PSWC Magazine Spring 2021

PSWC

MOOS 2021

All the award winners and accepted entries at our Members Only Online Show

The Heart of An Artist

Artist Wende Caporale talks about art and life with W. Truman Hosner

Meet the Artist

Laura Pollak chats with Lisa Ober

Beyond PSWC

Laura Mocnik shares her artistic journey

Art School

Deborah Pepin demonstrates how to make your own substrate

Pastel Society of the West Coast

Pastel Society of the West Coast

Spring 2021

Wende and Avignon by Wende Caporale

congratulations to the Pastel Society of the West Coast and all the Artists in the Pastels USA 2020 Show! !

Dear Pastelists,

We live in interesting times. When I last wrote about our society, I thought things would be back to normal by now. Yet, here we are, still dealing with a pandemic. Fortunately, we can see the light at the end of this long tunnel. By the next issue, I hope to report that things are better, dramatically better!

Online shows are still the way of it, and in this issue, we celebrate our membership online only show. - MOOS. Dug Waggoner is the MOOS chairman, and he always makes this look easy. There are lots of logistics that must come together, and Dug does an amazing job. Our judge for the show, Gwenneth Barth-White had a difficult task to choose only a few winners from the huge number of wonderful paintings we received. I think you will agree that she has chosen wisely.

We have a wonderful board member who is now working on workshops, Sheri Adams. She is managing all the online classes and scheduling some of the most talented artist/teachers in the world. Upcoming workshops are listed in the magazine and there is also updated information on our website at www.pswc.ws/workshops.

W. Truman Hosner has developed the series “The Heart of the Artist.” He has interviewed Horace Champagne, Daniel Greene, Harley Brown, and in this month’s issue, Wende Caporale. It is an in-depth look at the influences and inspirations of living an artistic life. I think you will enjoy it.

Laura Pollak connected with Lisa Ober to talk pastels with her friend. Lisa’s work is outstanding, whether portraits or still lifes. Check it out. Ugo Paradiso had a chance to talk with Laura Mocnik about making art. Her limited palette portraits are soft and stunning at the same time We are so grateful to feature both these artists in this issue.

The PSWC sponsored a painting challenge on Facebook and Instagram in March, 2021 that was a huge success. Artists were asked to post a new work every day for 21 days. It was not quite as easy as it sounded, but 38 painters persevered and met the challenge. The comments on the posts were highly complimentary, and we will definitely do another one in the late fall. Many thanks to Bonnie Griffith and Deborah Pepin for developing this idea.

One of the lessons of the 21 day challenge was to tackle small projects every day to flex those artistic muscles. Whether you paint or read an art book or have a glass of wine with an art friend, remember to nourish and exercise your inner artist!

Here’s to getting dusty!

Sabrina Hill

“Art is not what you see, but what you make others see.”

Edward Degas

Contributors

W. Truman Hosner, PSWC-DP, IAPS-MC, PSA-MP received his Bachelor of Fine Arts and was a Former Instructor at Center for Creative Studies in Detroit. He is a Master Pastelist with PSA, PSEC and IAPS, a Distinguished Pastelist with PSWC, and a Signature Member with DPS.

Truman earned his BFA at Wayne State University and studied at Scottsdale Artists School with Harley Brown and Dan Gerhartz. Before moving into fine art, as a nationally recognized illustrator he produced illustrations for brands such as Readers Digest, CBS/Fox Video and Kennedy Center for the Performing Arts. Paintings by W. Truman Hosner are featured in national and international museum collections and exhibitions ranging from New York City to California to Canada to France to Asia. www.wtrumanhosner.com

Laura Pollak, PSWC, PSA, PSNC, SPS is a contributing writer for the Pastel Society of the West Coast publication. She is the past President of the Pastel Society of North Carolina, and the founder of Pastel Artists Teaching Internationally Online. She is exhibiting and showing galleries and museums across the country and has received many international awards. Her works have been featured in Strokes of Genius, The Pastel Journal, Pratique de Artes and PSWC Magazine. Laura teaches classes and workshops in her Studio in North Carolina and online via Zoom. She has achieved signature status in Pastel Society of America, Pastel Society of the West Coast, Pastel Society of North Carolina, Southeastern Pastel Society and Master Circle in the International Association of Pastel Societies. www.laurapollak.com

Ugo Paradiso is a self-taught artist originally from Italy. “I was born and raised in a small town in the Lucania region located in southern Italy. I traveled all over Europe and then immigrated to the United States many years ago where I met my wife. Along with our children, my wife and I now reside in the Kansas City area.”

Contributors

WANT TO GET INVOLVED?

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

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ABOUT THIS ISSUE

Our magazine format was a big hit! This format allows us to add more art and gives readers a PDF version or an online digital version to read on mobile devices.

InDesign Magazine Template

Designed by Erick Ragas

Fonts: Sabon, Aller Display, and Open Sans All photos are property of the artists

PSWC Magazine

Join

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 soft pastel medium. Today, PSWC is 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 | Workshops by Noted PSWC Artists | PSWC Social Media Exposure Opportunities | Free Online Gallery | Critique Program with Master Pastelists | Membership in IAPS | No Juried Membership, unlike other societies.

News and Notes

There are always things happening with the PSWC membership! Our 21 day painting challenge inspired a great deal of interest. Even Pastel Laureate Jerry Boyd got into the action! Jerry, along with dozens of other members painted every day for 21 days. He wrote on his Facebook page, “It has been an enjoyable and enlightening experience. I’ve been amazed at all the variety of subjects artists have come up with and the skill they have employed, not even to mention the speed with which you have gotten things done. Congratulations to all who took part.” Dug Waggoner, a PSWC Board member also commented in a post, “I was talking with Sonja [spouse] this morning about how this daily exercise put the energy back into the painting process. I’m reminded of my three years at art school (CCA) where they changed the drawing classes from two or three times a week to an every day structure. You could see the technical skills climb higher not only in my work but in almost every other artist. I’m now going to work up a schedule to draw or paint at least three times a week and see if I can rekindle that skill back into those 83-year-old art muscles.” See the details on the next page and on Facebook!

Gallery Representation

Francesca Droll has acquired new gallery representation with FoR Fine Art Gallery in Bigfork, Montana. Primarily a plein air painter, except during the coldest times of winter, Francesca finds endless inspiration in the landscapes of northwest Montana and Glacier National Park. She strives to create art that celebrates her love of color, her passion for the outdoors, and fosters a sense of reflection. Her paintings can be viewed at www.francescadroll.com and www.frameref.com.

Francesca Droll

Whistling Grasses by Francesca Droll

From March 14th, 2021 to April 3rd, 2021, the PSWC held an online challenge called the PSWC 21N21 Challenge. The challenge was to create a painting every day for 21 days. The idea for the challenge was proposed by our Board Secretary, Bonnie Griffith. Bonnie worked with Deborah Pepin, our Membership Chair, to develop rules and suggestions for the event.

The rules were simple, post on Facebook or Instagram every day, use mostly pastels, and include the hashtag #pswc21n21. The suggestions for the challenge were as follows:

• 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.

We had 65 artists register and 38 artists who consistently posted every day. It was amazing!

Artists from around the world and at every level participated. Though a tougher exercise than most imagined ultimately, it was very rewarding. It was fascinating to see the different approaches to the challenge. We also asked artists to post a little paragraph about their work. Many posts shared techniques, inspiration, and stories about the piece. Congrats to the three 6$100 prize winners, Robin

Fourie, Jan Prisco and Judy Miller! If you have a chance, check out our Facebook page and the #pswc21n21 to see the more than 600 posts. Here are just a few of the works posted:

Left: Yellow Flower by Diane Breuer

Middle Left: Self Portrait by Jennifer Rowe

Middle Right: Surfer by Dug Waggoner

Bottom: Compliation of 21 Days by Ellen Gust

MOOS Members Only Online Show 2021

MOOS 2021 Winners

The Pastel Society of the West Coast’s Members Only Online Show represents some of the best art in pastels. This year there were nearly 600 entries, so the job of our Judge, Gwenneth Barth-White was especially difficult. She was up to the task and her selections are on the following pafes. We would also like to commend, Dug Waggoner, who is the chairman of this show. Dug manages all the logistics of the show and coordinates with the judge and our partner in exhibitions Joe Baker from ShowSubmit.com.

Here are all the accepted entries and prize winners. Thank you for making this such a dynamic, beautiful show. This year, we had a tie for Best of Show in the Signature/DP category. We are thrilled to award both Stan Bloomfield and Nancie King Mertz the Best in Show award as signature members. Tony Allain is our Best in Show winner for General Members.

Signature/DP | Best In Show

Tumbling by Stan Bloomfield 16x21

Signature/DP

First Place

MOOS First Place Winners

General Member First Place

Patrick’s Point, Standing Guard by Patricia PrescottSueme

14×14

Dusk Sandscape by Terri Ford 16x20

MOOS Second Place Winners

MOOS Third Place Winners

Signature/DP

Third Place

Immersed in Autumn by Heidi Reeves 12×12

General Member

Third Place

4 am Comforts of Home by Cindy Gillett 12x16

Honorable Mention

Edy Unthank Memorial Award

Framed Light

MOOS Honorable Mentions

Signature/DP Honorable Mention

Spacious Sky by Teresa Ruzzo 9×24

General Member

by Carol Strock Wasson 16x20

ACCEPTED ENTRIES

Reflections by Shirley Anderson 16x12

Change in Weather by Pat Stoddard Aragon 16x23

Intertwined by Willo Balfrey 20x16

Madame Traveler by Mary Aslin 24x23

January Dawn by Britt Block. 20x22

Still Waters by Bobbie Belvel 16x20

Blessed are the Meek by Gerald Boyd 14x14

A Closer Look by Kathryn Boggs 12x12

High Sierra Winter Blues by Donna Catotti. 19x13

Joie de Vivre by Gina Carstens 26.3x19.6

River View Park Stroll by Deborah Breedon 11x14

Mutual Comfort by Lauren Chan. 12x16

Tuscan View by Lynda Connelly 20x16

Winter Chamisa by Elizabeth Cooper 9x12

Dry Creek by Patricia Connelly 9x12

Reflections in Orange by Jay DeChesere 13x9

Wisdom Keeper by Sidnee Cox 20x14.75

Sunset Sparkle by Francesca Droll 30x12

A Gift from Nicole by Donna Dutra

Can’t Believe by Merrilyn Duzy 22x18

Little Iron Creek 1 by Jeannie Fine 12x16

Wedding Centerpiece by Robin Fourie 9x12

Yosemite Sisters by Marie Gonzales 20x16

I’m Thinking’ How it Was by Susan Goodmundson 24x18

W is for Windmill by Irene Georgopoulou 14x11

It’s So Raw by Cory Goulet 18x24

Made in the Shade by Alejandra Gos 12x12

Bowl Dance by Pamela Fox 18x24

Willow Winter by Morgan Green 11×14

The Pond at China Ranch by Scott Griffiths 16×28

Green Stripe Suit by Ellen Gust 7×5

Fall Splendor in the Garden by Paul Harmon 18×12

Pond Patterns by Carolyn Hartling 11×15

Plethora of Pears by Jeri Greenberg 16×14

Autumn Light on Stately Firs by Dotty Hawthorne 16×12

After Desert Rains by Larry Hemmerich 24×18

Sunkissed by Steven Hippler 11×14

On the Rocks by Catherine Howe 9×12

Going Retro by Karen Horne 24×13

Along the Tracks by Deborah Henderson 9×12

Sunset Verve by Katherine Irish 24×18

The Spirits of Christmas Present by Christine Ivers 16×28

Gracious Living by Karen Israel 14×14

For the Birds by Randye Jensen 12×12

Yachts at Home by Mike Ishikawa 12×18

Shopping for Christmas Dinner by Becky Johnson 7.5×9.5

Nearing Pt. Reyes Station by Lucinda Johnson 9×12

Blessings from Above by Virginia Kamhi 11×14

Peru Bar by Deepali Kapatkar 12x9

Bosc Trio by Betsy Kellum 14×18

Bali by Susan Kuznitsky 16x20

Purrball by Rita Kirkman 5x4

Springs Kiss 1 by Suzanne Leslie 10x10

A Bit of Sugar Helps the Medicine Go Down by Judith Leeds. 22x13.5

We Will Always Have The Moon by Shuk Lee 14x21.5

Piring Plate by Jeremy Lee 18x18

The First Wave by Carmen Lamp 21x27

Desert Wash by Margaret Larlham 12x16

ZigZag by Sandy Lindblad. 14x11

Persevered Bloom by TaiMeng Lim 1 2.5x11.5

Anticipation by Renee Marz Mullis 12x16

Napa Wildfire by Karen Manson 18x24

Happy Days by Glen Maxion 25x19

Getting Fresh Air by Yael Maimon 16.5x20

by Jean Myers 18x24

Wayfarer by Jan Miller 2x16

Getting Drenched by Andrew McDermott 5.5x16.5

Chard Amongst the Roses by Karen Miller 16x12

Inside Looking Out by Maryann Mullett 19.5x14.5

Random Beauty by Eveline Miller 9x12

Littles by Christine Obers 10x8

Back Road by Barbara Newton 13x12.5

Art of Imagination by Ugo Paradiso 16x20

Sunset Over Boot Ranch by Suzanne Owens 8x10

Wisdom Tree by Sam Pearson 26x40

Socially Distant by Debbie Patrick 20x14

Slices by Denice Peters 6x6

Emerging by Peggy Post 12x16

Edgewood Memories by Jan Prisco 11x14

Behind the Curve by Laura Pollak 20x18

Forest Dance by Sandra Place 9x11

It’s Always Sunny by BF Reed 27x19

A Pause in the Sun by Judy Richardson 12x12

Lovely Lavender by Barbara Reich 9x12

Inside Curve by Jane Robbins 18x24

I am the Dream by Lisa Rico 16x12

Pond Musings by Letitia Roller 14x20

In the Shadows by Darcie Roberts 20x16

Life’s Fragile Flame by Rita Romero 18x18

My Other Life by William Schneider 24x18

Her Story by Cheri Saffro 15x12

Lavender Field by Tamra Sanchez 19x25

Light on the Lake by Denise Schryver 9x12

Saltwater Solution by Kate Scott 16x11

Under Her Golden Wagasa by Lynn Simon 14x11

Fall Riot by Deborah Shea 16x12

Flower Child by Julie Skoda 20x16

Favorite Fishing Creek by Donna Solin 8.5x11.5

Devil’s Punch Bowl by Sarah St. George 20x12

Casey the Dog by LaVone Sterling 20x12

Cox Comb and Still Life by Diane Stolz 19x25

Russet Glow by SJ Swinyard 8x10

Golden Delicious by Susan Story 22x29

Mirror, Mirror by Jill Storey 9x12

Harbor Light by Vianna Szabo 8x10

Emanate by Carol Talley 9×6

Springtime Splendor by Terri Taber 12×16

Shine On by Christine Troyer 9×12

Gathering Ranunculus by Marie Tippets 18×12

Anini Adapting by Helen Turner 19×23

Between Hope and Despair by Jim Tyler 8×10

Fall Where They May by Robert Walker 28×24

Toward Morning by Dug Waggoner 14×18

A Peaceful Place by Bobbye West-Thompson 16×12

Campfire Tales by Sharon Will 18×12

Yosemite Reflections by Patricia Westman 9×11.5

by Daggi Wallace 8×8

JUDGE AND JUROR MEET GWENNETH BARTH-WHITE

American-born Swiss international artist Gwenneth Barth-White is a Maître Pastelliste and Vice-President of the 150-year-old Société des Pastellistes de France; she’s a Master Pastelist of the Pastel Society of America, a member of the IAPS Master Circle, and has been a juror for all of these societies. Her work has been exhibited in Geneva, Gstaad, New York, Toronto, Paris, and in many French and American venues. Gwenneth has lived and worked most of her life in Geneva, Switzerland, having moved there when she was a child. After advanced music studies, she attended the Ecole des Beaux Arts and graduated from the Ecole des Arts Décoratifs. Currently the artist lives in South-West Florida.

With easy access to Europe’s museums, Gwenneth’s early fascination for painting led her to study the ancient techniques and methods of the old masters in depth, and with the encouragement of the American master, Joseph Bowler, she became well known as a portraitist. The beauty and intimacy of the human figure has been the main focus of her work for many years, with

. and landscapes an extra joy. Gwenneth’s work is in collections world-wide, from the U.S.A. and Scandinavia, to the Middle East, Europe and Southeast Asia. Her client list includes leaders of industry, government and diplomacy. Among her more well-known clients are the Sultan of Brunei and his Queen, the entire family of former Saudi Oil Minister Sheik Yamani, and the founders of one of America’s most beautiful museums of contemporary art, the Crosby Kempers. Her work is in Geneva’s Patek Philippe Museum, and has been shown seasonally at the Butler Institute of American Art. Gwenneth’s awards include the International Association of Pastel Society’s top ‘Prix de Pastel’, and first place for portrait and figure in the Pastel Journal’s best 100 paintings competition. The artist’s work has been featured in several international magazines and publications, most recently in the Artists Magazine and the French Pratique des Arts.

A passionate teacher, Gwenneth conducts specialized workshops from France to North America. Her step-by-step portrait-in-pastel DVD is marketed world-wide.

www.gwennethbarthwhite.com

– Working from Life / W. Truman Hosner Painting Young Women Along the Beaches of Northern Michigan & California

images in full color of Hosner’s pastel figure works additional 18 images of individual drawings

Jean Stern / Director Emeritus, The Irvine Museum by W. Truman Hosner

Now

To purchase: visit the Shop page at www.wtrumanhosner.com

Mar 28 - Apr 1, 2022

Monday - Friday

Pastel/All Levels

$700 + $60 model fee/5 days

Truman

“We know what we are, but know not what we may be.” - William Shakespeare

The Heart of An Artist

Stories About Life And Inspiration In An Artistic Life

By W. Truman Hosner © All Rights Reserved Images by Wende Caporale © All Rights Reserved

Wende Caporale

(American, 1956- )

This is the fourth in a series of interviews with artists who have had great influence on the world of pastel art. In each story I search for the art spirit. If I am successful, what may be learned in terms of the individuality in creativity will be of great value to us all.

Life Itself: Love of life, love for family, love for art

Luchita Hurtado, whose paintings are a deeply personal connection with her world, lived to 99 to see her art finally become widely recognized and a sensation in the last decade of her life. But this only occurred after her artist husband passed. The same scenario doesn’t hold true for Wende Caporale.

There have been years when I have been able to attend the National Arts Club to see the Pastel Society of America annual exhibition. Not only did that afford me the pleasure of seeing her husband’s original pastel paintings, but Wende Caporale’s as well, and hers were receiving top awards right along with his. The New York Times has referred to Caporale

as an eminent American family portraitist, she is listed in the Who’s Who in American Art, and for over 38 years Wende Caporale was married to and partnered with Daniel E. Greene.

It was a partnership that blossomed over a lifetime, beginning soon after she became his student, and concluding with them being soul mates. With the passing of her husband, a vibrant personal and artistic relationship that lasted almost four decades could have ended.

Yet, for Wende Caporale, Dan’s passing is not an ending. It is a continuation of their life and artistic knowledge. She is not reticent in her grief to speak about Daniel. I think it may be part of her way of maintaining what they became together.

Life has many ups and downs. No matter how rich, no matter what age, no matter how wise we are, each of us is susceptible to life’s tragedy and tribulation.

Married for 34 years, their relationship was tremendously important to her from an inspirational point of view. Nothing was more

“Life can bring us to our knees. That’s what it does. it can take you lower than you think you can go. It is getting back up that is living.

If you can stand back up, take the story just a little farther ... go far enough, you will always find hope and love.”

- From the movie Life Itself –written and directed by Dan Fogleman

Guess now who holds thee?” “Death,” I said, But, there, The silver answer rang, “Not Death, but Love. – Elizabeth Barrett Browning

Coming of Age by Wende Caporale 34 x 30

enjoyable than to go with her husband to a museum and see works of art. “We loved doing it together. I could see something and appreciate the skill it took to make it, but it wouldn’t speak to me. Then I would see a work of art and it was arresting, and visceral. I would respond to it on a whole other level, one that requires more than just the appreciation of skill. For this to happen a painting must have something to say. That’s the magic.”

Daniel E. Green is recognized as one of the best academic pastel artists of our times. And he respected Caporale’s work to the point of passing the baton of his teaching to her. Perhaps the greatest compliment an artist can give is the faith of placing in another person their love and knowledge of art, knowing it will carry forward and not end with their passing. I know that when I interviewed Daniel in December of 2019 he made it very clear that he had passed the baton of his knowledge and teaching on to Wende, and that she was more than capable of the honor.

This is no small thing, for Daniel E. Greene was a gigantic resource of informative knowledge in the making of representational art. As a luminous realist of the late 20th and early 21st centuries he was a gift to generations of artists. But so is Wende Caporale. All along, in step with her husband, she has established her birthright in American contemporary realism. She, too, is a national treasure.

Growing up her brother was given first priority. It was he who was sent to college with the presumption he would be supporting a family. Wende attended secretarial school. She soon realized that; “I had more ability than the people I was working for”.

When hit by a drunk driver, tragedy turned to destiny when the insurance settlement gave her the ability to attend college. Caporale holds a B.F.A. from Paier College of Art. She attended the Art Students League, the National Academy, and the New York Academy. She studied in workshops with Nelson Shanks, Burton Silverman, Richard Whitney, and of course, Daniel E. Greene.

For 12 years Wende Caporale worked as an illustrator. When she became pregnant with their daughter Avignon and with the advent of computers in the field of illustration, she chose to move into portraiture exclusively. Facing the need to be away if she worked from life on commissioned portraits, Wende chose to work mostly from photo reference so that she might remain with her family as much as possible.

What you’re good at, you don’t take for granted, you don’t betray it.

Wende Caporale certainly has not. There was a reason she sought Daniel Greene out.

In 2007, she received The Art Spirit Foundation - Dianne B. Bernhard Silver Medal Award for Excellence in the Pastel 100 Competition. In a beautifully written award-interview by Anne Hevener in the Pastel Journal of April 2007, she openly spoke of her feelings about her life, her daughter Avignon, her husband, and her decision to remain close to home by not limiting her portraiture to working from life exclusively. In reading the Pastel Journal story, one recognizes what is important to her; Wende Caporale is an artist, wife, and mother. She does an excellent job of balancing her life on all fronts. She clearly feels whatever the path you take early on is only a beginning; you have free will to change paths.

Avignon & Velvet by Wende Caporale 36x30

Along with offering workshops housed at Studio Hill Farm, she currently teaches at the Katonah Center for the Arts. She is the author of Painting Children’s Portraits in Pastel. In addition she has released an art instructional video Wende Caporale Working from Life.

Her work has highlighted many books such as; Pure Color-The Best of Pastel, Pastel Interpretations, Best of Pastel 2, and The Art of Pastel Portraiture. Her work has been featured in Pastel Journal, American Artist, International Artist, Portrait Highlights, and Pastel Artist International. She is a member of the Pastel Society of America, and of the Portrait Society of America, where she is a sought after presenter.

Heart to Heart

A personal talk with Wende Caporale

Q. – Do you feel that you have been able to fulfill the dreams of your youth?

A. - In my wildest dreams as a young woman, I fantasized about living my life as an artist. It has so far been a journey that exceeded my expectations. What I did not realize early on was that I had no choice; being an artist is so inherent in my character that it was the natural direction for my life to take. I would not have been entirely fulfilled had I done anything else.

Q. - Would you tell us about when you first met Daniel? What was it like when you walked into his classroom for the first time?

A. - I first met Daniel, who I later called Dan, when

The Heart of An Artist: Wende Caporale

Linda in the Garden by Wende Caporale 18x24

I attended his first summer workshop shortly after he moved from NYC to North Salem, NY. I had been aware of his work through books on pastel and had seen the remarkable portrait of Robert Beverly Hale at the Art Students League so I was already awed by his brilliant work. In a nutshell, when we first officially met, I was taken aback by his intensity, drive and singleness of purpose. His summer classes took place in his studio on the property and I clearly remember thinking that I had died and gone to heaven! There was nowhere I would have rather been than working from life under Dan’s (then Mr. Greene) tutelage. In retrospect, it was life changing in multiple ways.

I chose to put family first; I knew I wanted to be a wife and mother. But I never had to turn down a

portrait commission. I structured my life so that I could work, and Dan was always supportive of that. He openly encouraged me to do as much as I wanted.

Q. - Have women achieved equality in the art world?

A. - I think young women are forging paths that are allowing them to get the recognition they deserve among their male colleagues. I couldn’t be happier for them. Older woman artists have a different story though. For me, it’s all behind me now. There are not the impediments that there once were. Cecelia Beaux and Mary Cassatt broke barriers. Both women probably would have liked partners, but they had to choose partner or career. An exception was Berthe Morisot who was able to do both due

Robin by Wende Caporale 30x 36

the financial and emotional support of her husband and brother-in-law Manet.

Q - Did your marriage coincide with your love of art? Did it ever compete?

A. - When I first met Dan in 1981, I had just completed my sophomore year in art school so I was already deeply ensconced in developing my skills and thoroughly engaged in learning art and illustration history. We were married in 1986 so my love of art preceded our marriage.

Q - When you wrote to thank me for sending the copies of the PSWC Magazine with Daniel’s interview, you mentioned an arresting incomplete self-portrait you found among Daniel’s works. What were the feelings finding it elicited for you?

A. - In the last decade, Dan had done several self-portraits in both pastel and oil. Judging from the impact of these images and Dan’s health issues at the time (2010-11), I knew he was thinking of his mortality and his wish to leave a legacy. I remembered that he did a self-portrait study, which I had been unable to locate in the studio. All of his other selfportraits had been sold, and I regretted that they were no longer part of our collection. To find this stunning, incomplete pastel self-portrait in the rack in his studio was such a bittersweet gift. My reaction was ecstatic relief in finding it but sadness in the realization that the unfinished quality reflected a metaphor; Dan had so much more he wanted to accomplish with his work.

Q. – How, in the face of a powerful force such as Daniel E. Greene, did you hold your own artistically and keep from being overwhelmed?

A. - After Dan and I got together, I continued my studies in art school in order to complete my B.F.A. in illustration. I mention this because I went back to school with the specific purpose of getting my degree and pursuing a career in illustration, which I did for the first 12 years we were together. Simultaneously, I spent summers painting from the models

in Dan’s workshops. I believe that the fact that my direction was initially different than Dan’s allowed me to be independent. In addition, I held Dan in the highest regard and recognized that we were at different points in our careers so I never compared myself to him. Dan was always very encouraging and supportive of my efforts as an artist, which gave me strength. And, I had enough personal strength to be confident in my own abilities.

Q. – Daniel has left us all a wonderful legacy of knowledge in representational painting and the making of art. In what ways are you carrying it on through your own teaching?

The Heart of An Artist: Wende Caporale

Daniel E. Green - Self Portrait, 24 x 20

A. - Living and working with Dan for over 38 years gave me enormous insight into his teaching and his objectives in making art. Dan had a wonderful sensibility, which I shared with him; we were very connected. Our lives were not only totally immersed in making art, when we weren’t engaged in working, our lives revolved around seeing art and an aesthetic sensibility. I basically have continued the tradition of teaching classes in the same format and firmly grounded in Dan’s philosophy, which we always shared. His method of teaching was derived from his experience as a student and later a teacher at the Art Students League in New York.

Q. - When I look at your work, I see a lot of thought behind the paintings. Are contemporary artists somewhat imprisoned in the present and our most thoughtful artists are avid historians?

A. - Thank you for your kind comment about my work. I tend to think of my expression as more intuitive than calculated. It would be too broad a judgment to say that contemporary artists are stuck in the present but I do believe that the context of art in history is an important determinant in the gravitas of the art created. So I guess that’s my non-answer!

Q. - John Singer Sargent is reported to have said two things about his portrait work. First; paint a portrait, loose a friend, and next that portraiture is the second oldest profession in the world. What do you think about those statements?

A. - I can imagine that JSS may have made both of those statements because there was a point at which he grew disenchanted with portrait painting and I suspect it was manifest in these statements. I do find his comment about losing friends after painting their portrait quite surprising, however. I recollect from what I read that many of the portraits he did of friends were self-motivated and ultimately some of the best expressions of his work. A couple that immediately come to mind are his brilliant portrait of his teacher and friend, Carlos Duran and his friend Ambrogio Raffele “An Artist in his Studio”.

Q. - We see so many artists that paint one way when working for themselves, and yet another, when working on a commission. The commissioned work often looks stiff and missing the artistic freedom seen in the noncommissioned work. You have been recognized in the New York Times as a leader in the field of family portraiture. Wende, how do manage to not compromise your artistic sensibilities in your commissioned portrait work?

A. - This is a loaded question; but I can’t help but think of how much I genuinely love to paint portraits and hope that is manifest in my work. On the other hand, clearly the work that is driven by intense desire without limitations can yield more consistently superlative results. Nonetheless, I find it challenging and exciting to work with my subject to arrive at a direction that is both appealing to me and faithful to their vision of themselves or their loved one. It is a very delicate balance, the artist has only their own eyes, it is not a good game to guess at what others see in a portrait subject. My objective is to make a beautiful portrait and be faithful to my subject. Yet in doing so, I do take some liberties to accentuate some of the best aspects of my sitter. I want to represent them on a “goodhair day”. Lighting of my subject goes a long way in accomplishing these goals.

Q. - For you, what is the marked difference between fine art and illustrating?

A. - Quite frankly, I find that I am hard pressed to draw a distinction between fine art and good illustration. When I consider the motivations of the artist or illustrator; is it commercial? narrative? communication?, I think that one or more of these factors can apply to both fine art and illustration. For instance, I think of the great narrative painters of the Renaissance; there was a great deal of work done for patrons and the church, so consequently, they would be considered commissioned work by

The Heart of An Artist: Wende Caporale

Opposite: JaJa by Wende Caporale 36x24

JaJa in Green Necklace by Wende Caporale 24x20

today’s standards. Yet they are also considered to the height of fine art. My point is that there is a lot of cross over.

Q. - What kind of thoughts, are behind your noncommissioned works? And how do they differ from your commissioned work?

A. - The thoughts that propel my desire to create are completely self-serving allowing me to take my work in whatever desired direction pleases me without limitation. Conversely, commissioned work will always have some parameters where it’s adherence to the client’s desire, timetable or design objectives that put some constraints on the outcome.

As I mentioned previously, I enjoy the challenge of commissioned work, and yes, the constraints, too, in that it propels me to find a workable and satisfying solution.

Q. - How involved were you and Daniel in the early years with the development of the Pastel Society of America, and with Flora Giffuni.

A. - Dan was involved with the Pastel Society of America and Flora Giffuni from the onset in 1972. From what he told me, prior to that time, Dan and other artists who did pastels would exhibit them in the American Watercolor Society exhibitions. At a certain point when pastelists became more numerous, it was recommended that they start their own organization. Dan had little interest in organizing but Flora took the lead and began an enormously successful organization. Dan was delighted to participate in the PSA exhibitions and did so every year since its inception. He also

participated when asked to give demonstrations and to judge for prizes. I was accepted into my first PSA exhibition in 1983 and have continued to participate with few exceptions annually. I have also done demonstrations, participated in jurying and and have even served on the PSA board for a brief time.

Q - You were both also involved with the Artists Fellowship Inc., a foundation helping artists in need. Would you please tell us a little about that?

A. - The ARTISTS’ FELLOWSHIP, INC. is a 501 (C) 3 charitable foundation that financially assists professional visual artists and their families in times of emergency, disability or bereavement. It is an all volunteer organization, with the offices housed in the Salmagundi Club in NYC. Dan was honored with the Benjamin West Clinedinst Award*, an annual award presented to an artist, in 1999. I have served on the board since 2005, as a trustee and later president for 5 years. As president emeritus, I have continued to serve on the board as chair of the Relief and Assistance committee. It is a wonderful, supportive organization that operates nationwide doing good work for the art community.

* Given to an artist who has furthered the cause of fine art, or contributes to the art community by interaction with artists. Norman Rockwell and Robert Brackman are among the honorees.

Q - The Artists Fellowship has recently stated that as high as 9 out of 10 artists who could make a living before the pandemic, are no longer able to do so. How can artists fight back

The Heart of An Artist: Wende Caporale

Scudder by Wende Caporale 30x25

against COVID to prevent that from happening to them?

A. - Certainly the affects of this terrible global pandemic would have a negative impact on many lives including artists. For the most part, many artists are independent contractors who are subject to the ebb and flow of the economy. Artists who teach may be able to take up the slack by holding Zoom classes and advertising on social media. Although producing income is a necessity for most of us, taking the time or “opportunity” to do personal work can be a positive way to focus our energies. It could also be a good time to reflect on how the pandemic has affected you through your personal work.

Q.– Are online classes a benefit or detriment for art teaching?

A. - On-line classes, through Zoom, have allowed me to continue to help my students during the pandemic. I have been able to continue to support their learning. After the pandemic is over I may continue somewhat with on-line instruction, but I do not see it completely replacing personal instruction.

Q - Would you share a humorous or personal experience about art with us?

A. - I take long walks every day and have taken the same route for many years. I remember that there was this inspiring young woman who was a jogger, who I would see go by often on my walks. Finally on one occasion Ellen stopped to talk and ask if she could walk awhile with me. Somewhere in the conversation she asked me what I did and I told her I was a portrait artist. She said, oh my great aunt was a portrait painter. My response was ”Really?

What was her name?” She said, I doubt you’ve heard of her but it was Cecelia Beaux. I was astonished and emphasized that not only had I heard of Cecelia Beaux, she was inspiring! I conclude inspiration must run in their family- It was so spiritual!

“And in the End the Love You Take is Equal to the Love You Make”

The Caporale-Greene story is one of love; love of art, love for their daughter Avignon, and love for each other. He may have passed in the spring of last year, but I think it’s fair to say, while she accepts the loss, Wende Caporale knows her life will always be an outflow of what she and Daniel shared. She is never alone. They both lived the philosophy of art in the hope that right to the end, there will always be one more really good painting out there.

Wende Caporale has walked step for step with her husband, often arm in arm; in art, in life, and now even in his passing. They would have it no other way.

– Elizabeth Barrett Browning

The Heart of An Artist: Wende Caporale

Tulips in Delft Vase by Wende Caporale, 28x22

“I LOVE THEE WITH THE BREATH, SMILES,TEARS, OF ALL MY LIFE! — AND, IF GOD CHOOSE, I SHALL BUT LOVE THEE BETTER AFTER DEATH.”

Representation:

Portraits, Inc. – New York, New York

Portraits South – Raleigh, North Carolina

Portrait Brokers – Birmingham, Alabama

The Portrait Source – Flat Rock, North Carolina

To learn more, visit: www.wendecaporale.com

Wende Caporale currently lives and works in North Salem, New York where her home and studio, Studio Hill Farm, are located.

About the Author

W. Truman Hosner earned his BFA at Wayne State University in Detroit, following it with post-graduate work at the Center for Creative Studies where he eventually returned to teach.

Before moving into fine art, as a nationally recognized illustrator he produced illustrations for brands such as Readers Digest, CBS-Fox Video and Kennedy Center for the Performing Arts. Truman then studied at the Scottsdale Artists School with Harley Brown and Dan Gerhartz.

Opposite: Self-Portrait by Wende Caporale

Paintings by W Truman Hosner have been featured in national and international museum collections and exhibitions ranging from New York City ...to California...to Canada...to France and Spain...to Asia.

“Painting from life, the integrity of Hosner’s art is never in question as he conveys through his works the evolving moods and dynamics that can be captured only through the art of plein air painting.” -Harry Goldson, Suttons Bay Galleries

Wende in her studio. Photo Credit: Wende Caporale

Lisa Ober, PSA, IAPS-MC, HAC

by Laura Pollak, PSWC, PSA, IAPS, PSNC, SAS

I started following Lisa’s amazing works years before I met her. Her deft ability with glass and marbles left me wondering how this could possibly be done with pastels! Lisa loves visual puns, and her still life paintings are totally unique. Her portraits have such life and soul you could see deep into the subject’s personality.

I met Lisa in November of 2014, after she won a major award and posted it on Facebook. I congratulated her but at the same time realized that she was coming to North Carolina to teach at the Jerry’s Artarama just one and a half hours away. I asked Lisa in my Facebook post if I might meet her for lunch in Raleigh.

We had such a wonderful time and the warmth and generosity Lisa exhibited bonded us as new friends.

Through the years, we’ve kept in touch and I’ve taken her workshop (a definite must!) and shared info and techniques (though she’s shared more with me than I with her!)

So, let’s chat with Lisa and find out a little more about her …

Laura Pollak (LP): Where were you born?

Lisa Ober (LO): I was born in St. Louis, Missouri. Lived there most of my life but I did go away to California and did a stint there and then to Fort Worth, Texas. But the running joke is you always come back to St Louis.

LP: Where did you go to college?

LO-: Washington University in St. Louis for Graphic Design and Illustration. I loved painting and drawing obviously, but I started doing portraits for extra money. In high school I was delivering pizzas and working at hair salons, but most of my life I’ve been self-employed.

When I was ready to graduate, I was looking at making very little per year in my field and

Getting Edgy by Lisa Ober

Laura Pollak (author) and Lisa Ober (artist)

then realized I could do better doing the portraits instead. At first, I worked for a home improvements company and started in the customer service department. I had to be there at 7:00 a.m. each day and literally fell asleep on my desk at 11:00 a.m., not at my desk but on my desk! I’ve always been a latenight person, and that wasn’t very fair to them, so I started doing portrait art full time.

With that, I recognized that I’m a “serial entrepreneur.” I love trying new things. I’m sure I disappointed my parents when I said, “I think I’m going to color for a living.” I’ve tried several new businesses.

LP: Tell us about your childhood.

LO: Only child ‘til six and then there were three kids in one year. Three girls ... 500 diapers a week! I was not a popular kid, but other kids saw that I could draw, and they were impressed with that. When there was a project where you had to draw kids would stand around and compliment me.

LP: So did you take lessons as a kid or was your

talent innate?

LO: Oh, I wish that was true! My mom recognized that I had a serious interest in art, and at age ten she sent me to an adult watercolor class (I don’t know why they even let me in!). This was a well-known watercolor artist, and I took lessons every weekend. Then in middle school, I got accepted into a high school program at Washington University (where I ended up attending college) in their art department. It was a summer program that was for high school student, and I don’t know how I got in. They covered the basics of oil painting and some drawing basics. It was fantastic. It gave me a preview as to what it was like to be a serious artist … making your own canvasses, stretching them and so on.

Just as an aside, the professor who taught it was Stanley Tasker. He was the most fabulous teacher for that summer program, and he was also my drawing teacher.

In college, he called me the ‘renderer’. It was not a compliment, and he was right. He meant that you’re

Meet the Artist: Lisa Ober

Blue Vases by Lisa Ober

so confined by what you see. But if you can only be what you can be, then you might as well just be the very best!

LP: I remember seeing one of your marble paintings and thinking who can do this with pastels?

LO: You know what’s really funny is that those works are really precise but the rest of my life is NOT ORGANIZED or disciplined!

LP: In your family did you have any other artistic influences?

LO: In my family, my grandmother was a self-taught portrait artist. She did a ton of portraits.

LP: Was she alive when you were growing up? Did she take care of you?

LO: She didn’t take care of me, but I visited her often, and she had a studio in her house where she painted. I thought I would have died and gone to heaven to have a room like that. She would teach me things and let me try her supplies. She was great! And she was really quite good for not having decades of experience. What sent me over the edge in the portrait world was my mom had our portraits done when we all turned 5 years old. I remember sitting for that thing. It was pastel, and I could not believe someone could have so many different pieces of colored things that I thought at the time were chalk. In those days, it was a black and white photo that she was working from, then I would come in and she would do a color study. When we got the portrait, I would sit and stare at that it trying to figure out how she did it for years! I kept looking to see where she put

her marks and the colors she used.

LP: Do you still have it?

LO: Yes, I do!

LP: Tell us about your schooling and how it impacted your career and if your parents were OK with you becoming a Fine Artist.

LO: Well my parents wanted me to get a degree in something else to fall back on, but they were always encouraging … always! Both of them!

LP: So you talked about watercolors and oils but when did you first get into pastels?

LO: There was a guy who had a portrait booth at the mall. I thought he was spectacular, and he really was! It was a Friday night, and I was just 15 years old. I asked him so many questions, and he patiently answered every one of them. I asked him a barrage of questions, “What kind of paper are you using? What brand of pastels are you using? Where do you buy them? What colors do need? What do I do first? How do I sketch it out?“ I went home that Friday night and begged my parents to get me the starter pastel set and paper that this guy had recommended. All day Saturday, I tried to do a portrait of a model out of a magazine. I thought I did a pretty good job,

Meet the Artist: Lisa Ober

Sweet Escape by Lisa Ober

and looking back, I probably did do a pretty good job, because Sunday I took it to him for critique. I wanted to get tips from him, I wanted to have him tell me where I went wrong. This guy was amazing (and to this day I wish I could find him). He told me how to change the temperature of something, with a light hard pastel over top of what I had already done with Rembrandt pastels. He gave me a trick for highlights in eyes (which involved licking a corner of a white conte to get a really white sparkle in the eyes), and all these tricks that I have used my whole life until I switched away from Canson paper.

I was so encouraged after that. I think he was so surprised and shocked that someone who asked all those questions took it to heart, went home and came back with a painting that actually looked like a human being. That would have been in 1980!

The only pastels you could find then were Prismacolors, Rembrandt, and Carre. That was it. Look at what we have now! It’s the best time on the planet and in the history of mankind to be a pastel artist. I’m truly in love with pastels. I love oil painting, but pastels are my favorites.

LP: Do you still paint in oils?

LO: I do! I do a lot of corporate portraits and that keeps me busy in oil. For whatever reason, it’s still difficult to convert people to pastel’s permanence.

LP: Who in your art career has influenced you the most?

Child portraits by Lisa Ober

Dog Portraits by Lisa Ober

Meet the Artist: Lisa Ober

Standing Room Only by Lisa Ober

LO: I wish I could name some famous people, but it’s really the unsung artists. People I come in contact with who have been willing to share their techniques and ideas the materials that they use. It’s those people along the way, the ones I mentioned to you. The Davids and Stanleys of this world. People like that are the ones that have influenced me the most.

LP: So you don’t really have a favorite artist?

LO: I really don’t. I look at a broad spectrum of art and borrow and learn from each of those artists. A little bit of everything. Mix it all up.

LP: Do you still take workshops?

LO: I would still take workshops, I just haven’t. Mostly it’s a time issue. I took an online course by David Gray, and it was an oil course. He’s a portrait painter, and I did it for the purpose of seeing what his approach was like. What colors did he use in his palette? Things like that appeal to me more now since I just can’t squeeze the time in.

LP: What are your favorite things to draw or paint? What makes you happy?

LO: I like visual and verbal puns. I like to add an element of humor. Something a little clever hopefully.

LP: Where do you primarily show your work? At your own gallery or elsewhere as well?

LO: Only at The Galleries at Heartland Art Club (formerly O.A. Gallery) in Kirkwood Missouri.

LP: Do you have a favorite substrate?

LO: Yes, I do, UArt 400! I adore UArt. The most versatile, most reliable and consistent texture on the planet. It grabs pastel so well. I don’t need to worry about the painting staying on my paper. It’s so durable and forgiving, and I love it for what I do. I cannot imagine a better paper. It’s a great company.

LP: Do you have a favorite size you like to paint in?

LO: I typically paint in 18 x 24 on Uart 400 that I have mounted.

LP: Do you mount it or do you have a framer mount your paper?

LO: I have a framer mount it with a heat process.

LP: Which publications have you been featured in? Some of the highlights.

LO: Southwest Art, American Art Collector, Pastel Journal, International Artist, The Encyclopedia of Pastel Techniques by Judy Martin, plus illustrations for other books

LP: What are some of your designations?

LO: PSA (Pastel Society of America, Signature), IAPS MC (International Association of Pastel Societies Master Circle), HACS ( Heartland Art Club Signature)

Art is the Best Medicine by Lisa Ober

LP: What are some of your non-art related hobbies?

LO: I love to try new restaurants. Clearly food is one of my hobbies, and I’m a people person so being at restaurants does double duty.

LP: Are you having trouble with COVID-19 and not going to restaurants?

LO: Our restaurants have not closed down so we still go, but we are very careful.

LP: Are either of your kids artistically inclined?

LO: Nope. Must not be genetic.

LP: What you tell beginning artists as best advice?

LO: 1.) Buy the best materials you can.

2.) Take as many classes and workshops as you can because that’s where you pick up techniques, tips, tricks, and supply ideas, not just from the workshop instructor but from the other participants.

3.) Get involved in a pastel or art organization so you can be around other artists.

4.) If you want to be good … treat it like a job.

5.) PRACTICE, PRACTICE, PRACTICE!

6.) Do not be afraid to make mistakes.

LP: Where in the world would you like to go paint?

LO: Might be nice to head to Europe and paint in a different environment. And Hawaii would be nice too. Actually, any place over 30°F!

LP: What advice woulds you give your younger self?

LO: Work harder. Have discipline. The regret of my life is not applying myself when I was younger, and I don’t think I went the extra mile then.

LP: What would you want someone to know about you?

LO: As a backdrop, most people are filled with

Odd Ball by Lisa Ober

desire to be an artist, but someone has discouraged them. Or they want a second career in the art field, but they are too afraid to pursue it. That’s so heartbreaking for me to see. But those people make the best artists, because they have decades of practical experience behind them so they are way ahead of a young person. They’re more disciplined because they’ve worked or raised families, and they absolutely can become a great artist! Even though it feels like they’re starting late, they can catch up quickly!

LP: When you are doing a portrait, what are you trying to capture?

LO: First, for likeness and then for “life,” so it looks alive. Most of that is in the eyes. If you get the eyes right, everything else looks good. Does it look like the person, and do you know who it is? And then the eyes will tell you if it’s accurate or not.

LP: Do you still love doing the portraits?

LO: I LOVE IT! I learn something new every day. Every day. You think you’re going to arrive, but you never arrive. There’s always something new. For example, in the last few years, I started using a new type of pastel to shift temperature, and I don’t know why I didn’t do it before.

LP: Which one is it?

LO: Caran D’ache Cubes. I love them! They’re subtle and with a soft touch and can make all the difference in the world. Like in the orange of a cheek. Especially

if I’m trying to be fairly faithful to the tone of the skin. A tiny shift against that orange with its compliment can make all the difference in the world! Laura, I would like to paint your hair: it’s such a good color!

LP: Yes, my hair is pretty bright! LOL. Did you buy a whole set of those cubes?

LO: Oh, I’m so bad! This is a "Laura (Pollak) Thing,” What would Laura Buy? (Known to her friends as WWLB.) I went to a trade show, and they had a full display of ten cubes per color. When they were packing up to leave, I asked if I could buy all of them, including the display case!

LP: Do you have a favorite pastel?

LO: I have two full sets of Unisons. They are great workhorses, and I have the Terry Ludwig pastels. I’ve been enjoying Mount Vision for portraits, too.

LP: What does your day look like?

LO: I try to wake up before noon. Then, I meet with clients, answer email and phone calls, run errands, sometimes spend a day at the gallery … until around 6 :00 in the evening. Then I take a break. From about 7:00 p.m. until around 4:00 a.m. I paint. Then I do it all over again the next day!

Author’s note: Chatting with Lisa gave me such a boost on a gray winter day! She is so full of enthusiasm and sunshine. I’ve taken 2 of her workshops and must say that if you find her teaching you have to go! Besides being a wonderful teacher she is one of the nicest people I know and truly a brilliant artist!

Upon Closer Inspection by Lisa Ober

Meet the Artist: Lisa Ober

Breakthrough by Lisa Ober

Laura Mocnik

by Laura Mocnik with Ugo Paradiso

question is not whether one has the talent, but do they have the desire, discipline, persistence, and passion to be an artist. This is a difficult life, riddled with roadblocks and obstacles, not least of which is plaguing self-doubt. An excellent work ethic is essential, along with tough skin, a sensitive heart, and the ability to love deeply whatever one paints. Fourteen years ago, I was diagnosed with breast cancer. After chemotherapy and recovery, I decided to throw myself into my art entering art shows more often and studying the master artists more diligently. From that point on, I considered myself an artist.

UP: How do you decide what you want to draw or paint?

Fellow artist and PSWC member Ugo Paradiso spoke with Laura about her art. Here is what was said:

Ugo Paradiso (UP): What time of your life did you know you were an artist?

Laura Mocnik (LM): I found it hard sometimes to call myself an artist. That word to me means big shoes to fill. I’ve always loved to draw starting around the age of 8 years old. I guess my mom thought I had some talent, because she enrolled me in the Art Instruction School, but I never finished the course. After high school, I wanted to go to college in the hopes of becoming an art teacher, but I was sidetracked and ended up working as an Executive Secretary at Ford Motor Company. However, I still loved to draw and paint but never really considered myself an artist because I was an Executive Secretary for 20 years. I remember reading that the

LM: Well, painting and drawing the human form has always been my main interest over and above any other subject matter. I love to draw and paint ordinary people in ordinary situations. These people are my people. They are telling a story. I mostly work from the photos I’ve taken over many years. I look for the ones that I feel a connection to as that is important to what I am drawing or painting. Many times, I feel a photo is talking to me: I feel a strong desire and passion to draw it, and when this is present, these works are the ones that I am most happy with the outcome. Sometimes the drawing paints itself, and sometimes it is a real struggle. Either way, I become intoxicated with the thing I want to express. If that will is not strong, I will see all kinds of unessential things. As Robert Henri said, “You will never draw the sense of a thing unless you are feeling it at the time you work.” This connection to the subject matter is important to what I draw.

Beyond PSWC: Laura Mocnik

Beyond PSWC: Laura Mocnik

Swimming in the Creek by Laura Mocnik

I do not have the desire to just paint anything old thing, so to speak, just to paint or draw. If I do that, an uninterested attitude shows up in my work, because I draw and paint what I feel.

UP: Do you have set patterns on how you approach your work?

LM: Yes, I do have a basic approach. I always start with a good drawing because I feel that is the foundation of any good work of art. I next proceed to value. Because I am also an oil painter, I kind of approach my pastel drawings in the same way, putting in the lightest lights and the darkest darks first. I try to keep myself in check as I proceed with color: I like a more limited palette, since I am more of a value painter. But other times, the drawing or painting tells me what it needs, so then I just go with the flow. And I do have my favorite grounds to work on. To keep myself learning, I like to experiment. I keep in my mind what Degas once said, "I have spent my life in trying-out. Fortunately, I never found my manner.”

UP: What are three art books or artists that have influenced you or your artistic view the most?

Hmmm. Lately, first and foremost, would be Vincent van Gogh because of his passion, perseverance, and the emotion he expressed through his paintings. He painted his soul. I don’t know if I paint my soul, but I draw and paint what I feel regardless of whether it sells or not. What I have read about him carries me through my low points with my art (which I believe every artist experiences). I think of what he said, "In spite of everything I shall rise again: I will take up my pencil, which I have forsaken in my great discouragement, and I will go on with my drawing.”

The second artist that has really had an influence on me lately is Cuong Nguyen. I took his workshop a couple of years ago, and the advice he gave me and certain things he said about my work has carried me to where I am right now. I see more clearly to where I want to go with my art. He is an amazing artist and an excellent teacher. I am so very grateful and fortunate to have studied with him. The third artist is Robert Henri. I keep going back again and again to the book The Art Spirit. Because I am mostly self-taught, I have many books by the master artists, and I refer to them as I want to keep learning. I feel they have always been the best teachers for me.

Beyond PSWC: Laura Mocnik

Red Ribbon by Laura Mocnik

Morning Memories by Laura Mocnik

UP: In your point of view, what do you consider the most important elements in a painting?

LM: Even though I am more of a realist than an abstract artist, there are still the basic elements of painting such as shape, form, space, composition, color and value. I think a great painting requires nobility in concept, variety, rhythm, repetition, unity, balance and harmony in its composition. The basis begins with drawing, then values, color, and finally composition and design.

UP: If you had a chance to have a cup of coffee or tea with your idol artist (whether alive or not) who would that person be? And what are three questions that you would ask?

Beyond PSWC: Laura Mocnik

Two Dancers by Laura Mocnik

Refreshing by Laura Mocnik

LM: Vincent van Gogh. I would ask him,

1. Of all your paintings, which are three of your favorite and why?

2. From your later paintings, it looked as if yellow was your favorite color. If it was, why?

3. You once said, “The painter of the future is a colorist such as there hasn’t been before”. Did you know at that time that you were that painter?

UP: Finally, what advice or wisdom would you tell your 20-year-old self?

LM: Believe. Trust. Pursue. Believe in yourself, trust

your inner voice, and pursue your dreams. Nothing comes easy in life, so don’t let that discourage you.

Awards and Recognition (partial list):

2020

36th IAPS Juried Exhibition, Dunedin Fine Arts Center, Florida 4/1 - 5/10

BoldBrush Painting Competition FAV 15% April, May, June, August

Winner of the “Strokes of Genuis” Best of Drawing National Competition - Nov. 2020

Richeson Award - Central Mass Pastel Society “Marks of Distinction 2020”

Great Lakes Pastel Society Online Exhibition

TFAS 100+3 Juried Exhibit 20 North Gallery, Toledo Ohio. October - December

Pastel Artists of Oregon “Spirit of Pastel 2020” Virtual International Open Exhibition - October

Pastel Society of Eastern Canada

“Les Pastellistes” - Online International - December

2019

Pastel Society of America 47th Annual Exhibition “Enduring Brilliance”

35th IAPS Juried Exhibition Webshow

Monroe City/Council Fine Arts Show - 1st & 3rd Place

DSWPS Small but Mighty Exhibition - 2nd Place

22nd Annual Livonia Fine Arts

Juried Exhibition - Juror’s Choice Award

Canton Fine arts Juried Exhibition

www.lauramocnik.com

Beyond PSWC: Laura Mocnik

Waiting for Her Shirt to Dry by Laura Mocnik

Woman in Profile #2 by Laura Mocnik

Art School

Making Your Own Substrate

by Deborah Pepin

I have been a working artist for the last ten years and fell in love with the pastel medium five years ago with the help of an artist friend.

The papers we use greatly influence our pastel paintings. I use commercial papers and boards, like UArt, which I love, but since I paint everyday, it can become somewhat expensive. I am primarily a landscape painter, so texture is important, and making my own pastel boards gives me the texture I love and boards that are durable that I can use and abuse. I also found that since 2020, papers are harder to obtain. They are often back-ordered with no definitive delivery dates.

I invested some time making my own boards, purchased lots of products, and did quite a bit of experimenting. It boiled down to a few, easy-to-source products, and not a whole lot of time involved. The most time will be spent on measuring and cutting your substrate and drying time.

I use two substrates: Masonite and Gator Board. While Masonite is inexpensive and. easy to get, it can be heavy if you are plein air painting, doing

demos or teaching classes. You are carrying your boards around, and they can get cumbersome and heavy. Gator Board can be a bit expensive, but you can cut the sizes you prefer yourself, and it is super durable and lightweight, so it is easy to work with and cart around.

I am lucky enough that I have other art friends that use Gator Board as well, so we put an order together so that we can share in the shipping costs. I do not want to discourage anyone from using any of the commercial papers, but I simply cannot afford to purchase the UArt boards to paint every day.

Here is a breakdown:

Masonite. 4’ x 8’ sheet is around $8.00 (my Lowe’s will cut for free) so if I have them cut into 16 x 20 sheets, it is around $1.33 each.

Gator Board. Comes in 32” x 40” size sheets (I order from ULine and get 10 sheets at a time). With shipping costs they are $27.36 per sheet. I can get 4- 16” x 20” boards out of a sheet which is $7.92 per board. Your most expensive part is your substrate. A 16” x 20” UArt board is $20.00.

Step 1: Preparing the Boards

When I start with Gator Board, I use Liquitex Clear Gesso, and for a 32 oz. Bottle it is $23.99. I use Liquitex brand because it has a nice grit to it, you can thin it with water if you want, it goes a long way, and it dries clear. Get a good coat on your Gator Board and let dry completely. I cut my boards first, to the desired sizes before I put the gesso on (this is a personal preference), but you can certainly put that first coat of clear gesso the whole sheet before cutting into the sizes you want. This is the Gator Board with a small pile of gesso, getting ready to brush out. When you are brushing on, do your brush strokes one way then the other way. As it dries and you keep brushing you will get a more consistent pattern.

If you are using Masonite, it is best to put white gesso on the board because it is a dark brown. You can also use a colored gesso, but I only use white. This makes a great starting point, and you will see why I do that later in the process. Be sure and let dry completely before the next step.

Step 2: Underpainting the Board.

When the board is dry, the fun begins. I tone most of my boards, and I do it with my soft pastels. This eliminates having multiple colors of gesso or acrylic paint to tint your gesso. It is one more step and takes more time. You can use any color of pastel you want, or any brand. I have been using the Richeson Underpainting Pastel Blocks Darks because they have a wide surface.

Step 3: Scumble color.

The next process is to use the underpainting pastels to scumble (scumbling means to apply a thin layer of color over a painting) in the color you want across the dried first layer of gesso on your board. It is important to use a very light touch.

Then you will take another pass of clear gesso and go over this the scumbled surface. Smear it around, using your brush strokes to go back and forth. The board above on the right is what it should look like once its dry. I like the inconsistencies of the background. Some would prefer not to have this, but for me this just adds more texture and surprises in your underpainting. I never know exactly what the board will look like after it has dried, but I still love the effect of the toned board.

Here is a picture of another board with a medium warm gray on it. I let that dry and went over that with a warm gray with sparkles in it, and another coat of clear gesso. Although you cannot really tell in the picture it has a very nice sparkle to it and would make a wonderful nocturne painting.

Scumbled texture

Scumbled with 2nd gesso coat

Scumbled color Scumbled color w/gesso Warm gray

Step 4: Fixing mistakes

One of the things I enjoy most about making my own boards is that if you don’t like the pastel that you’re working on, or it just not working out, you can take it to the sink and wash it off. It never goes right back down to the original color but talk about happy accidents! Some of the underpainting colors that you get are fabulous. Sometimes if I don’t like the staining on the washed off boards I will put a color on and use the clear gesso again. There is no waste with these. When I wash my boards off, I use a nail scrub brush, so I abuse the boards. I have not had a problem with them yet. Here are some of the colors left on this board to the left:

Step 5: Textural Use.

You can see the textural difference different boards can bring for different paintings. I love the difference it brings to my pastel work. It is always creative to try something different. Just a side note: you can always make your boards smoother by thinning your clear gesso with a little water. It would require more applications or multiple layers, just be sure and dry completely in between. The only issue that I have found is that if you use alcohol or Gamsol for an underpainting, be sure to not scrub as the products can break down the gesso, and it can sometimes peel off. Most of my home-made boards are toned so I don’t use an underpainting. You can eliminate this issue by using water for your underpainting.

Once they are finished, and dry, I will put them in sleeves, and they are ready for the next painting. Sleeves can be purchased at www.clearbags.com.

Board color 1 Board color 2

Board color 4 Board color 5 Board color 3 Board color 6

Seasons Ending 9x12

The Altar 9x12

Morning Whispers 16x20

Art Workshop

TERESA SAIA

Expressions

In this virtual workshop

May 14-16, 2021

Teresa will help you take your landscapes to a powerful new level. The workshop will demonstrate Teresa’s love for light and mood with the overall focus: to build a better landscape. The first half of each day will be a demonstration and discussion with time for Q & A. The second half of each day will be helping each participant work through their painting. Students will send images of their work in progress by email or the Padlet app. These will be for all the class to see as Teresa will give constructive information on what areas can be improved and the best ways to go about the changes as your painting progresses.

WORKSHOP TOPICS: TAKING YOUR LANDSCAPES FROM “NICE” to “DYNAMIC”

You will learn the five techniques Teresa uses for a more powerful painting. Using stronger value statements and better shapes you will learn to build your landscape with thoughtful steps.

Teresa has been a professional artist for over 30 years. Her passion for pastel began in 2001, and she has established herself as a premier pastel artist with her teaching techniques of contemporary Impressionism. She enjoys creating a supportive and energetic atmosphere in which students can thrive, grow and establishing their own style and direction.

She has achieved Master Circle with IAPS and signature status with the American Impressionist Society. She always strives to create dynamic mark-making, a rich, radiant palette, and to evoke moods that engage the viewer. https://www.teresasaia.com/

This workshop is open to all levels. For more information go to https://pswc.ws/workshops/

Art Workshop

JEN EVENHUS

Put PIZZAZZ into your Palms

Open to members and non-members $350

June 25-27, 2021

Jennifer “Jen” Evenhus discovers magic in her subjects with simplification and exaggeration, using her trademark style “the beauty of imperfection,” to reveal the soul of the subject with a unique, bold sense of color and design. Her work is contemporary with abstract leanings, created in both pastel and oils.

“Put PIZZAZZ in Your PALMS” Workshop with Jen promises to be exciting, fun, informative, and mind-blowing as you learn how to interpret the sometimes feisty personality of palm trees with their myriad of dancing fronds using intense and subtle hues and negative painting! Students will explore fearless mark-making, negative painting, exaggeration, simplification and new color groups on their way to learning how to paint palm trees with PIZZAZZ ! We will manipulate shapes, composition, space, color, line and happy little accidents to reveal dynamic palms, utilizing unusual tools, materials, and techniques! Instructor demos each day show blocking-in, first layers, refining and defining with negative painting to magically revealing palms

Jen is a popular national workshop instructor, giving “The Beauty of Imperfection” pastel workshops. She has been published in magazines such as The Pastel Journal, American Artist, Pratique des Arts French magazine, PSWC Magazine and PSA Pastel-a-gram. Jen’s award-winning work has been included in many national and international juried exhibits. She recently received best of show in the 2020 Northwest Pastel Society 34th Annual International Juried Exhibition held at the prestigious American Art Company Gallery in Tacoma, Washington. View recent work on her website www.jenevenhus.com

For more information about this class go to https://pswc.ws/workshops/

Art Workshop

LAURA POLLAK

Driven to Abstraction – Getting the Glow!

Open to members and non-members $350

July 16-18, 2021

Join Laura Pollak for a FUN, FAST and CHALLENGING on-line workshop!

The theme is DRIVEN TO ABSTRACTION and explores the natural world in an abstracted form. In this workshop you will learn:

• Principles of Composition

• How to set up your painting: underpainting techniques

• Concepts of Abstraction

• Mark making techniques and exercises

• How and where to find inspiration

• Color combinations that WORK!

• Resources for ideas

• Apps to help with your work

• New and unique techniques and materials

All sessions are recorded and available for you to keep. All handouts and PDF books are emailed each night.

Workshop hours are 11 a.m.-5 p.m. EST each day.

Laura is an award winning fine artist, showing her works in galleries and museums across the nation. Her works have been juried into national andinternational shows. Most recently Laura won second place in the Pastel Society of the West Coast on-line show in the signature category, won first place in the North Carolina Statewide Show, honorable mention in the Pastel 100 and best of show in the FASO online show. She has been featured in Strokes of Genius, has articles in Pastel Journal, the PSWC Magazine and was featured in the French magazine, Pratique des Arts. See more at http://laurapollak.com

This workshop is open to all levels. For more information go to https://pswc.ws/workshops/

Art Workshop

LYN DIEFENBACH

The Floral Portrait – Building the Illusion of Reality

Open to members and non members – $300

August 13-15 2021

Love Flowers? Enjoy painting? Combine the two passions and learn how to create pastels full of luminosity, dimensionality and light. Lyn will share her extensive knowledge of color, as well as provide you with the technical know-how to create the illusion of reality with pastel.

The building blocks of line, tone, color and edge will be covered in depth to give you a rich understanding of these key areas. Lyn will provide information on pastels and pastel surfaces as well as application.

Enjoy clear, informative demonstrations and individual attention at your easel. You will use your own reference material so you can choose your own degree of difficulty or perhaps your favorite flower. Definitely creating the WOW FACTOR.

Prior to the workshop, all participants will be sent a free link to Lyn’s video "What Every Artist Needs to Know”. This is a short 45 minute session on the importance of the four fundamentals – line, value, color and edge. It’s an essential preparation for the workshop.

For more information about this class go to https://pswc.ws/workshops/

Call for Entries

Thanks to PSWC member Joan Brewster, President of the North Beach Artists Guild, for letting us post this art opportunity.

PSWC HOUSEKEEPING

EXHIBITION NEWS

Our premier event, PASTELS USA has changed format this year. It is now Pastels USA: 99 Voices in Pastel. We are limiting the show to 99 pieces. Entries accepted from April 17 to June 27th, 2021. Our jurors and judge are :

Only 33 entries accepted into each of 3 categories

• Ultra-Modern and Experimental

• Contemporary Realism

• Contemporary Impressionism (Includes Plein Air) University and College Entrants Welcome

• 1st Place in Ultra-Modern and Experimental - $1000.

• 1st Place in Contemporary Realism - $1000.

• 1st Place in Contemporary Impressionism - $1000. (includes plein-air)

• More than a dozen merit-based awards

ALWAYS LOOKING FOR VOLUNTEERS

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

MEMBERSHIP DRIVE

One of the best ways to support a healthy society is to bring in new members. There are lots of good reasons to join. If you have artist-friends who are not members, now’s the time to invite them to join. Contact Debbie Pepin 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! Sheri Adams is our workshop coordinator, and she is awesome. We are currently offering ZOOM classes, though some of our teachers are scheduling in-person classes for late in the year when and where it is safe.

NEW MEMBERS

ELECTED BOARD POSITIONS

President/Editor

Sabrina Hill

e: Art@sabrinahill.com

Vice President/Treasurer

Susan Goodmundson

e: goodmundson@sbcglobal.net

Secretary

Bonnie Griffith

e: bzgriff53@gmail.com

COMMITTEE APPOINTEES

Eblast Coordinator/Publicity

Cynthia Riordan

e: clriordan@gmail.com

Facebook/Social Media

Rita Romero

e: artist@romeroartstudio.com

Membership Chair

Deborah Pepin

e: pswcmembership@gmail.com.

Magazine Editor

Sabrina Hill

e: art@sabrinahill.com

Membership Show Chair

Dug Waggoner

e: dugwaggoner@att.net

Museum Liaison

W. Truman Hosner

e: truman@wtrumanhosner.com

Pastels USA 2020 Chair

Jan Miller

e: halfhalt@saber.net

Scholarship Co-Chairs

Pam Comfort

e: pinfree@gmail.com

Ranjani Mohana

e: ranjanimohana@gmail.com

Strategic Planning Chair

Ways & Means Chair

Deborah Shea

e:deb@deborahsheastudios.com

Workshop Coordinator

Sheri Adams

e: sherilynadams@yahoo.com