art that communicates a strong sense of nature, culture and place. www.pamelacomfort.com

Dawn Emerson is a contributing writer for the Pastel Society of the West Coast publication. She is an artist, teacher, and author from Oregon. Her colorful, vibrant works bear her distinctive signature style. “My studio is my “innovation laboratory” where I push myself to keep growing as an artist. At the end of each day, no matter the result, I thank the beautiful kindergarteners who taught me to make art come “alive” through play. www. dawnemerson.com.

Bonnie Zahn Griffith PSWC, Secretary of the PSWC - is a current resident of southwestern Idaho and spends significant time in MT and UT painting throughout the year. She participates in numerous plein air events in the western US, judges competitions and offers workshops in pastel techniques, both studio and plein air. Her work is represented by galleries in MT, ID, OR and WA. Collectors include corporate and private throughout the US, Canada and Australia. Bonnie’s work can be seen on her website www.bonniegriffith.com

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!

We. Are. Pastelists.

Join the most dynamic pastel group in the USA for less than 25c per day

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!

Desk of the President

Dear Members,

As usual, the summer and fall have been busy times for PSWC and for our members. We’ve had wonderful guests on our We Talk Art series, informative demonstrations and presentations at our Membership Meetings, fun daily painting challenges and the beautiful Pastels USA: 99 Voices exhibition is just opening at the Brea Gallery in Brea, California.

Personally, I spent a couple of weeks touring Portugal in September with my husband, Scott and my sister, Delcee. We visited historic locations in Porto, beautiful wineries in the Duoro Valley, plenty of churches and chapels, a Lusitano stud farm, and an exquisite tapestry museum. Three highlights included a visit to Monsanto (the most Portuguese village in Portugal), lunch at the home of a host family in Beja, and a Fado performance in Lisbon.

I didn’t paint while touring Portugal, but if you want to see beautiful painted impressions of many of the sites I visited, peruse Nancie King Mertz’s Facebook page. She was about four days behind me in many of the same locations! Terri Ford landed in Lisbon a couple of weeks later to travel Portugal in the opposite direction and then continue on much further. Actually, it seems that this past summer and fall there were many artists I knew posting on social media about traveling, painting and gathering inspiration from being out and about in the world. Others were rediscovering the beauty of their own backyards and communities and reminding us that there is inspiration everywhere!

You’ll see in this issue that we have announced a new exhibition to be added to our line-up. We are very excited to partner with Art Center Morro Bay and Tony Allain for the inaugural event! Read the article about our “New Baby.” We will also be striving to have bi-monthly We Talk Art interviews and bi-monthly demonstrations in 2025. And…

Thanks to my aforementioned, amazing sister, Delcee we have a brand new, streamlined and easier to navigate website! Yay!! We’ve eliminated some of the menu redundancies, cleaned up some of the pages, and generally made it prettier and more readable. We hope you like it as much as we do! Thank you, Delcee!

I’d like to also thank Kelly Ann Hine, who has stepped up as our new Challenge Cheerleader! She keeps us motivated during the challenges and also is the “chief in charge of the checklist” monitoring who is submitting daily and therefore eligible for that drawing at the end of the challenge. Having someone willing to take on that job is very, very helpful! Along those lines, if you think you would like to help out with a onetime or ongoing effort, please let us know. We’re a pretty friendly group, and we can always use another hand.

I can’t close without expressing my deepest heartfelt sympathies for everyone impacted by Hurricane Helene. The devastation is unimaginable and the road to recovery will be long. If you’d like to hear from one of our own about what is happening in the arts districts and how you can help, please visit the Facebook page of Terrilyn Dubreuil. Let us continue to send prayers of strength, and anything else each of us can to our brave and resilient friends in the area.

United through art,

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!

Tim Murphy Art Gallery

Ugo Paradiso is part of a three artist show at the Tim Murphy Gallery in Merriam, Kansas. The show, Colorful Reflections, runs from November 7-30, 2024. Ugo is a long-time member of the PSWC . He recently broke his shoulder and has spent his recovery teaching himself to paint with his left hand and writing a book. www.ugoparadiso.com

Susan Kuznitsky Workshop

Coming up in November

3-Day UART Pastel Workshop

“Autumn and Winter Colors in Pastels“

Central Art Supply, Medford, Oregon

November 1st – 3rd 2024

9:30 am – 4:00 pm, Daily

Skill level: Beginner to advance

Price: $375.00

SUsan’s classes fill up quickly, there ar a few spots left in this one. She has just returned from teaching in Greece and Italy, so she has lots of stories, inspiration and tips for capturing the flavor of the seasons. www.susankuznitsky.com

Lost and Found #2 by Ugo Paradiso

Winter Colors by Susan Kuznitsky

Announcing Our New Baby!

by Pamela Comfort

This past spring, in a conversation with one of my best brainstorming partners, Bonnie Zahn Griffith, we talked about some of the posts we’d been seeing on social media about pastel artists using final fixatives that eliminated the need for framing. Bonnie had recently sent me the link to a demonstration that Judith Smith (nightwingstudio.com) did for the Northwest Pastel Society. Judith, a fascinating and accomplished artist, was showing how she uses acrylics and Damar varnish with pastel on unframed canvas! It blew my mind.

Bonnie and I thought the time was ripe for hosting a discussion panel to further explore the methods being employed by Judith and a couple of other pastel artists who enjoy pairing art with science. I contacted the woman who literally wrote the book on innovation – Dawn Emerson (dawnemerson.com), and another insanely creative artist who considers her studio a “laboratory” – Kelly Milukas (kellymilukas.com). I had recently taken a virtual workshop from Dawn and was signed up for Kelly’s upcoming workshop at IAPS.

media dialogue. One afternoon, while sitting in a demonstration next to Barbara Archer-Baldwin, she pulled a small, folded piece of sanded paper out of her pocket and handed it to me. It was a sweet little pastel with beautiful, vibrant color. She encouraged me to rub a finger over the surface. Nothing came off! I was, again, blown away.

After the convention, Bonnie and I continued to talk about the idea of promoting pastel innovation in a more tangible way. Those conversations eventually led to the decision for PSWC to add a third show to our 2025 calendar – Out of Bounds! is a show for unconventional pastels. We are not the first society to offer an exhibition opportunity for mixed media pastels. The Central Massachusetts Pastel Society has sponsored Pastels Plus for two years now. However, I believe we are currently the largest and oldest pastel society to add such a show to our offerings.

To our delight, all three artists agreed to participate in the We Talk Art panel discussion on May 26, 2024. Bonnie skillfully moderated the discussion during which the artists talked about their art journeys and experimentation, use of mixed media, unconventional practices and marketability, as well as their thoughts on pastel competitions. Those who missed it can find the link to the recording of that fascinating conversation at www.pswc.ws/we-talkart/

When I arrived at IAPS in June, I was engaged in, and overheard, a number of conversations about the discussion panel and the related social

The inaugural Out of Bounds! 2025 will be held at the Art Center Morro Bay in Morro Bay, California from April 3 – May 11. A forthcoming prospectus will describe the rules for the show, and explain which typical rules may be “broken” in this instance. Our show judge will be the esteemed artist, Tony Allain. Tony will be present for the awards reception which will take place on Sunday, April 19, 2025 at 4:00pm. Tony will also be conducting a three-day workshop for PSWC at the center on Wednesday through Friday, April 16-18, 2025. Registration for the workshop will open toward the end of 2024.

We are so excited to be offering this new exhibition and hope that you will be inspired to submit your beautiful, innovative works for consideration! Stay tuned for more information!

Artist & Judge Tony Allain

July 2024

Challenge Three - Winners

The Challenges 2024

CHALLENGE ONE: DONE!! February 1st - 10th, 2024: Animal Instincts 10-day challenge #PSWC10N10- Create a portrait in a realistic or impressionist style of a pet or wildlife. Keep textures and personalities in mind as you create.

CHALLENGE TWO: DONE!! April 1st – 10th, 2024: Complementary Colors 10-day challenge #PSWC10N10– Delve into the use of complementary colors to create an interesting work. Use complements to create contrasts when values are compressed, or add vibrancy and visual interest to a painting. Using complementary pairs like blue and orange, or red and green, in strategic areas of your artwork can make elements pop and draw the viewer’s attention.

CHALLENGE THREE: DONE!! July 1st - 10th, 2024: Sunshine and Shadows 10day challenge # #PSWC10N10- Summers days are filled with contrasts of bright sunshine and deep shadows, or dappled sunlight through the trees. Capture a bit of summer in this challenge.

CHALLENGE FOUR: October 1st - 21st, 2024: The Big Challenge, 21 paintings in 21 days #PSWC21N21–. Great way to get some holiday gifts done or ready to sell. You may even create the painting you enter in MOOS in 2025! Here are the rules:

Members Only

Any subject

Any size – though we recommend 6”x6” to 9”x12” for the sake of speed

Mostly pastels

Must post every day to be entered into prize-drawing

Quick studies are OK

New work only

Posting Rules:

• Please post on our PSWC Facebook Page with a commentary about the painting (a paragraph is plenty)

• Include Hashtag at end of post #PSWC10in10 or #PSWC21in21

• You may comment on other artists’ paintings, but this is not a critique. No negative comments.

Suggestions for process:

• 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.

Ducks by Ellen Craft

Couple Sitting by Karen Horne

Boats by Judy Miller

July Painting Challenge Success

July’s Sunshine and Shadows 10-day Challenge was an inspiration for members to capture a bit of summer. Artists posted works highlighting the contrasts of bright sunshine and deep shadows and dappled sunlight through the trees, as well as still life subjects with depth and form created through the careful manipulation of light and shadow. The importance of the concept can’t be understated. There have been volumes written about the importance of capturing light and shadow. Doug Dawson tells us that “With a better understanding of how light affects the objects it illuminates and casts in shadow, you can create a kind of magic that can make your painting appear to be illuminated from within.” (Capturing Light & Color with Pastel, 1991)

Bonnie Zahn Griffith asked other participants what they planned to do with their collection of studies from the challenge, adding that she often offers a selection of these mini (6x6) “field studies” for sale unframed for around $100-125. She says, “Lots of collectors like this (and I’ve found they still buy larger more complete studio works). Sometimes I

sell some to benefit a cause like Meals On Wheels or my local Food Bank. And some are framed and reserved for galleries who are wanting small works.”

Jan Prisco shared, “I plan to give mine away, the tiny ones, when I do open studios later this year which I have not done in over ten years. Buy a painting, get a 5” x 7” study as a thank you.” Ellen Gust said that she gives away all of her 5” x 7”s at the end of the year, putting them into large envelopes/cards from Home Depot and sends through the regular mail. Cindy Gillett sells hers at a reduced price on Dailypaintworks.com and the remaining ones go into local shows or are donated to a cause...or, go up on her walls at home.

Big congratulations go to everyone who participated, especially those who posted each day and the winners of the random drawing for $100, Judy Miller, Ellen Craft and Karen Horne.

Here are some of the studies posted by participating members, along with some of their comments about the event.

Stay tuned and mark your calendars for our big, 21day Challenge coming up on October 1-21, 2024!

Trees by Chris Williams

Summer-ade by Norma Miller

Comments from Facebook

Waves by Karen Glancy

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.

2024 AWARDS

Distinguished Pastelists

Nancie King Mertz, PSWC-DP

Jim Tyler, PSWC-DP

Signature Members

Robin Angelides, PSWC

Marcia Ann Ballowe, PSWC

Stephanie Brown, PSWC

Mike Ishikawa, PSWC

Lucinda Johnson, PSWC

Carmen Lamp, PSWC

Margaret Larlham, PSWC

Darcie Case Roberts, PSWC

Sarah Rose, PSWC

Jill Storey, PSWC

David Wolfram, 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

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

The summer has been a whirlwind! The plan to do this quarterly went right out the window. We Talk Art connected with three fabulous guests in three months. Each of these individuals talked about their life journey of art, each were different yet so inspirational.

July: It was a pleasure to meet and visit with Mark Ivan Cole. He enlightened the audience about art materials (new to some including me), and his journey in the art world. Mark is a gifted artist with a big heart and solid work practices in the arts.

August: I interviewed Doug Dawson, an artist whose work I have long admired. His art journey, like so many others, has been long, interesting, and ongoing! He is offering workshops (see information in Art Workshops).Doug shared some of his colorful and masterful works and talked about each one.

September: I sat down with Albert Handell, a kind and most interesting master of pastels. He took us into his studio, showed his workspace, and shared some of his works in oils and pastels. He offered up many anecdotes and little nuggets of information about art and life.

Moving forward: I am looking forward to visiting with Bethany Fields on October 20, 2024. Bethany is a talented and accomplished pastelist, and I have long been a fan. I am sure you all will be interested in hearing her story and what she finds fascinating about pastels! Put this on your calendar!

In 2025, the goal is to offer We Talk Art every other month, rotating Saturdays and Sundays at noon throughout the year. Artists who will be offering a workshop with PSWC will also be interviewed for a We Talk Art session prior to the workshop. This is a fantastic way for students to get to know a little bit about the instructor while deciding if their workshop is for you.

As always, I am interested in hearing from the membership, people you would like me to contact to be a guest on the Zoom. I will be contacting both artists, pastel manufacturers, gallerists and others who may be engaging and informative guests for our membership to engage with on “the show!”

Bonnie Griffith

Bethany Fields, W.I.P.

Albert Handell We Talk Art

September 15, 2024

Mark Ivan Cole We Talk Art

July 15, 2024

Doug Dawson We Talk Art

August 18, 2024

The 38th Annual International Open Exhibition

99 Voices in Pastel 2024

PASTELS USA 2024: 99 Voices in Pastel

The 38th Annual International Exhibition of PASTELS USA 2024: 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.

Exhibitions like this take a village, as the saying goes. We are fortunate to have a wonderful group of people who stepped up and embraced this year’s project. President Pamela Comfort kept everyone on track through the process. Francesca Droll, managed the exhibition along with Peggy Davidson Post. This involves countless hours contacting vendors, venues, shipping agents, working with jurors, the judge, and all the entries. Katie Chidester of the Brea Gallery and her crew did an amazing job of getting everything gathered and hung Thank You! Finally, our deep gratitude to our jurors, Jane McGrawTeubner, Marshall Noice, and Marie Tippets for the terrific job they did in assessing the entries and to Amanda Zimmerman for her expert judging and her insightful commentary on the top four pieces.

Each year, the PSWC works to make our premiere show the best possible exhibition. This year, we returned to our roots after a brief experiment dividing categories into realism, impressionism, and modern contemporary. While the idea of this was founded in a desire to encourage all types of art, it proved confusing to those entering who struggled with choosing the correct category unwieldy when it came to judging and awards. After many discussions, we decided to return to a more traditional show this year. However, you will see on page XXX that a new show has been introduced that will allow our more contemporary and experimental artists to have a place to shine.

Thank you to every person who entered this year’s show. It is an honor to have your beautiful works to consider. For those who got acceptance letter, congratulations. You should be proud of yourselves! For those who did not make it into the show, remember that there are no hard and fast rules about what gets accepted. and each year, different judges and jurors make different decisions. Every single winner in this show has had rejection letters. It part of the game. So keep painting, and keep entering! We love you all!

PASTELS USA 2024: 99 Voices in Pastel Judge of Awards, Amanda Zimmerman

Amanda Zimmerman has been in the art industry for over two decades. She holds a BFA in studio arts with a concentration in photography, sculpture, and printmaking. Her experience in the arts ranges from her education as a studio artist through to her professional career. Amanda spent five years at the Knowlton Gallery in Lodi, California, before moving on to the Haggin Museum, Stockton, California, where she served as the marketing and publicity coordinator for just under five years. She left the museum to become the executive director of American Women Artists (AWA), a national arts organization that supports women artists. While her time at AWA was brief, Amanda gained a deep connection with women artists throughout the United States and Canada. There she organized an annual museum exhibition and an online exhibition for the artists members with the goal of providing additional exposure for women in the arts. In 2021, Amanda returned to the Haggin Museum, where she now serves as the director of marketing.

PASTELS USA: 99 Voices in Pastel Jurors

Jane McGraw-Teubner is a Signature Member/Master Pastelist, Pastel Society of America. She received her “Eminent Pastelist” status from IAPS in June, 2022. In August, 2022, Jane was invited to participate as a demonstrator with “Pastel Live!”, an online program sponsored by Plein Air Magazine. Jane was chosen as “Member of the Year” by the Catharine Lorillard Wolfe Art Club in 2019, at their Annual Juried Show held at the National Arts Club, NYC. Her work was on the cover of Plein Air Magazine, with a five-page article, Oct/Nov 2017. She is included in “Pure Pastel” a nationally published book about pastels released 2019. In 2014 and 2015, she was invited to be a demonstrator and artist at the Plein Air Convention held in Monterey, California, hosted by Plein Air Magazine. Jane’s artwork has been featured on the cover of the 2013 December issue of the Pastel Journal along with another article. She was Featured Artist December 2017: Huntington Times News, New York. Jane is a resident artist in the Salmagundi Art Club, New York, and is on the Board of Directors for the Catharine Lorillard Wolfe Art Club. Jane teaches in her home in East Northport, New York and at the Atelier at Flowerfield, St. James, New York.

Marshall Noice has been creating images of landscapes for nearly a half century. He works extensively in photography, oil painting and pastel painting. Noice also works in traditional printmaking methods including etching, collagraph, and monotype. His art has been the featured in dozens of magazine articles and is included is several books. In 2013, his paintings of the Tetons were chosen for the publication voted 2013 Art Book of the year by the National Booksellers Association, Art of The National Parks, Historic Connections, Contemporary Interpretations. In 1993, Noice was honored with the Montana Governor’s Cultural Trust Award. In 1999, he received the Flathead Valley Cultural Achievement Award. In 2012, he received grants from The Montana Arts Council, and The National Endowment for The Arts. Noice serves on the Montana State University School of Art Advisory Council. Noice’s art has been showcased in over 150 museum and gallery exhibitions. His work is shown in galleries across the country and is in the collections of museums worldwide. He lives with his family in Kalispell, Montana.

Marie Tippets began drawing at a very young age inspired by cartoon drawings and fashion illustrations found in the local newspaper. She was born and raised in upstate New York, and received a Bachelor of Fine Arts Degree from Nazareth University. Her parents encouraged her to pursue an education in the arts which broadened her awareness and knowledge of fine art. Weekly trips to galleries and museums was a college requirement followed by critiques and discoveries of what was observed. That traditional schooling became the core upon which her artistic skills were built and remains the guiding foundation of her work today. While figurative work and landscapes are a part of Marie’s repertoire, her focus is on still life. Creating exciting relationships with shapes, color harmonies, patterns and simplicity, she works with natural sunlight, often placing elements and waiting to see what magical occurrences appear on any given set in afternoon setting sun.

PASTELS USA 2024: 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 2024: 99 Voices in Pastel Show Winners

DANIEL E. GREENE MEMORIAL AWARD: BEST IN SHOW

The Artist’s Scarf by Laura Mocnik Flat Rock, Michigan

Judge’s Notes: As I surveyed the beautiful artwork on the walls of the Brea Gallery, this stunning pastel kept catching my eye. The subject’s facial expression exudes peace and calm as light illuminates from behind. The artist gives just the right amount of information from the details in the face and scarf, yet leaves the rest up for the viewer to complete the story. A truly stunning piece of art.

1st PLACE: WAKEHAM/ SUTHERLAND AWARD

Broadway Rain by Andrew McDermott Vancouver, British Columbia

Judge’s Notes: The artist’s use of bright colors and broad strokes give this pastel painting a vibrancy that draws the viewer in. Strong curved lines and color saturation are used to draw the eye upward towards the action of the scene. As my eye moves around the painting, I can hear the sounds of raindrops falling and cars splashing water as they drive by.

2nd PLACE: PRESIDENTS’ AWARD

COMFORT FAMILY, GOODMUNDSON FAMILY, & HILL FAMILY

Judge’s Notes: This pastel drawing of leather-bound classic books stacked on a shelf is reminiscent of a Dutch still life. Are the titles arbitrary or do they tell a story? The dark background allows the books to be highlighted in the foreground as they are lit from above. The level of detail in the bound books is absolutely remarkable.

Classics by Bithia Bjurman | Lake Oswego, Oregon

3rd PLACE: MARLA BAGGETTA & PASTEL PAINTERS OF CAPE COD AWARD

A Choir of Canaries by Karen O’Brien University

Place, Washington

Judge’s Notes: A Choir of Canaries absolutely radiates light and warmth. This abstract painting is layered with deep orange, yellow, and black creating texture and movement throughout the artwork. It’s luminosity invites the viewer to linger and discover new elements of the composition – a remarkable visual journey.

PLEIN AIR MAGAZINE & STREAMLINE PUBLISHING AWARD

Tehachapi Dawn by Otto Stürcke Valencia, California

Graceful Flow by Jim Tyler San Luis Obispo, California

Soar by Christina Williams Daly City, California

ROYAL TALENS AWARD

CLAIRFONTAINE PASTEL MAT AWARD

JACK RICHESON AWARD

DAKOTA ART PASTELS AWARD

FASO/BOLD BRUSH AWARD

SCHMINCKE & TOWNSEND AWARD

Sunshine on a Cloudy Day by S.A. Kushinka San Francisco, California

Light on Rouen by Nancie King Mertz Rockford, Illinois

Daydreams are Real by Mary Aslin San Juan Capistrano, California

Angel’s Light by Katherine Irish Placitas, New Mexico

TERRY LUDWIG & CANSON AWARD

PASTEL SOCIETY OF AMERICA

H.R. HOLBEIN, INC AWARD

BOBBYE WEST THOMPSON AWARD

Home Sweet Home by Lynn Attig Redondo Beach California

Internal Combustion by Laura Pollak Greensboro, North Carolina

Fog Setting In by Clark Mitchell Cotati, California

Future Applesauce by Barbara Archer-Baldwin Tucson, Arizona

SHOW SUBMIT AWARD

Ocean Vibrations by Carmen Lamp Westlake Village, California

Jojo by Natalie Richards San Bernardino California BLICK ART SUPPLIES AWARD

Glory in the Sky by Karen L. Jones Lincoln, California

Playin n Plastic by Kayla Smith Redlands, California

AIRFLOAT SYSTEMS AWARD

EARTHBERRY PASTELS AWARD

GOLDEN PEAK MEDIA

GIRAULT PASTELS AWARD

Desert Splendor by Linda Mutti Santa Barbara, California

Big Valley Summer Skies by Lucinda Johnson Roseville, California

AWARD

Glass Half Full by Harsha Rodage Portland, Oregon

Sidewalk Politics by Gerald Boyd Galt, California

AMPERSAND ART AWARD

PAT ARAGON STODDARD AWARD

GOLDEN ARTIST COLORS/PAN PASTELS AWARD

MITZI LAI AWARD

Bloom and Shimmer by Stephanie Jean Brown Philadelphia, Pennsylvania

Shimmering by Sarah Rose Bayfield, Colorado

In Mourning by Judith Kazdym Leeds Montville, New Jersey

Rice Harvest by Anne Spivey Atlanta, Georgia

DEBORAH PEPIN AWARD

JANE WIRTH AWARD

UPSTAIRS ART GALLERY AWARD

JEAN CHOI AWARD

Cottonwoods of the Owens Valley by Mike Ishikawa Palos Verdes Estates, California

Jakazena by Lisa Rico Vacaville, California

Green Valley Vista by Dug Waggoner El Cerrito, California

New Mexico Morning by Pamela Comfort Placerville, California

ACCEPTED ENTRIES

First Day of Spring by Robin Diane Angelides, Santa Monica, California

Chilled by Patti Arbino Northridge, California

Captivated by Marcia A. Ballowe Great Falls, Montana

Meadows Beach by Jennifer Blackburn San Rafael, California

Mustard Madness by Dawn Buckingham Orange, California

Meadows Beach by Jennifer Blackburn San Raphael, California

Tranquility by Jean Choi Orange, California

Together by Johanne Boisvert Notre-Dame-De-Pontmain, Quebec , Canada

Glitter Drift by Christine Debrosky Clarkdale, Arizona

Thompson River by Thomas Frey San Luis Obispo, California

North Shore by Dori Dewberry Orange, California

Swan River Blues by Francesca Droll Bigfork, Montana

Conundrum by Bonnie Zahn Griffith Meridian, Idaho

Smelling the Roses,by Karen Glancy Carpinteria, California

Suits and Shoes by Marie Yoshiko Gonzales Folsom, California

Leaning by Doug Graybeal Carbondale, Colorado

Above The Curve by Ellen Gust Palo Alto, California

Garden Whispers by Tatsiana Harbacheuskaya Las Vegas, Nevada

Sunlit Pastoral Ranch by Paul Harmon Auburn, California

Plunge In by Carolyn Henderson Nipomo, California

Summer Glow by Deborah Henderson Olympia, Washington

Old Dog New Tricks by Diann Johnston Morro Bay, California

The Art of Nature by Janet Johnson Menifee, California

Around the Bend (Truckee River) by Inge Ivens Nevada City, California

Morning Glow by Kelly Ann Hine Santa Ynez California

Mount San Jacinto by Bill Kaufmann Palm Springs, California

Portal by Rachel Joob Costa Mesa, California

Spanish Sunlight by Susan Kuznitsky Portland, Oregon

Lemonadeberry Xmas by Margaret Larlham San Diego, California

Golden Summer by Laura Lovett Larkspur, California

The Promise of Spring, by Jody Martin Kyle, Texas

Marbles by Matt Lister El Dorado Hills, California

Twilight in Albas by Suzanne Leslie Ashland, Oregon

Cove in Winter by Dona Bostrom Lewinger Normandy Park, Washington

Marsh Magic by Eveline Miller Saint Mary, Georgia

Dancing In The Moonlight by Jean Myers Newbury Park, California

Treasurer Hunt by Jan Y Miller Roseville, California

Out to Pasture by Karen A Miller Healdsburg, California

No Traffic by Billy Moro-Wey Brooklyn, New York

The Green Leaves of Summer by Shannon O’Dunn Boulder, Colorado

The Blues by Jolene Paige Lake Forest, California

Dawn Glow at Punchbowl by Wendy Lynne Peterson Roberts, Wisconsin Pastels

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

October Surprise by Sandra Place Santa Fe, New Mexico

Just Peachy by Jane E. Robbins

Saunderstown, Rhode Island

Seaside by Peggy Davidson Post Pebble Beach, California

When Angels Make Cookies by Darcie Case Roberts Yakima, Washington

The Walking Path by Barbara Reich Traverse City, Michigan

Sunlit Path by Ann Sanders Goleta, California

Purple Reign by Mary Russell Folsom, California

Celebration Park #3 by Jill Storey Boise, Idaho

It’s Not Easy Being Queen by William Schneider Naples, Florida

Morning Joy by Tamra Sanchez, Santa Rosa, California

After the Storm by Rachel Sylvers Thousand Oaks, California

Wildflowers of Summer by Carol Strock Wasson Union City, Indiana

Vendors by Sally Strand Capistrano Beach, California

Back Country Color by Teri Taber Santa Barbara, California

Hummingbirds’ Delight by Carol Talley Santa Barbara, California

The Evening Walk by Sharon Will Washington, Michigan

Breaking 2 by Bobbye West-Thompson Los Osos, California

Big Cascade Creek by Jill Stefani Wagner Saline, Michigan

Little Red by Nori M. Thorne Sedona, Arizona

Ghost Ranch Hike by Kathryn Young Cherry Valley, California

Looking to Coit Tower by Kikuko Young Fresno, California

Desert Morning by David Wolfram La Quinta, California

Divide Between the Woodlots By Avon Waters Converse, Indiana

- Alexander Den Heijer

Rembrandt Soft Pastels have been the world’s most commonly used pastel since 1924. Each color in the extensive range is made according to a unique formula. The raw materials used for each new batch go through very strict quality control. Rembrandt Soft Pastels are based on the purest types of kaolin and high concentrations of premium quality pigments that offer the highest degrees of lightfastness.

“Successful people are not gifted; they just work hard, then succeed on purpose.” —G.K. Nielson

Pam: Did you always consider yourself an artist?

Barbara: I suppose I did from the time I was a teenager, but simply as a hobby at that time. Back then, I never thought it would be my career, or even realized that it could be a career. I always loved art and thought, it sure would be fun if I could do something art-related as a living. It never occurred to me to be a fine artist. I wanted to be able to earn a living right out of college and then, later in life, I hoped to continue it as a hobby. So that was my thinking when I was in my teens, and early adulthood.

I can’t say that there were any teachers, family members or friends who identified me as a gifted artist when I was a child. Honestly, I wasn’t actually very good at it in my younger years, but it was something I enjoyed. In my later teen years, I became more motivated to learn, taking every art class elective in school that I could, plus additional painting classes outside of school.

Between graduating college and about 15 years later, I enjoyed careers in advertising and marketing, but got sidetracked from fine art during

Barbara Jaenicke

most of those years. In my advertising career, I was an art director, which allowed me some creativity, but not in a fine art capacity. It was an excruciatingly busy career where you work crazy hours. But it was also a fun career that I enjoyed. There was a little bit of sketching involved, but I wasn’t painting and doing the type of drawing that I enjoyed.

Barbara talks to Pamela Comfort and reminds us that success is no accident

Images by Barbara Jaenicke © All Rights Reserve

Our Featured Artist: Barbara Jaenicke

After about ten or so years in advertising, I decided I’d like to use the other side of my brain. I was getting a little burned out on coming up with creative ideas for advertising. It was a very conceptual type of advertising where you work with a copywriter, and you come up with clever ideas for ad campaigns. At a certain point, I started enjoying planning my projects more than doing the creative brainstorming. So I transitioned into marketing and I enjoyed that, too. I was working more reasonable hours, so I had more time to pursue art on the side by taking an evening class and painting on the weekends.

I learned so much about branding, marketing, and writing which helped me greatly in what I do now. Anyone who is self-employed needs to understand marketing. So that has been a big help and fed nicely into my career as a fine artist.

Pam: Most of the artists I’ve talked with have had

similar career trajectories before becoming full-time fine artists. Do you think we should be encouraging young people to pursue fine art careers out of college, is that a viable option?

Barbara: I’m not sure that it’s something easily pursued right out of college, but it may be easier than when I graduated from college in 1986. I don’t believe there were as many opportunities to make a living as an artist at that time. There are so many more painting workshops available now, which is a wonderful source of income for artists like me, and that wasn’t the case back then. There were classes, but not the workshop circuit that we currently have, and the population of artists wanting to take workshops has increased.

Still, even today, you can’t get a job right out of college selling paintings through galleries, putting together instructional materials and being invited

Our Featured Artist: Barbara Jaenicke

Alive! By Barbara Jaenicke

to teach workshops. It just doesn’t work that way. There is usually a long lead time of building up to that point. So, it is best to have some other plan. For example, some people will work in an art center and help run the center while they’re building their career or, start in another art-related career such as advertising or graphic design, like I did. There are many ways to go about it.

When we were starting our family, like so many people, I had a short time of being at home with my son, and was able to continue working my art on the side. I know a lot of women and stay-at-home dads who work their career that way, which is nice. My trajectory is pretty typical, I think.

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

Barbara: I don’t know if there’s been any one influence on my work. It’s really been a combination of many artists whom I’ve greatly admired during different phases of my painting journey. But I’ll

mention a few. Two of my favorite historical masters are Edward Harrison Compton and Claude Monet. Contemporary influences include Clyde Aspevig, Richard Schmid, Scott Christensen and Jill Carver. All of these art heroes of mine have the amazing ability to capture a genuine sense of light in the landscape, and they all do it with such an edited amount of information contained in the painting. This is what I aspire to in my own work. Their use of details is restrained so that they stay focused on a distinct, poetic visual statement about their subject.

They all create such a genuine sense of the landscape, and it looks very real. I don’t use the word realistic, because it’s not tightly rendered, but it creates the illusion of a very genuine capture of the landscape. Jill Carver’s work is much more loose, she has a little bit more of a stylized approach. But again, what she does is so edited. She is very much a colorist and she captures the light. Clyde Aspivig is someone who you would think is a fairly realistic painter, but if you were to either zoom in or look

Our Featured Artist: Barbara Jaenicke

Golden Light of Winter’s Day by Barbara Jaenicke

Grassy Bank by Barbara Jaenicke

at it from life, you would see how he is creating the illusion of a somewhat tightly rendered landscape subject matter, but it is so well edited that he captures the essence of the landscape with light and drama. Every brush stroke, every mark on the painting holds its weight. There’s no mark on that painting that doesn’t absolutely need to be there.

That’s really the case with all of them. Edward Harrison Compton painted one of my all-time favorite paintings. It’s a winter scene that if you look closely, is so loosely rendered, but when you back up, it looks so real and lifelike.

To me, that’s the absolute hardest way to paint, and takes the ultimate skill. I still definitely admire people who can paint very tight realism, because it’s a lot of timeconsuming technical skills that you have to work hard at developing. But for me, editing that down creates somethingand I know I use the term a lot – poetic. When the artist says more with less it strikes a little more of an emotional chord with me as a viewer. That’s the kind of thing that impresses me and draws me to an art piece – that illusion of something so visually dynamic achieved in an edited fashion. That’s what I strive for, and the people I have mentioned do it amazingly well.

full-time fine art in 2002, and you started teaching in 2004. Did you know that you would be teaching even before you were a full-time fine artist? Was there something about your earlier career that led you to teach?

Barbara: In my previous careers, I had no inkling whatsoever that I’d be teaching painting. The only other thing I’ve ever taught was gymnastics, which was one of my part-time jobs during high school and college.

A company layoff in my marketing career, timed with when my husband and I were planning to start a family, had me take some time to return to painting. Soon after that time, at a local pastel society meeting, another artist in the group suggested to me that I might consider teaching.

Since I wanted to have some part-time income while my son was young, I decided to give it a try.

I first tested the waters with a church group that invited me to offer basic drawing classes to their young adults. I priced the classes dirt cheap (in case I wasn’t any good at it!) and gave it try.

Pam: Has your artistic process evolved over the years, and if so, in what way?

Barbara: I’d say that my most notable evolution has been my process for editing the start of my paintings, which has allowed me to create a more painterly, poetic style in my work. Learning to begin with an edited, abstract assortment of shapes has allowed me to move more toward this approach. I’ve also developed methods for teaching this approach in my workshops and instructional materials.

Pam: Your bio says that you turned your attention to

Once I had a little confidence that I might actually be able to do this, I went on to teach drawing at a local art center. From there, I added pastel classes, and then also taught at various other local art centers. I later held classes in pastel and oil at my studio when I still lived in Atlanta. With a smaller studio in my current location in Bend, Oregon, I now focus on traveling elsewhere to teaching workshops.

I found out, as most people who start teaching art realize, that I’d taken enough classes and worked on boosting my skills enough on my own that I really knew more than I thought I did. Once you start teaching it to others, and this works for a lot of different disciplines, it reinforces what you know. You are able to articulate different processes more

Our Featured Artist: Barbara Jaenicke

Wave Action by Barbara Jaenicke

clearly. So it’s more solidified in your own mind and makes you a better artist as well.

Pam: It seems as though most artists who are really successful are also teaching. Obviously, it is a way of having a more steady income stream, rather than only waiting for the next buyer to come along. Do you ever feel conflicted between the amount of time that you have to simply focus on creating your own art versus the time it takes to prepare materials, travel and teach?

Barbara: You can’t control the ebb and flow of painting sales. So, yes teaching does provide a more even distribution of income. I do feel that I have to squeeze in my own painting time. It takes a lot of time management. It’s different for each teaching artist, depending upon your income needs. I have a son in college right now. It’s so expensive, I don’t know how people with multiple kids in college do it!

In order to teach, you absolutely have to keep up your own skill level. So, it’s a tough fight every day to make sure I can squeeze that in and get a certain amount done before I have to start preparing and heading out to a workshop. So it’s quite the balancing act, for sure.

go back from 2011-2018. I found it fascinating to read some of the details of your teaching. Beyond being a resource for your students, what value did writing the blog have for you as a teaching artist?

Barbara: I started the blog initially as a recap for my students who took classes from me at my studio. I would touch up my demos from the class after students left, and they enjoyed seeing the completed demo, and so I would post the image with the recap in the blog. As I wrote each blog post, it would often prompt more ideas for future topics to teach in my studio classes. I’ve also found that explaining teaching points in writing allows me to better articulate my process in future classes. It also forces me to think through decisions I make during my process, which allows me to reinforce those processes for future paintings.

Pam: You seem to me to be very disciplined. Is this something you can trace back to your parents or other family influences?

I think there was a time years ago, when you weren’t supposed to say you were making art for the money. But hey, when you’re paying bills and paying college tuition, you have to be smart about your income and your financial needs. I’m not rich by any means, but I take pride in being able to help support my family with what I do, rather than having to hold down a corporate job and try to paint on the side. I do think it’s become more acceptable to have it known that you earn an income from your art career.

Pam: You no longer blog, but your archived entries

Barbara: Honestly, I couldn’t tell you where that came from. I can’t really say that anyone in my family was necessarily quite like that. I know both of my grandfathers on each side of my family started their own successful businesses, so maybe there was something in the genes passed down from them. But, yes I’ve been like that since high school.

Before then, I was always a very average student and artist at a younger age. Once I got to high school, I decided I wanted to do better at everything. I came to that realization that, lo and behold, when I actually started working really hard at something, I could get better at it. So, once I started having success and seeing improvement, I just went with it. Whereas I earned only mediocre grades when I was very young, I decided I wanted to really push

Our Featured Artist: Barbara Jaenicke

I’ll Follow the Snow by Barbara Jaenicke

myself. I enjoyed seeing my progress in academics and with my art. I developed a work ethic.

I’ve always been organized and a list maker. I still keep my paper planner, and it’s filled with all my notes and everything I need to do. I’ve never stopped keeping a planner from when I worked in marketing. I never took to putting it all on my phone. I guess, since I’m an artist, I like paper and pencil, and being able to write it out and put arrows, move things from one day to another, that sort of thing.

I’m a planner, and it was funny, even when we had our son, I jotted down what day would be convenient to actually give birth to him, and that was the day he was born. My husband teases me quite a bit about that.

Pam: So, you are disciplined and strategic! You began providing instruction online before the pandemic led to a surge in online offerings. How did that come about?

Barbara: That came about when a student of mine back in Atlanta was taking painting classes from me. Adam Houston, a wonderful artist himself, has his own marketing and advertising firm, and he had a little flexibility in his schedule, so he would take classes from me every once in a while when I offered them at my studio. He later contacted me and asked if I would be interested in having him produce an instructional painting video. It would be a nice diversion from his usual client work, and allow him to incorporate something art-related into his day job. I had a ton of workshops lined up at the time and thought I didn’t really have time to do it. But he put together a proposal of how we would share the profits, and I looked at the numbers. I had heard of how other people were making money from their videos, so I thought it was too good to pass up. So, I crammed

it into my schedule, and it ended up being a great situation, and it still is.

At first, we thought we would create just one video, so we put together that first video and then for a few years after that I just kept coming up with more harebrained ideas to get more mileage out of PaintingThePoeticLandscape.com website we had in place. We added a second video, which focused on snow scenes, and then I developed written lessons on very focused topics. The written lessons (or “Written Tutorials” as they’re now called) were originally created to include a critique. Students could purchase the lesson from the website, and then upload their own painting based on the lesson, and I would provide a written critique. The idea was to extend the teachings provided in the videos with the written lessons that went into more detail on particular topics.

After building a library of a couple dozen written lessons, I eliminated the critique offering. It was more time consuming than I had initially anticipated, but I stuck it out for a couple of years, and then we priced each lesson down to only $5 each and now sell just the lessons themselves without the critique.

The videos and lessons have sold really well. And earlier this year, I added a book that compiles the lessons along with some added content, which is now also sold from the same instructional website.

I’ve covered so many concepts over the years, always trying to come up with new teaching ideas, and at a certain point I felt like I needed to step away for a little bit and re-energize my own creativity before pumping more into the teaching materials.

That’s sort of where I am right now. I’m teaching a

Our Featured Artist: Barbara Jaenicke

Icy Hot by Barbara Jaenicke

lot of workshops and trying to create my own work. So it remains a great business partnership, with Adam maintaining the website and fulfilling orders, and me doing the marketing for the videos, written tutorials, and the book, and answering questions that come up on occasion.

We had already transitioned the website to eliminate the critiques when the pandemic hit (yeah, weird timing), and so I tried instead to do some of the zoom teaching which I really didn’t like. I focus so much on the concept of color temperature, and that doesn’t translate over Zoom very well. I’d look over at my screen and realize that what was showing was almost the opposite of what I was trying to talk about. I was so thankful when inperson workshops were able to come back.

Pam: You do a lot of traveling to provide workshops, and your workshop topic titled Painting the Poetic Landscape is your signature offering. Do you rotate through other workshop topics, as well?

Barbara: I have four or five workshop topics that I teach. Typically, I teach my main workshop Painting the Poetic Landscape, which is more of a broad workshop covering a lot of concepts, the first time I teach at a venue. If I return within a year or two, I’ll usually teach one of my other workshops that zero in on something a little bit more specifically. There are a few venues that I return to every other year. There is a place in Vermont where I have been returning every two years for almost ten years. I sometimes have returning students, which is nice. So, I rotate through a variety of topics.

but for my artist self, I wish I could’ve told myself to squeeze in painting classes during my earlier careers. When I began my career in advertising, I worked in New York City, where I could’ve accessed a number of fine art classes. Advertising was a crazy, all-consuming career, which compromised my social life. Besides moving my art skills ahead at an earlier age, fitting in painting classes in the evenings or on the weekends could have also improved my social connections during that time.

Pam: What is the one question you wish people would ask you about your art?

Pam: What advice would you give your 20-year-old self?

Barbara: Oh, I could give you a long list for that! Much of it would stray from art-related topics,

Barbara: I suppose I wish people would ask me about what is really involved with achieving the painting skills that I have, and how I’m able to make a living at it. It’s such a common (and frustrating) misconception that skilled artists are born with the skill, and it’s simply a relaxing hobby. In reality, for those of us who make it our career, it’s the polar opposite of that. I think working through a challenging painting is every bit as difficult as figuring out a complicated calculus problem (I’ve done both!). My approach to painting is more in line with problem solving, working a puzzle, and interpreting, rather than copying a pretty scene. Also, I find that most people can’t fathom that it’s real work, and much of the tasks involved are the same as anyone who earns a living through selfemployment. The word “art” unfortunately tends to carry a stereo-type. Two of my three careers have had the word “art” in the job title. However, when I was a corporate marketing manager, I received a whole lot more respect for that career than the other two, but it was by far my easiest career. A lot of it has to do with whether or not you’re putting

Our Featured Artist: Barbara Jaenicke

Miles and Miles by Barbara JenickeI

pressure on yourself to create something that in the end is going to be marketable. Every once in a while, when I can fit it in, I’ll go to a figure drawing open studio, and I’ll just draw the figure. To me, that is somewhat relaxing. I’m still trying to get it right and there are times I get frustrated, but it’s a whole lot more relaxing than creating my landscape paintings in my studio. When I’m at the figure drawing session, I give one a try and however it looks, I just flip the page and try a new one. When I come home I just put it away, and I don’t have to sell it. I don’t have to teach it. It is just purely to improve my drawing skills. I feel good about it and I know that anything like that is going to contribute to my painting skills, but I’m not putting pressure on myself for that.

That pressure is the difference between a hobbyist and someone who makes art for a living. The work has to be good enough to keep moving your career forward and be income generating. When people forget that, and assume that you were born with talent and your work must be so relaxing, it can be frustrating because it dismisses a boatload of having your nose to the grindstone.

Barbara: Again, I can never narrow things down to just one. Here are two. From a Marc Hanson workshop, he advised us to keep the painting abstract as long as possible (to avoid a painting that’s too stiff and stagnant). From a Jill Carver interview I listened to awhile back, she explained how she got to a point in her career when she made a deliberate decision to become extremely selective about the work she puts out there, which allowed her to up her game. Both these tidbits have stuck with me. I learned to think in terms of shapes before subject, and I became comfortable with trashing mediocre paintings so I could push beyond them.

Pam: Alongside your recently published book, Painting the Poetic Landscape (2024), what great book about creating art is on your shelf?

Barbara: I’m embarrassed to say that I don’t actually have a huge collection of art books. But of the ones I do have, Richard Schmid’s Alla Prima book has been the most inspirational.

Pam: Do you still experiment with techniques or materials? What is on the horizon for you?

Pam: What is your biggest challenge as an artist?

Barbara: That’s tough to narrow it down to just one! It’s all challenging…the creating as well as the business side. On the creating side, I’d say that staying persistent to work through the bad paintings is the tough part. That’s something that never gets easier. The more you improve, the more improvement you realize is still to be achieved. On the business side, the challenge is fitting in the hours in front of the computer, which is really the challenge for anyone who’s self-employed in any field. For either challenge, time management is key.

Pam: What is the best advice you have ever received?

Barbara: Since my teaching schedule is quite busy these days, it doesn’t allow much time for trying new things, while also keeping up with gallery commitments and shows. I hope to gradually cut back on my teaching schedule in a few years, and possibly step out of my comfort zone a little. Not so much with different techniques, but maybe exploring other subject matter more than I have in the past, such as still life, figures/portraits, and maybe even animals/wildlife. As I mentioned, I occasionally attend a figure drawing open studio just to practice drawing from life, but it’s not something I currently incorporate into my professional work.

Our Featured Artist: Barbara Jaenicke

Sundown Shimmer Through the Pines by Barbara Jaenicke

Meet the Members

Meet a few of the members of the PSWC

This issue’s Meet the Members article is focused on a few PSWC members who push the boundaries with color , line, and abstraction. They are Addren Doss, from North Carolina, Linda Draggonette from Florida, September McGee from California, and Nancy Ness from New York. Though they all share a love for pastel they also reflect the diverse backgrounds and interests we enjoy learning about among our members. So, here is your invitation to get to know the four artists interviewed for this issue. These women are making contributions

beyond their art. From painting with a significant vision issue to raising money for Hurricane Helen victims, their impact will felt.

Ladies in Red by Addren Doss

Addren Doss

Addren Doss

by

Addren Doss is a master-signature member of Women Artists of the West, an associate member of National Oil and Acrylic Painters Society, and founding and charter member of The Piedmont Outdoor Painting Society. Her work can be found in many private and corporate collections across the country and internationally. She, her husband Ken, and lab River live in Greensboro, North Carolina.

Q: Can you tell us about your artistic beginnings.

A: For the first twelve years I worked in the corporate world as a draftsman for Western Electric in Atlanta, Georgia; and then as a graphics artist for the Federal Reserve Bank in Atlanta, Georgia. After moving to North Carolina in 1978 my husband, Ken, encouraged me to do something just for myself. I decided to take a drawing class at the local community college. That led me to taking 30 hours of fine art classes at the University of North Carolina at Greensboro. Shortly after leaving UNCG I discovered pastels and started taking workshops from professional artists. The first was from Ann Tempelton. The next was from Albert Handell. Once I began studying with Albert I never looked back. He became my mentor and taught me pastels and oil. I studied with him off and on for over 20 years.

Q: How would you describe yourself as an artist?

A: My representational work is realism with a leaning towards impressionism. I am a colorist in that I push color beyond what is in nature. The most important aspect of a painting to me is a strong sense of light, then comes movement and emotion. I also paint nonrepresentational works in oil and cold wax and am beginning to explore this world with abstract pastel landscapes. I love to teach and feel it is my responsibility to share what I have been lucky enough to learn from other artists. I teach landscapes in both pastel and oil, and nonrepresentational work in oil and cold wax.

Q: What inspires you today: Does that differ from when you were a budding artist?

A: When I first left UNCG I thought I would be a figurative painter and was painting children’s portraits in pastel. I had a medical issue with my eyes (am fine now) and did not paint for

Addren Doss

Images byAddren Doss © All Rights Reserved

Artist Jan Prisco

a year. When I began painting again, I focused on landscapes because they were easier for me to see and draw. Landscapes in plein air and studio have been the focus of my work for many years. Pastel at first, then I transitioned to oil. Over the years I would switch back and forth between the two mediums and slowly oil was winning out. Lately pastel has been calling my name again and I have pulled out my many boxes of beautiful color.

One day I painted a friend’s dog, and my love of painting animals was born. I have now painted over 200 pet portrait commissions as well as many other animals.

One constant in my landscape and animal paintings is a strong sense of light and bold color. Collectors have said “I can feel the wind in my hair and the sun on my face when looking at your landscapes” and “I want to reach out and touch your animals”.

I have painted many landscapes and animals from my travels out west and have been exhibiting those works in galleries and museums across the country due to my membership in Women Artists of the West. I am a Master Signature Member and board member of this wonderful organization.

Today you will find mostly landscapes and bovine paintings in pastel and oil coming off my easel.

Q: What role does experimentation have in your art?

A: Many times, I will paint the same image in both oil and pastel. I like to see how one medium influences the other. Right now, I have a pastel landscape on my easel partly because I am not happy with how the oil painting of the same scene is going. I kept feeling that I could portray it better and get the textures I want better with pastel. We’ll see.

Throughout my 30-year art career I have painted non-representational work along with my landscapes and animals. I never really showed those nonrepresentational pieces until 5 years ago when I discovered cold wax medium. I now find myself wanting to apply some of the same principles to pastel and have been influenced by the work of Debra Steward and my good friend, Laura Pollak. I focus on the same principles in my abstract and representational work – light, strong compositions, movement, texture, bold and harmonious color.

Q: What advice would you give to new artists? A: Work hard.

Paint what you love.

Never stop learning.

Don’t be afraid to try something new. Join art organizations and enter shows because it is important to see our work beside other artist’s work.

Remember that other artists are not the competition, & we should always lift each other up.

Appalachian Summer by Addren Doss

Head Study, Coco Loco by Addren Doss

Metal II by Linda Dragonette

Two of my favorite quotes:

“Be of your own time and paint of what you see.” Edouard Manet

“For me, I will always choose color” Vincent Van Gogh I do both.

My style has changed over the years. I have embraced Abstract Expressionism; my work has been called Abstract Impressionism. It excites me. I work in series of ideas; bridges, city scenes, reflections of wet streets that are full of texture. My goal is to tell a story. Color is feeling for me. I have adopted a more contemporary style of painting, loosely bringing shape, values and contrasts together. And COLOR!

Linda Dragonette

by Linda Dragonette

I have a need to tell a story. I paint the places I love, the emotion I get from what got my attention. The fluttering of birds in flight and nighttime reflections on water. The most important elements are value and color that brings joy to me, and I just have to t share it

I was influenced at an early age by my mother. She painted incredibly large oil paintings. One was for The Miami Herald Newspaper and another a scene of a 40’s nightclub; complete with a mirrored ball hanging from the ceiling and hand gun on a table. I wanted to do that. In high school I was fortunate to be in a program for commercial art for half a day for three years. I enrolled in quite a few colleges but decided to focus full time on painting. Not being able to drive became a hardship.

There are many artists that inspire me, long dead Dusti Bonje of Biloxi, Mississippi. I love Van Gogh for his color and originality. He was so different, painting his world the way he saw it. Today, I am inspired by John Hyche for his elegance in abstraction. I have always loved his use of green. Just wonderful.

When I speak to young artists starting out I will tell them to listen to everything. Whatever workshop you take you will come away with knowledge. Years ago, I took Albert Handell’s workshop in Georgia. He explained ‘Blooming’. It is how color will change, say going up a hill. Going from dark at the bottom and getting lighter at the top where it is lighter and my focal point. I hope I have that right; it’s been a long time. And the importance of sending a Thank You note to those who help us along the way. Art centers, galleries, colleges; they all work hard for you.

Images by Linda Dragonette© All Rights Reserved

Artist Linda Dragonette

Years ago, I started with Rembrandt and Canson Mi-Teintes paper. Then I went to Schmicke and Sennelier on Wallis and Ersta paper. Now I am comfortable with Art Spectrum paper and all the lovely brands I have collected.

I remember going to see a demonstration by Carole Katchen. I was hooked on pastels at that moment and went to the art store the next day an bought Canson Mi-Teintes paper and Rembrandt pastels. Over the years Schmicke, Sennelier and Terry Ludwig became my favorites.

Having lost the majority of my vision due to a hereditary eye disease called Retinitis Pigmentosa, I have had to change how I paint many times. Painting in the medium that allows me to see more clearly; watercolor, ink, pastel, and oil, I have painted the same image in watercolor, pastel and oil. I have always loved pastel because it is at my fingertips.

At this point I am in the last stages of my blindness. I no longer see color, but I know which blues and yellows make a certain green. It is a challenge I have learned to embrace.

A Message from Linda:

I am very honored to have been chosen for an exhibition of my work for “World Sight Day”.

“Seeing Through the Challenges”

Show will run October 10, 2024 -December 31, 2024, call for appointment

Located in The Vault, at The National, Courtyard Marriott Marriott Garage Parking: 124 EE Butler, The Vault, 109 Green St.., Gainesville, Ga.,

The Marriott Courtyard -770-532-4508

Linda Dragonette is an award-winning artist whose work is in many private and corporate collections. Her paintings have been sought after and used by the movie industry. She was selected to be the Coca-Cola/ Ronald McDonald House Charities Arts Partner. A copy of her painting was sent to every Ronald McDonald House in the United States and Canada to be used for fund-raising. Linda is a Member of Excellence, Signature Member in the Pastel Society of the West Coast and the Southeastern Pastel Society.

Wild Roses of Georgia by Linda Dragonette

Azalea Drama by BF Reed

September McGee

by September McGee

September McGee is an award winning internationally collected artist and teacher. Born in Boston, she currently resides in California. The Southern California climate has energized many new exciting techniques and series. September paints in a variety of mediums, always changing her palette and exploring new textures and genres.

“If my eyes are open - I’m creating in one form or another!”

As a child I was constantly laying on the carpet in our little living room coloring away in a big fat Whopper Coloring books for hours on end. I was always rewarded for staying within the lines. I continued with this traditional and realistic approach as I moved from crayons to watercolors, pastels and oils. I loved creating beautiful paintings. One day, to my surprise I gathered the courage to go beyond the lines! I soon became an American Impressionist. Initially, this was quite challenging, but I began to enjoy the freedom of the spirited strokes and style I began to employ. I took more and more liberties and experimented with many mediums: mixed medium, sculpture, I couldn’t get enough and my appetite to push my limits became a fun journey. My innovative style emerged and I couldn’t paint fast enough. I used a vertical linear approach which was pure FUN!

Over the past few years I have moved from Impressionism to Expressionism including more abstract. It is so exciting! I have over the years been awarded four Signature Member awards with PSWC, PSA, NWPS, and two Elected Member Honors with Allied Artists of America, NY and the Salmagundi Club, NY. I have been slowing down entering juried exhibitions lately and I am only maintaining a few of these prestigious societies as I now focus more on commission works and creating experimental pieces including gold leaf, cold wax and anything new I can get my hands on!

Images by September McGee © All Rights Reserved

Artist September McGee Meet the Members: September McGee

Red Umbrella by September McGee

What really inspires me today is more and more color and more and more textures! I used to prefer a smooth painting, and now I lather on the textures and LOVE IT! Experimenting has led me down many different paths. They don’t all make it to the wall, but the ones that do, make me happy. This summer I was thrilled that my new works were so well received and purchased! It’s always a great sign when this happens, because you never know. Many collectors still prefer my older works, and as I write this article I am re-living and re-admiring those works of mine. However, my quest to explode onto larger panels and canvasses and allow myself the freedom to be free of any past concepts of what a painting is all about.

I teach Special Needs adults and I learn more from them than they do from me. I tell them that the only opinion that really matters is their own. If they like it, it doesn’t matter what anyone else says. I remind them I am not there to judge them but to encourage

their own creative avenues. You wouldn’t believe the results we get by taking the judging out of the mix.

I’m my own worst critic. Growing up in a perfectionist home followed me for many years. I am really striving to drop the “missed a spot” attitude I heard most of my childhood as I attempted to do chores. I now look for the good and my critical eyes have softened over time as the feeling of a painting, the story of a painting, is far more important to the viewer and especially to the artist. Each painting is “our” story. I’ve learned to pat myself on the back more often and to appreciate the luxury of being an artist in our wonderful country. I am blessed.

For all our new artists, I recommend buying everything you can. Try new colors, new brands, new substrates. I usually get a new color every time I order paints! Why not?! Please listen to your heart. Steer clear of copying others because it never ends well. You will find your own voice as I have. Believe in yourself. Give yourself permission to be the best

Meet the Members: September McGee

The Conductor by September McGee

artist you can be! Every moment is a new you and every painting is a new adventure.

My works have been exhibited throughout the US, Europe and the UK and are held in collections all over the world. My paintings are displayed in Exposures International Gallery in Sedona, Arizona.

I am also a published author.

I strive for excellence, live and paint with passion on a soul level and always, yes always, working on expanding my style and oeuvre while maintaining my sense of “hoomer” and understanding how fortunate I am to be an artist.. Artists are the best group of people in the world - next to nurses!!

I have a special fondness for the Pastel Society of the West Coast. I was fortunate to attend several of their awards ceremonies over the years and I always felt it was the most encouraging family to be a part of. It was here I learned love, support and appreciation.

www.septembermcgee.com

The Ballet Series - The Fan by September McGee

Red by September McGee

Couch Series - Red Wine by September McGee

Nancy Ness

by Nancy Ness

Nancy Ness hails from Long Island, New York, but she is a student and citizen of the world. “Her unconventional life began after her first year of college at Visual Arts School in New York City. From there life took a number of turns including living in a treehouse in northern California to living on a sailboat on the north shore of Long Island.”

Her love of color is evident in her work. “At first, people are drawn to my use of color. After years working as a designer, I know color can be very seductive when used effectively. So in the majority of my art, my knowledge of color is used in unrealistic ways.”

And now, Nancy ...

I don’t remember ever not being addicted to making art. It was an issue when I was very, very young. My parents were so concerned that they had me tested by a shrink. Apparently he calmed them by saying I was fine but really liked to doodle.

I have gone through many styles or stages in my art. I like to think of it as evolving but it may just be a desire to try new visual expressions. There is something about organic, spontaneous, loose, unexpected marks that alway have a place in my art. Yet, I never seem to lose some representational element. I try to land on a thin line between abstraction with a recognizable subject. I am not sure if my art fits into abstract expressionism or a form of impressionism or if that matters.

What inspires me today is how all living things are visually similar. In other words, how a tree is much like a human body that shows all the signs of the life it has lived. I look for the mood, movement and gesture of nature much like when I was doing figurative art. I have also been experimenting with textured and patterned papers to enhance my pastel work. I am trying to create something new, something that will surprise myself and the viewer. In keeping with what inspires me is using an unexpected color palette. I want the color to enhance the mood or feel of the piece regardless of reality.

Experimentation takes a front seat in my art making. I may start with a concept of what I want the subject to be; but the next thought is how can I push the materials in experimental ways. This last year, I started collaging textured paper onto a surface and covering the papers with acrylic pumice. This created an underpainting for my pastels.

Images by Nancy Ness © All Rights Reserved

Artist Nancy Ness

Nancy Ness

Twisted by Nancy Ness

Now, I am integrating candy wrappers and patterned papers into the underpainting. Unfortunately, there are lots of failures when experimentation takes a lead. I have learned to accept that many will fail for the sake of a special one.

I keep a commencement speech from my Pratt Professor, Charles Goslin on my desk. His words continue to inspire me and I am sure will do the same for other artists: “Don’t look for a style. Let it find you, again and again as it deepens and grows in richness. And as to your style, your friends will recognize it: you won’t– unless you stole someone else’s. Style comes to you when it is ready and comes as inevitably as sweat on a July day.”

“What is familiar to us is reassuring and ultimately boring. What is different about us is beautiful, stimulating, and wonderfully disturbing.”

www.nancynessartist.com

Members: Nancy Ness

Pearl Pumpkin by Nancy Ness

Pumpkin Vine by Nancy Ness

Nancy Ness

Beechtree on 1st by Nancy Ness

American Indian by Nancy Ness

Art School

A Pastel Playdate with Ink and Pan Pastels

by Dawn Emerson

I’ve loved using sumi ink and Chinese brush painting since I was 10 years old. Mixing the stick of ink quieted me down and separated doing art from the rest of the day, like a ritual. It was a way to focus, to be deliberate and careful because every stroke mattered- there could be no erasing or going back over mistakes. Best of all, I could spend an hour once a week with a lovely woman named Aiko Rogers, an accomplished flower arranger, tea ceremony master, and painter. (She was also the mother of a young boy I was “in love” with!)

About the Author/Artist

Born in 1955, I grew up in Marblehead, Massachusetts. The ocean and quarries of the rocky New England coast were my stomping grounds until I left for the west with my husband and young family in the late 1980s. I’d grown up in New England, gone to college at Brown University and became an award winning book designer for an educational publisher before we left in 1987. Little did I know I would spend most of my adult life living in a log home and studio in the high plateau desert of Central Oregon, but that is where life took me, and the change was huge.

When I first started using pastels I found that using the black ink on printmaking papers gave me a dark underlayment for linking dark areas together, much like a notan. I could scrape through pastel to reveal the black underneath. Early on I used exclusively stick pastel and sumi ink for my artwork.

I continue to use sumi ink today, but in the liquid form, and I generally use flat paddle brushes of different widths rather than the classic sumi brush.

The wide open space of the west, with all its inhabitants and unique topography encouraged new artistic expression. I applied my love of drawing to teaching art to children in the public schools. I took workshops

in pastel and fell in love with the medium. Hard work and stubbornness eventually led to recognition for my work by respected pastel societies, and in the late 1990s I was showing my work in galleries around the country and leading my own pastel workshops.

I began printmaking in 2008, and that led to incorporating mixed media in my work. Sharing those discoveries became the basis for my book “Pastel Innovations,” which was published in 2017 and is now printed in four languages. I’ve had six instructional DVDs produced, and made a new video available on Vimeo titled “Breaking New Ground” that features new techniques about layering pastel with water mixable oil. My studio is my “Innovation Laboratory,” and I hope to inspire you to dance with your easel, play, and enjoy!

1

START WITH A SKETCH

The following sequence of 6 images shows how I might use sumi ink to do more “graphic” pastel work. I find the PanPastel is a wonderful pairing with the sumi ink, as it mimics the transparency of water color but can be erased easily. PanPastels are so thin and fine one can use the sumi ink over or under them.

The example shown is done on Multimedia Pastel Board. I used sumi ink (#1), oil pastel #2) , PanPastel #3,#4), stick pastel #5), and a razor blade to scrape off some pastel from the oil pastel. It’s a very simple demo, but hopefully will give you ideas for applying this process to more complicated, fully developed imagery.

2 ADD DECORATIVE DETAILS

I added shapes with a green oil pastel. Oil pastels resist water soluble mediums like inks or acrylic paint.

ADDING BACKGROUND & SHADOWS 3

Continue with Pan Pastels to add color and structure to the shapes.

4

LAYERING

COLOR

You can easily see how much more solid and opaque the stick pastel appears compared to the PanPastel when you compare how the stick completely covers the sumi ink. You’ll also notice that the green color of the oil pastel is changed once the PanPastel is applied on top of it. This happens because the PanPastel sticks to the oil pastel. You can use a clear or white oil pastel and allow this to surprise you. The original color of the oil pastel can be revealed by scraping the PanPastel away.

REFINE FOCUS 5

This basic idea of “dust sticks to everything, but nothing sticks to dust” is the foundation for much of my work. I hope you’ll play with this idea and enjoy the versatility between the transparent quality of PanPastels with soft stick pastel.

6

FINAL TOUCHES

A few additional strokes of color with oil pastels, and these pears are complete! I hope you enjoyed the lesson! For more information on my Pastel Painting Lessons and online workshops visit www.dawnemerson.com

Art Workshop

Judith Leeds

About the Workshop

So often, portraits, especially those commissioned, are stiff and don’t reflect the personality of the subject.

In my workshop, you will learn how to find the unique qualities of each model, not just of the head but also the whole figure. I’ll instruct you on how to pose and light the model to best reflect their feelings and personality.

Some of the subjects I will cover are pastel techniques, composition, the effects of light on the face and clothing and how to integrate the background with the figure. Each day I will do a demo to illustrate what we will be covering that day.

Capturing the person behind the pose

November 2-3, 2024 9- 1

Class through PSWC. Go to www.pswc.ws/workshops for more information and registration

About the Artist

Judith Kazdym Leeds is a 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 and has 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 forty year period.

Judith paints portraits, still-lifes and landscapes in both pastels and oils.  Her work has garnered many awards, medals and honors https://www.judithleeds.com

Art Workshop

Doug Dawson

Going for “Feel”: Emotional Landscapes in Soft Pastels

November 7 - 9, 2024

9:00am - 4:00pm each day

Hill Country Arts Foundaton Ingram, Texas www.hcaf.com to register

About the Workshop

Each painting is a puzzle. There are techniques for solving the different types of puzzles, such as crossword puzzles and word searches. There are also techniques for solving painting puzzles. The workshop will begin with a demonstration. I will use the demonstration to introduce the principles and techniques I use in my paintings. On the following days of the workshop, I give short presentations to illustrate additional painting principles and techniques. Over the years, the message I hear back from past students is they learned a great deal and many still refer to the notes they took from that initial workshop experience.

About the Artist

Doug Dawson’s award-winning pastel paintings reflect the diverse interests of this articulate, philosophical and caring artist. His work features urban night scenes, cityscapes, portraits

and magical landscapes. The luminescent night scenes powerfully evoke the mystique of the dark; his portrait studies are rich with personality. Doug shares his love of the outdoors through emotion-filled landscapes which range in focus from intimate rural scenes to sweeping vistas.

Doug is a celebrated member of the American Watercolor Society, the Pastel Society of the Southwest, The Knickerbocker Artists (New York) and the Pastel Society of America. His work has been included in prestigious exhibitions with The Charles and Emma Frye Art Museum, Seattle, WA ( a one person show), the Denver Art Museum, the Heritage Museum, Norfolk, Virginia, the John F. Kennedy Center in Washington, DC, the Hunter Museum of American Art, Chattanooga, TN and the Societe Des Pastellistes de France International Exhibition (Palais Rameau - Lille, France)

Art Workshop

Albert Handell & Karen Halbert

A Deep Dive into Rocks, Water & Dynamic Symmetry:

Weekend Duel Workshops with Albert Handell and Karen Halbert

November 9 - 10, 2024, 9 a.m. to 4:30 p.m.

Bluebird Studio, Santa Fe, New Mexico

$250 for Day 1 for Albert Handell’s “How to Paint Rocks and Water”

$150 for Day 2 with Karen Halbert’s “Radical Impressionist – A Mathematician Paints”.

Take both and get a deep discount of 20% for a total cost of $320 for both days.

About the Workshop

A Right-Brain Approach to Painting and a Left-Brain Approach to Composition

Join us for this one OR two-day workshop with master painter Albert Handell and his student of many years, mathematician and artist, Karen Halbert. Join us in exploring painting nature in pastels (oil is accepted) with Albert on day 1, then transition into day 2 with Karen marrying the concepts of left and right brain creativity through the exploration of intuitive composition and dynamic symmetry.

About the Artists

Albert Handell’s name is synonymous with pastel art. Since 1961, he has had over thirty one-man shows and has received over seventy prizes and awards. He has written books, been interviewed dozens of time and left an indelible mark on the art world and the world of pastels. Born in Brooklyn, New

York, he has traveled the world and captured its people in his recognizable style. He now spends most of his time in Santa Fe, New Mexico.

www.alberthandellstudio.com

Karen Halbert, a Mathematician and Artist, transforms the beauty and patterns she sees in the numerical universe into the natural world of her paintings. Dynamic symmetry contributes to the underlying harmony of her pictures. Halbert spent her childhood in the American west. Though it is in Santa Fe that Karen has found her true home, she can be seen painting en plein-air in the fields throughout New Mexico as well as in locations such as the Grand Canyon, the Pacific coast of California and the beaches of Hawaii. In her studio, Halbert uses sketches and photographs from her plein-air work to create images full of the emotions she feels while working outof-doors.

www.karenhalbert.com

“Breaking Free:”

Mood and Atmosphere

April 16-18, 2025

Art Center Morro Bay

Morro Bay, California

In the three days of the workshop, we will cover a lot of subjects, from landscape, marine subjects, reflections and the mood and atmosphere of the world around us.

Art Workshop Tony Alain

About the Workshop

The quest for perfection can bring with it fear of making mistakes and can result in a style which can seem inhibited.

In this workshop we will concentrate on freedom and spontaneity to add elements of semi abstraction but still keep association with reality. If you ever wanted to bring a looser and more painterly feel to your work loaded with juicy color and flooded with light? Join me and I will share some of my working methods concentrating on painting the landscape that delight you and excite the viewer.

Using our reference material and sketches we can bring some fresh color and a more painterly feel to your work our aim is to break free from the restraints of perfection and give ourselves permission to capture the essence of the subject in an intuitive way with the freedom of ‘brushwork’ that has its roots in the style of alla prima giving a lively and vigorous mark that is instrumental in expressing mood and atmosphere. All levels welcome

About the Artist

Tony is a Scottish based artist. He is an award winning painter, instructor and author and has been painting for all of his life. A member of the Pastel Society London, a member of the Royal Society of Marine Artists among others. A painter of color, light and movement with a complete understanding of his surroundings. Born and raised on Guernsey in the Channel Islands where he studied life drawing and painting from life. His work can be found in many leading galleries as well as private and corporate collections worldwide. A move to New Zealand in 2006 proved to be a turning point in his career with the acceptance as a Master of the Pastel Artists of New Zealand, a Signature member of the Pastel Society of America, elected an Eminent Pastelist of the International Association of Pastel Societies. His work is regularly featured in The Artist Magazine, the Pastel Journal and the Practique des Arts.Tony now lives and works in Scotland.

Watch for registration announcements coming in December, 2024.www.pswc.ws www.tonyallainfineart.com

PSWC HOUSEKEEPING

EXHIBITION NEWS

Our premier event, PASTELS USA: 99 Voices in Pastel is celebrating it’s 39th year in 2025. We will be exhibiting at the Hilbert Museum of California Art in Orange, California from August 23, 2025 to November 29, 2025. This will be the first time Pastels USA will be at the newly built Hilbert Museum. This stunning new venue is the perfect backdrop to the magnificent art we have come to expect in this exhibition. The museum is conveniently located near Disneyland, and the timing is perfect for a family trip to Southern California!

ART SCHOLARSHIPS

We offer Art scholarships to college students who are planning to major in art. The criteria is posted on the website. Annual deadline is in April, so if you know an art student, have them apply online by April 15, 2025. We also offer awards for members to use for pastel classes. Please check the website or contact Pamela Comfort.

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.

The Hilbert Museum of California Art

NEW MEMBERS - June to October 2024

by Barbara Jaenicke

EXECUTIVE BOARD

President/Regional Reps/Scholarship

Pamela Comfort

Interim Vice President/Magazine

Sabrina Hill

Secretary

Bonnie Griffith

Treasurer

Deborah Pepin

BOARD APPOINTEES

Membership Chair

Karen Jones

Pastels USA 99 Voices Co-Chairpersons

Francesca Droll

Peggy Davidson Post

Membership Show (MOOS) Chair

Dug Waggoner

Ways & Means Chair

Francesca Droll

Workshops Chair

Jean Vineyard Myers

Publicity Committee Chair

Open

COMMITTEE MEMBERS

Website Coordinator

Delcee Comfort Fields

Membership Status Chair

Jan Miller

Social Media Coordinator

Unfilled

eBlast Coordinator

Cynthia Riordan

Winter Pine Backlit