PSWC MAGAZINE SUMMER 2018

PSWC magazine

Gerald (Jerry) Boyd

A wonderful conversation with an artist whose career has spanned decades...and he’s just warming up!

PASTELS USA Winners

Special Supplement Supplement with with all all the the winners winners and and Special accepted works, works, who’s who’s who who in in judging, judging, and and accepted jurying and and all all the the awards awards and and sponsors! sponsors! jurying

Meet the Members

A few fun facts and artwork from members Gary Huber and Waif Mullins

BiARTisan Project

Artists Artists Lisa Lisa Ober Ober & & Rob Rob Weinblatt Weinblatt had had aa brilliant brilliant idea: idea: collaborative collaborative painting. painting.

Learn Learn how how you you can can paint paint with with aa buddy! buddy!

Mother and Baby at the Beach by Jerry Boyd

Pa s t e l S o c i e t y o f t h e W e s t C o a s t Volume 11, Issue 3

Summer 2018

PSWC Magazine | Summer 2018

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Join the most dynamic pastel group in the USA for less than 20c 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 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 | Critique Program with Master Pastelists | Membership in IAPS | No Juried Membership, unlike other societies

Shimmering Light by Linda Roemisch 2

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PSWC

magazine

Pastel Box of Kathy Detrano

Table of Contents FEATURES SPECIAL SUPPLEMENT PASTELS USA All the Art! The Interview Artist Gerald Boyd A Lifetime of Making Art Meet the Members Gary Huber Meet the Members Waif Mullins Art Makers Lisa Ober explains her newest passion: BiARTisan Painting

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ABOUT ART Art School Lisa Ober & Rob Weinblatt Go Step-by-Step

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Art Workshops Workshops Coming Up

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Art Business Jen Evenhus is Making Mark on Wine Bottles

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Paint & Tell Meet the Studio Pets!

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REGULARS Letter from the PSWC President A few words from Susan Goodmundson

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News & Notes All the latest from our Members

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PSWC Housekeeping Here’s what’s happening with the Society

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New Members Welcome to our newest PSWC members

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PSWC Magazine | Summer 2018

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Letter from the Editor

Hello Pastelists,

Hope you are all having a great summer! We have been very busy putting together our premier exhibition PASTELS USA 2018. This issue of the PSWC Magazine marks the first time we have combined the magazine and the catalogue. It’s been wonderful to put so much information into one issue!

It’s hard to say that this is the best show we have ever had because each year we are stunned by the work created by pastelists from across the 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!

country and around the world. This year’s entries were no exception. As you will see beginning on page 10, there is some mighty fine art being created.

As with every issue, we want to introduce you to our many talented members. This time we have interviewed three incredibly talented men, Gerald Boyd, Gary Huber, and Waif Mullins. Jerry Boyd, artist and Chair of PASTELS USA graciously agreed to spend almost two hours talking art and life with

KEEP IN TOUCH & FOLLOW US!

me even though he had a hundred tasks to do for the show. From humble beginnings, his talent was evident early on and at 17 he was hired as a billboard painter. He has been a working artist ever since. Gary Huber was always interested in art, but he ended up studying geology in college.

Years later, he returned to his first love and has been painting the vistas in Wyoming ever since. Waif Mullins studied art but worked in a fiberglass factory because the work hours allowed him to earn a living and still have time to paint. When the company changed the hours he quit and never

ABOUT THIS ISSUE

looked back. He paints with his constant companion, Pappi the Parrot on his shoulder. Cutest thing ever!

Our magazine format was a big hit! This format allows us to add more art and gives

Finally, I hope everyone considers registering with the BiARTisan Project

readers a PDF version or an online digital

(see page 58). Spearheaded by artists Lisa Ober and Ron Weinblatt, this en-

version to read on mobile devices.

deavor is challenging, expansive, educational, and great fun! I am throwing

InDesign Magazine Template Designed by Erick Ragas StockInDesign Inc. www.stockindesign.com @stockindesign

down the gauntlet to fellow members to find a partner and sign up. Susan Goodmundson and I have already registered our team on www.biartisan. com, and we’re ready to paint!

Enjoy the show, come see it live in Morro Bay, California and KEEP PAINTING!

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

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Editor, PSWC Magazine

Letter from the President

Dear Members,

The PASTEL SOCIETY OF THE WEST COAST welcomes you to The 32nd Annual International Open Exhibition of Pastels USA. A big thank you to the many talented artists who entered our exhibition. There were many exceptional paintings from artists all over the United States as well as foreign countries.

We would like to thank the Art Center of Morro Bay in Morro Bay, California for holding our exhibition.

Many thanks to Patricia Newton and the volunteers of the Art Center for going above and beyond to make this exhibition a great success. Without our donors and sponsors, we would not be able to put together an exhibition of this prestige and magnitude. They continue to make PASTELS USA a successful exhibition in support of our artists and Society.

A special thank you to Linda Roemisch, our Ways and Means Chair, who makes our awards possible through the essential contacts with our donors and sponsors. Linda has served in this position for twelve years and has worked very hard to increase the awards to our very talented artists. She will be resigning this year. If you would like to do this job let us know. We will train you.

We have partnered with Southwest Art Magazine. They are giving a full-page ad as an award. They are also giving the accepted artists a discounted ad space. Those who chose to participate will be featured in an article about the PASTELS USA 2018.

Our Jurors of Selection had the arduous task of selecting the accepted paintings from the large number of excellent works submitted. Thank you for your conscientious efforts in this difficult, decision making process. Our Jurors are: Aline Ordman of White River Junction, Vermont, Natasha Isenhour of Socorro, New Mexico and Otto G. Sturcke of Valencia, California. Special Thanks to our Awards Judge, Lorenzo Chavez of Parker, Colorado for selecting those paintings in the exhibit that were deserving of extra awards and recognition. Thank you to Tina Moore the Awards Chair for this event.

Tina will be resigning after 14 years of service to the PSWC. We need a volunteer to fill this position. We will train you.

Thank you, Jerry Boyd for being Exhibition Chair and Shipping Agent for this exhibition. We also want to thank Cynthia Riordan, Publicity Chair and Rita Romero, Social Media Chair for their efforts in publicizing this event.

Thank you to our hard-working Board members: Jerry Boyd-Exhibition Chair, Russell Frank-Scholarship Chair, Bonnie Griffith- Secretary, Sabrina Hill-PSWC Magazine Editor, Tina Moore-Awards Chair, Deborah Pepin-Membership Chair, Cynthia Riordan-Publicity Chair, Linda Roemisch-Ways and Means Chair, Rita Romero-Social Media Chair, Dug Waggoner-Membership Show Chair, and Margot Schulzke, our founder who continues to inspire the Pastel of the West Coast the best of the best.

My heartfelt thanks to all who gave of your time, resources, monetary and/or product gifts, and expertise to make PASTELS USA 2018 possible.

Susan Goodmundson PSWC President

PSWC Magazine | Summer 2018 PSWC Magazine | Summer 2018

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News & Notes

News & Notes Awards & Honors IAPS (International Association of Pastel Societies) announced the names of artists who have achieved Master Circle Status, and two of our members were honored! Dug Waggoner and Jerry Boyd, both Board members in PSWC as well, are delighted to be included in this exclusive circle. Congratulations to Dug and Jerry. You both represent the best in pastel artistry, and we are honored to have you as members of the Society and the Board!

Alejandra Gos was honored to receive the Elizabeth Mowry Poetic Landscape Award at the Pastel Society of Colorado Annual Open Mile High Exhibit that is currently hanging in Parker, Colorado at PACE. This is her first time receiving an award in this exhibit. It’s a beautiful show. She has also been accepted into the PSWC’s PASTELS USA 2018 Show in Morro Bay, California! More information here. www.alejandragos.com

The Golden Hour by Alejandra Gos

Pastel 9” x 12

Karen Horne is exhibiting several beach and water-themed pastel paintings in the show “15th Anniversary SPLASH” at HORNE Fine Art, Salt Lake City. She has also completed a new pastel commission of a couple ballroom dancing. www.hornefineart.com Beach Umbrellas by Karen Horne

Linda Roemisch’s painting Shimmering Light was juried into the 2018 UART online Pastel Competition with her piece Shimmering Light.

This year, she attained Signature status in the PSWC. Linda serves as the Chair of the PSWC Ways & Means. We are very proud of our Board member! www.lindaroemisch.com Shimmering Light by Linda Roemisch Pastel

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News & Notes

Welcome Regional Reps!

The PSWC welcomes our new Regional Reps! These artists have stepped up to help the Society fulfill it’s commitment to promote art and art education in our communities and to have a little fun while doing it! They will be organizing Paint-Outs, Paint-Ins and social events in their geographic areas. If you live in one of these areas, contact them through their websites to find out about upcoming events. Traveling near-by? Here’s a chance to find out about events that will turn your vacation into an art trip! Interested in becoming a regional rep? Contact Sabrina Hill or Susan Goodmundson for more information!

Gerry Delongchamp Region covered: Arkansas, Dallas, Texas, Missouri www.gerrydelongchampart.com

Karene Infranco Region covered: New Jersey, New York (greater Metro), Connecticut www.kareneinfrancoart.com

Denice Peters Region covered:Iowa www.denicepeters.com

Janis Ellison Region covered: Oregon, www.janisellison.com

Bonnie Griffith Region covered: Idaho, Montana, Wyoming www.bonniegriffith.com

Barbara Jacobs Region covered: Sebastopol, Napa, Sonoma www.bjacobsfineart.com

Jean Myers Region covered: Southern California www.jmyerspaintings.com

Heidi Reeves Region covered: Tahoe & Reno, Nevada www.heidireevesart.com

Jan Thomas Region covered: Sonoma, Wine Country www.janthomasart.com PSWC Magazine Magazine |Summer | Summer2018 2018 PSWC

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News & Notes

Sharon Bamber is embarking on a journey with her donkey, Midas, as they walk 1000 miles along the Way of Saint James, connecting with its unique sense of place through plein air painting. The trip goes from Le Puy en Velay in France, over the Pyrenees and across Spain through Santiago de Compostela to Finisterre. Sharon will be stopping to do a plein air painting every 5 miles along the entire route. www.sharonbamber.com On the Pilgrims Way by Sharon Bamber 11 x 14 soft pastel

PSWC Northbay members will gather for our first meet-up on September 20 at the studio of Clark Mitchell who will demonstrate: Bringing Life to An Old Painting. Clark is a Distinguished Pastelist for PSWC and a Master Pastelist for PSA and whose work has been featured in numerous publications.

The meeting will take place in Clark’s charming strawbale studio, located in Cotati, CA, 10 AM – 12:30 PM, Twilight Moon by Clark Mitchell Pastel and is free for PSWC members. Space is limited to 20 and reservations are required. Contact Jan Thomas, PSWC Northbay Regional Representative, to reserve space and receive more information: jan@janthomasart.com.

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News & Notes

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The 32nd Annual International Open Exhibition of

A Dynamic Journey!

A Special Supplement PSWC Magazine Magazine ||Summer PSWC Summer 2018 2018

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Pastels USA 32nd Annual International Exhibition

PASTELS USA 2018: A DYNAMIC JOURNEY We have a winner! Actually many winners. The 32nd Annual International Exhibition of PASTELS USA: A Dynamic Journey is officially judged and complete. We couldn’t be prouder to show you the award winners and all the accepted entries. We have many thank you’s to dispense starting with our amazing show chairman, Jerry Boyd. This is a job requiring hundreds, if not thousands of hours. Jerry Boyd received all the shipped paintings and gave them safe passage to the Art Center in Morro Bay. He is an artist extraordinaire and a great organizer! Our jurors Natasha Isenhour, Aline Ordman, and Otto Stürcke and judge Lorenzo Chavez have brought their substantial art expertise and objective eyes to determine who we will honor this year. We are humbled by your efforts. Thanks to all who participated!

Gerald Boyd – Chairman and Shipping Agent, Pastels USA 2018 Drawing on my experience of over 30 years as a Signature Member of PSWC, as well as 10 years as Chairman of PASTELS USA, and 12 years as shipping agent, I can attest to the fact that PSWC’s Annual International Exhibition we call “Pastels USA” has maintained a high standard of quality over the years that few could match. We have usually received between 450 and 500 entries from 150 to 185 artists during that time and have accepted around 100 paintings each year for our exhibition. This year we had 468 images submitted by 148 artists and our jurors selected 97 paintings by 97 artists to exhibit in Morro Bay. What struck me, as I received paintings, both the national and international flavor, and participation has been stronger than ever. While the international numbers may not be large, the distances artists are sending from have been increasing. Represented in the exhibition are 42 paintings from outside of California which includes 19 different states - many from the East Coast. There is a painting from India, one from Malaysia, and two from Canada. One of the two from Canada is from an artist who, in just the last few months, immigrated to British Columbia from Tehran, Iran. It’s great to see PSWC reaching out across the nation and even the world.

Pastels USA Judge Lorenzo Chavez Lorenzo Chavez was born in New Mexico, where the striking landscapes, varied cultures and colorful history helped him develop an appreciation for art at an early age. He studied at the Colorado Institute of Art and the Art Students League of Denver.

Intensive private study of the Impressionists and 19th century American and Russian painters have made him aware of the wonderful possibilities and importance of painting from life.

Lorenzo exhibits in national invitational exhibitions across the country, including the Pastel Society of America, Artists of America, The Northwest Rendezvous Group, C.M. Russell Museum, Laguna Art Museum, Gilcrease Museum, Landscapes of the American West, Plein Air Painters of America, Loveland Art Museum, Pasadena Art Museum Albuquerque Museum Miniatures, Bradford Brinton Memorial Museum and Artists of the West. He was invited to exhibit 7 pastels at the 2010 summer Exhibition for the Society of Pastelists in France. Lorenzo’s work is featured in many prominent galleries and magazines, including Art of the West, Southwest Art, Pastel Journal, Art-Talk, and American Artist. He was cover artist for The Artist’s Magazine and the Pastel Journal. Lorenzo’s paintings are included in six books, Pure Color; The Best of Pastel and Art Journey America both published by North light Books and The Plein Air Year published by Jack Richeson Books and Colorado Landscapes. He is an active member of the Plein Air Painters of America, Western Rendezvous of Art, California Art Club, American Impressionist Society and the Pastel Society of Spain. www.lorenzochavez.com

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Pastels USA 32nd Annual International Exhibition

Pastels USA Jurors Strong, moody, sensitive and light-filled are adjectives often used to describe the work of Natasha Isenhour. Painting in both oil and pastel, she has become known for her striking chiaroscuro still-life paintings and birds as well as her work in landscapes. Natasha paints full-time on location and in her studio in New Mexico, and lives only minutes from Bosque del Apache NWR, where she finds limitless inspiration. Isenhour served as President and is a Signature member of the Pastel Society of New Mexico, as well as Associate with Distinction member of American Women Artists and Plein Air Painters of New Mexico. Over the last seven years, she has demonstrated for Jack Richeson & Co at IAPS conventions, and in 2017 served as awards juror for the Richeson 75, Birds and Wildlife in Art. Featured in numerous solo gallery and museum shows as well as group shows throughout the Southwest, Isenhour has current, long standing representation with Ventana Fine Art, Santa Fe, New Mexico, Cobalt Fine Arts, Tubac, Arizona and RS Hanna Gallery, Fredericksburg, Texas. www.natashaisenhour.com

Aline Ordman received her BFA from Cornell University, and continued her training at the Academy of Art College in San Francisco, earning a degree in Illustration. She remained on staff teaching until her move to the Upper Valley of New Hampshire and Vermont.

Aline is a Master Pastelist with the Pastel Society of America and a Signature Member of the American Impressionist Society (for her oil paintings) and a Master Circle Pastelist with the International Association of Pastel Societies. She was been featured in The Pastel Journal has juried the Pastel 100, has been honored with awards at the 33rd, 34th and 38th Annual Juried Shows of the Pastel Society of America in New York City and juried the 2014 Pastel Society of America’s National Juried Show. In 2016 and 2017 she was a Faculty Pastel Presenter for the National Plein Air Convention. Her work has been accepted in national juried shows of the American Impressionist Society, The Pastel Society of America, and the Oil Painters of America.

Aline received the Prix de Pastel at the 2018 IAPS National Juried Show. She is represented by Camden Falls Gallery, Maine; Blue Heron Gallery, MA; Gallery Artrio, MA; William Riis Gallery, NY; Mackinac Little Gallery, MI. Aline teaches workshops throughout the country and in Europe. Her website is www.alineordman.com and she maintains a blog at http://alineordmanartwork.blogspot.com/

Otto Stürcke was born in 1971 and grew up in Southern California. Primarily self-taught, Stürcke joined the U.S. Marine Corps in hopes of attaining financial aid to attend an art college. His plans were momentarily altered in 1991 when he was called to serve in Desert Storm. Soon after his military service, Stürcke enrolled in art workshops and courses at several local art associations and colleges while launching his illustration career. Working as an illustrator served Stürcke for honing many techniques and found pastel to be his principal medium of choice. As a representational artist, Stürcke seeks to find common ground between the contemporary and the classical. Greatly influenced by the Dutch Masters, Stürcke aims to depict the personal, the emotional, and the quiet elegance in his paintings through light, shadow, and texture.

In recent years, Stürcke has garnered recognition and several awards for his works including the title of Master Pastelist and the Art Spirit Foundation Dianne B. Bernhard Gold Medal Award by the Pastel Society of America, 1st Place in Pastel Journal’s 19th Annual Pastel 100 Competition Animal/Wildlife Category, 1st Place in the 8th Annual Members Show of the Pastel Society of Southern California, Stabilo Award at the 1st International Pastel Exhibition in Rome, Butler Institute of American Art Selection, the Robert & Patricia Suggs Award by the Pastel Society of the West Coast, and has also been chosen to be part of the American Latino Collective at the Smithsonian Museum. His work has been published in the French publication 40 Masters of Pastel by Pratique des Arts Magazine, The Art of Chalk by Tracy Lee Stum, and as “Artist of Note” by Southwest Art Magazine. https://sturckestudio.com

PSWC Magazine | Summer 2018

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Pastels USA 32nd Annual International Exhibition

Pastel Society of the West Coast Pastel Laureates PSWC’s Pastel LaureateTM is the highest level of award presented by The Pastel Society of the West Coast in connection with our Annual International Exhibitions. It is awarded to honorees in recognition of their nationally or internationally significant contributions to the advancement of the pastel medium. The honoree’s impact on the advancement of pastel may be through teaching, writing and/or major contributions of their work in galleries or museums. Having won at least ten awards in the Pastels USA exhibitions and membership in the PSWC may also be considered qualifying factors. The PSWC Board of Directors will nominate and select the recipient of this award. A combination of all factors will be considered. Here are the past honorees.

2000 Albert Handell, PSWC-PL, PSA-MP Blue Wonder

2004 Bob Gerbracht, PSWC-PL, PSA-MP Loraine

2006 Margot Schulzke, PSWC-PL, PSA Quiet Sea

2009 Duane Wakeham, PSWC-PL, PSA-MP Sonoma, Summer Evening

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2003 Daniel E. Greene, PSWC-PL, PSA-MP, NA Self Portrait Grand Central Station

2008 Marbo Barnard, PSWC-PL, PSA Nõ Gaku

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

Pastels USA 32nd Annual International Exhibition

Distinguished Pastelist & Signature Status Awards The Distinguished Pastelist is accorded to PSWC signature members who have received an award in three (3) of five (5) consecutive PSWC International Open Exhibitions. Scholarship Awards will not be considered in making this determination. PSWC Signature Status is awarded for acceptance into three Pastels USA Exhibitions or two PASTELS USA Exhibits and one award in the PSWC Membership Show. Congratulations to those artists who qualified for status this year!

PSWC DISTINGUISHED

1997

PASTELLIST HONOREES

Beverly Nichols

2010

1998

Lisa Fricker

Betsy Kellum

2011

Vera Sickinger

Philip R. Bates

Mary Wagstaff

2012

1999

Ellen Dreibelbis

Ruth Hussey

Kari Tirrell

Waif Mullins

David Will

2000

2013

Lee A. Kimball

Evalynne A. McDougall

2001

Vianna Szabo

W. Truman Hosner

Marie Tippets

2002

2014

Christine Debrosky

Linda Mutti

2003

Jennifer Rowe

Alana Smart Shirley

Dug Waggoner

2004

2016

Richard McKinley

Diane Fechenbach

2005

Ann Sanders

Deborah Matlack

2017

2006

Debbie Patrick

FOR 2018 Lynda Conley Daggi Wallace PAST YEARS: 1989 DeLoma Davis Margot Schulzke 1990 Sherrie Casaurang Hayashi 1991 Marbo Barnard Reif Erickson Adele Lloyd 1992 Anita Wolff 1993 Thelma Davis Milton Meyer Clark Mitchell 1994 Claire Miller Hopkins Gwen C. Manfrin 1995 Mikki R. Dillon Elizabeth Mowry Roy Pfister Gina Leyton Marsh Nelson Duane Wakeham 1996 Gary R. Blackwell

Elaine Augustine Terri Ford Nancy MacDonald Jane Wallis 2007 Joe Mancuso 2008 Sarah Blumenshein Tina Moore 2009

2018 SIGNATURE MEMBERS Ginny Burdick Alejandra Gos Bonnie Griffith Paul Harman TiaMeng Lim Eve Miller Lisa Rico Linda Roemisch

Gerald Boyd

Teresa Ruzzo

Kim Lordier

William A. Schneider

Cuong Nguyen

Lynn Byrne Simon

Claire Schroeven Verbiest PSWC PSWCMagazine Magazine|Summer | Summer2018 2018

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Pastels USA 32nd Annual International Exhibition

PASTELS USA 2018 Awards The Pastel Society of the West Coast wishes to extend the sincerest gratitude to our wonderful donors.

Your generosity and support make this show possible. We cannot imagine a world without art, and your contributions to the continued advancement of art excellence keeps the world a more colorful place.

Thank You! PSWC BEST OF SHOW AWARD $1,800 Nancy MacDonald Alys Southwest Art Magazine Award $2,300 Parag Borse Combs and Senility Wakeham/Sutherland Award $1,500 Renay Shaffer Homeward Bound Robert and Patricia Suggs Award $1,000 Candice Grieve The Selfie Aaron Schuerr Award $500 Christine Debrosky Aspen Shadow Dance Andrew and Marbo Barnard Award $500 Somayeh Jazayeri Eastern Beauty University Art Award $500 Matthew Jaffe Somnambulist Dakota Art Pastels Award $500 Rita Kirkman XO Great American Art Works Award $429 Dug Waggoner Composed Granite Atlantic Papers $250 Zahra Pezeshk Sweet Death Jerry’s Artarama $250 Carolyn Caldwell Green Nets Waif Mullins Award $250 Gerald Boyd Giana Mike Mahon-Pastel Porter/workshop $250 Jan Frank Protected Path Ampersand Art Supply $200 Lynda Conley Starry Starry Hay Jack Richeson & Co. Inc. Gold Award $200 Daggi Wallace Goddess UART New York Award $200 Sarah St. George Whaler’s Cove Faber-Castell Award $192 Lynn Humphrey Serenity Jack Richeson & Co. Inc. Silver Award $175 Douglas Tweddale Tlaquepaque Sycamore Pastel Society of America Award $150 Vianna Szabo Rose Airfloat Systems Award $150 Nancie King Mertz Old Town San Diego Jack Richeson & Co. Inc. Bronze Award $150 Carrie Givens Woodland Light Judsons Art Outfitter and Guerrilla Painter Award $130 Kimberly Wurster Golden Bloomers HK Holbein Inc. Award $130 Evalynne McDougall Wicker Wonderland II Royal Talens Award $114 Jennifer Evenhus Spirit of Blewett Connecticut Pastel Society Award $100 Lynn Attig Middleton Plantation Sheep, Charleston Pan Pastels Award $100 Ginger Toomer The Second Shaping Pastel Society of New Mexico Award $100 Barbara Archer-Baldwin The Demo - Squint!

Commentary on the show from judge LORENZO CHAVEZ When I look at a painting, I would like it to grab me emotionally. Do I feel a mood or get a thrill? I then look to see if it’s well designed. Does it have masterful drawing? Is there interesting shapes, edges, intriguing color harmony? And finally, I like to feel that the artist was passionate about the subject and painted it with conviction. The top places were awarded to works that struck me every time I viewed them; which was considerable during this process. They were works of art that gained in strength with each study. They all have unique styles, strong design, simple concepts and I felt the artist’s love for the medium.

My first word of advice would be - perseverance. Never give up. Always look forward. The works that really appealed to me in this competition conveyed strong emotions along with simple design and good drawing. But mostly, be passionate about your subject and get to know it well. Always create what you love.

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Pastels USA 32nd Annual International Exhibition

Pastels USA Winners

BEST IN SHOW Alys

by Nancy MacDonald, PSWC-DP, PSA Utah | Soft Pastel 21x18 $4500

Judge’s Commentary: “This is a very high-quality piece. Masterfully drawn and designed. It has a nod to the past masters yet has a feeling of modern/contemporary concepts. I loved the bit of blue in all the warm color harmony.”

SOUTHWEST ART MAGAZINE AWARD Combs and Senility

by Parag Borse India | Soft Pastel 28x30 $4300

Judge’s Commentary: “This pastel struck me on the first look. It has power and sensitivity. I love the bold direct application of the pastel to the dark substrate. It has an unfinished but very finished quality I found very appealing. A passionate and confident work on a large scale.”

PSWC Magazine | Summer 2018 PSWC Magazine | Summer 2018

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‘s Pastels USA 32nd Annual International Exhibition

AWARD WINNERS WAKEHAM/SUTHERLAND AWARD Homeward Bound by Renay Shaffer Washington | Soft Pastel 38x25 $2500

ROBERT & PATRICIA SUGGS AWARD The Selfie

by Candice Grieve, PSA Michigan Soft Pastel 31x20 $1200

Judge’s Commentary on The Selfie: “This is a fun work to look at - a definite statement about today.

Look at the powerful design the bold rectangular shape on the right and the use of red, designed in varying patterns of unique shapes. The dark and light pattern of the Notan design is well worth studying for its variety and dominate arrangement of shapes.”

Judge’s Commentary on Homeward Bound: “This striking work has a very interesting concept. The dark logs surrounded with the lighter valued grays is very oriental in design and value. I found the pastel landscape unique because of the vertical design and the open but complete design. ” Judge’s Commentary on Aspen Shadow Dance: “This work struck me as I first entered the exhibition, its large scale and flawless design was apparent at first look and its impact immediate. The mark making is very interesting to study, direct and confident. The overall color harmony is very pleasing, and the strong center of interest gives this work its final punch.”

AARON SCHUERR AWARD Aspen Shadow Dance by Christine Debrosky, PSA Arizona | Soft Pastel 24x30 $2850

ANDREW & MARBO BARNARD AWARD Eastern Beauty

by Somayeh Jazayeri British Columbia Soft Pastel 25x21 $11,000

UNIVERSITY ART AWARD Somnabulist

by Matthew Jaffe California Soft Pastel 23x16 $2000 18 www.pswc.ws 18 www.pswc.ws

Pastels USA 32nd Annual International Exhibition

AWARD WINNERS

DAKOTA ART PASTELS AWARD XO

by Rita Kirkman, PSA Texas Soft Pastel 12x6 $1350

GREAT AMERICAN ART WORKS AWARD Composed Granite by Dug Waggoner, PSWC-DP California | Soft Pastel 13x19 $1500

JERRY’S ARTARAMA AWARD Green Nets by Carolyn Caldwell | Montana | Soft Pastel 11x18 $1100

ATLANTIC PAPERS AWARD Sweet Death by Zahra Pezeshk California | Soft Pastel 18x24 $1850

WAIF MULLINS AWARD Giana

by Gerald Boyd, PSWC-DP, PSA California Soft Pastel 14x11 $600 MIKE MAHON - PASTEL PORTER WORKSHOP Protected Path by Jan Frank | California Soft Pastel 20x26 $3200 PPSWC Magazine | Summer 2018 PSWC Magazine | Summer 2018

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Pastels USA 32nd Annual International Exhibition

AWARD WINNERS

AMPERSAND ART SUPPLY AWARD Starry, Starry Hay by Lynda Conley, PSWC-DP, PSA Texas | Soft Pastel 11x14 $600

UART NEW YORK AWARD Whaler’s Cove by Sarah St George Colorado | Soft Pastel 16x16 $1200

JACK RICHESON & CO., INC. GOLD AWARD Goddess by Daggi Wallace, PSWC-DP, PSA-MP California | Soft Pastel 18x24 $2800

FABER-CASTELL AWARD Serenity by Lynn Humphrey | California | Soft Pastel 18x28 $1400

JACK RICHESON & CO., INC. SILVER AWARD Tlaquepaque Sycamore

by Douglas Tweddale, PSWC Pennsylvania Soft Pastel 16x20 $800

PASTEL SOCIETY OF AMERICA Rose

by Vianna Szabo, PSWC-DP, PSA Michigan Soft Pastel 12x9 $700

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Pastels USA 32nd Annual International Exhibition

AWARD WINNERS

AIRFLOAT SYSTEM AWARD Old Town San Diego

by Nancie King Mertz, PSA-MP Illinois Soft Pastel 16x12 $1120

JACK RICHESON & CO., INC. BRONZE AWARD Woodland Light by Carrie Givens | California Soft Pastel 19x25 $1475

HK HOLBEIN, INC AWARD Wicker Wonderland II by Evalynne McDougall, PSWC, PSA British Columbia | Soft Pastel 16x22 $1295

JUDSONS ART OUTFITTER AND GUERRILLA PAINTER AWARD Golden Bloomers by Kimberly Wurster, PSWC Oregon | Soft Pastel 10x15 $900 ROYAL TALENS AWARD Spirit of Blewett

by Jennifer Evenhus, PSWC, PSA-MP Washington Soft Pastel 12x9 $725

CONNECTICUT PASTEL SOCIETY AWARD Middleton Plantation Sheep, Charleston

by Lynn Attig California Soft Pastel 12x9 $650

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Pastels USA 32nd Annual International Exhibition

AWARD WINNERS PAN PASTEL AWARD The Second Shaping

by Ginger Toomer, PSWC California Soft Pastel 12x9 $600

PASTEL SOCIETY OF NEW MEXICO AWARD The Demo: Squint!

by Barbara Archer-Baldwin, PSA Florida Soft Pastel 12x12 $1800

Accepted Entries

Streams of Light by Shirley Anderson | Arkansas | Soft Pastel 12x16 $700

Enobled Spirit by Patti Arbino, PSWC California | Soft Pastel 8x10 $1200 Dancing Light

by Lana Ballot, PSA New York Soft Pastel 12x18 $1700

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Pastels USA 32nd Annual International Exhibition

Accepted Entries Bass Lake Falls

by Diane Breuer, PSWC California Soft Pastel 12x9 $800

Last of Spring

by Deborah Breedon California Soft Pastel 6x8 $350

April Afternoon by Kris Buck, PSWC California | Soft Pastel 12x16 $900 Morning in the Canyon by Willo Balfrey, PSWC-DP, PSA California | Soft Pastel 16x12 $1200

Standing Tall by Sherri Cassell California | Soft Pastel 12x12 $500

The Sky Through the Trees by Ginny Burdick, PSWC California | Soft Pastel 11x14 $1200 PSWC PSWC Magazine Magazine | | Summer Summer 2018 2018

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Pastels USA 32nd Annual International Exhibition

Accepted Entries

River Glide by Janis Ellison, PSWC, PSA | Oregon | Soft Pastel 12x16 $1200

San Joaquin Wetlands by Christine Chapman, PSWC California | Soft Pastel 9x12 $750

Argenton Cathedral

by Louise DeMore California Soft Pastel 24x12 $2800

Lily Pond by Terri Ford, PSWC-DP, PSA-MP California | Soft Pastel 12x24 $2100

Where the Sun Hits

by Alejandra Gos, PSWC, PSA Washington Soft Pastel 9x12 $700

The Journey Continues

by Kathy Detrano, PSWC, PSA Florida Soft Pastel 16x12 $1050

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Pastels USA 32nd Annual International Exhibition

Accepted Entries Spring on the River

by Bonnie Griffith, PSWC Idaho Soft Pastel 24x18 $825

Sail Away

by Lisa Gleim Georgia Soft Pastel 16x12 $1800

Black-Eyed Susan Summer by Morgan Green, PSWC | California |Soft Pastel 9x12 $850

Golden Evenfall by Katherine Irish, PSWC, PSA New Mexico | Soft Pastel 18x24 $1400

Jaws by Thomas Hardcastle | California | Soft Pastel 22x26 $1400

Light of a New Day by Paul Harman, PSWC California | Soft Pastel 18x24 $1800

PSWC Magazine | Summer 2018

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Pastels USA 32nd Annual International Exhibition

Accepted Entries

Clouds Break Camelback Mountain by Karene Infranco New Jersey | Soft Pastel 12x16 $850

Sunrise on Sandstone by Gary Huber, PSWC, PSA Wyoming |Soft Pastel 14x18 $1500

Three Boats in a Row by Mike Ishikawa California | Soft Pastel 12x18 $450 Renaissance by Carmen Lamp California | Soft Pastel 20x16 $500

With Bated Breath by Karen Israel Connecticut | Soft Pastel 18x24 $1800 26 www.pswc.ws 26 www.pswc.ws

Spindrift by Virginia Kamhi | California | Soft Pastel 11x14 $575

Pastels USA 32nd Annual International Exhibition

Accepted Entries

Field of Color by Susan Kuznitsky Oregon | Soft Pastel 18x18 $2400

Five O’Clock Shadow by Mike Barret Kolasinski, PSA Illinois | Soft Pastel 16x20 $1200

Rooftops and Awnings by Deepali Kapatkar California |Soft Pastel 18x24 $1500

Morning Light by Lisa Landis | California | Soft Pastel 14x18 $900

Man of the Streets

by Judith Leeds New Jersey Soft Pastel 11x7 $1500

Another Rainy Night

by TiaMeng Lim, PSWC Malaysia Soft Pastel 16x12 $1500

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Pastels USA 32nd Annual International Exhibition

Accepted Entries Grape Leaves

by Matt Lister, PSWC California Soft Pastel 24x18 $500

Man from Stockmans

by Stephanie Long, PSWC California Soft Pastel 14x11 $1200

Sleepy Rockie & Jessica by Sandy Lindblad California | Soft Pastel 12x16 $650

Morning Glory by Linda Mutti, PSWC-DP, PSA California | Soft Pastel16x20 $1200

Dusk

by Eve Miller, PSWC South Carolina Soft Pastel 20x16 $1200

Times Square Rain #7

by September McGee, PSWC, PSA California Soft Pastel 9x12 $1500

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Pastels USA 32nd Annual International Exhibition

Accepted Entries Imwalle Gardens

by Karen Miller California Soft Pastel 9x7 $300

Puget Sound Sublime

by Karen O’Brien Washington Soft Pastel 16x12 $400

Tips Here byTina Moore, PSWC-DP, PSA California |Soft Pastel 16x15 $950

Spring Meadows 66 by Janet Patterson, PSWC | Oregon | Soft Pastel 11x14 $975

Marrakesh Spinner

by Debbie Patrick, PSWC-DP California Soft Pastel 24x18 $950

Reyond Reality

by Laura Pollak, PSWC North Carolina Soft Pastel 20x16 $2280

PSWC Magazine | Summer 2018 PSWC Magazine | Summer 2018

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Pastels USA 32nd Annual International Exhibition

Accepted Entries Glow

by Lisa Rico, PSWC, PSA California Soft Pastel 12x9 $900

Two Bartletts

by Laura Pritchard Oregon Soft Pastel 5x7 $300

Symphony in Red by Barbara Reich, PSA Michigan | Soft Pastel 12x18 $1100

Snow Shoes Not Needed by Heidi Reeves, PSWC California | Soft Pastel 14x18 $795

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The Swell of Spring Rains by Elizabeth Rhoades, PSWC Connecticut | Soft Pastel 12x16 $1500

Endless Sky by Teresa Ruzzo , PSWC California | Soft Pastel 16x16 $900

Pastels USA 32nd Annual International Exhibition

Accepted Entries Spring Delivers

by Linda Roemisch, PSWC California Soft Pastel 12x9 $500

In Old El Paso

by William Schneider, PSWC, PSA-MP Illinois Soft Pastel 20x16 $3250

Morro Bay, 10th Tee by Suzie Stach, PSWC California| Soft Pastel 9x20 $700

NYC by Cheri Saffro, PSA Arizona | Soft Pastel 13x18 $1500

Last Light

by Ann Sanders PSWC-DP, PSA California Soft Pastel 16x12 $900

Remembering

by Kathleen Shy Nevada Soft Pastel 18x13 $2000

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Pastels USA 32nd Annual International Exhibition

Accepted Entries Thrift Store Mermaid

by Lynn Byrne Simon, PSWC California Soft Pastel 10x10 $525

Swirling

by Julie Skoda Illinois Soft Pastel 18x18 $1200

Through the Meadow

by Terri Taber, PSWC California Soft Pastel 12x9 $425

Girl with a Red Scarf

by Leslie Trujillo-Batts Colorado Soft Pastel 21x15 $900

Winter Storm

by Carol Talley California Soft Pastel 16x18 $450

Joshua Tree at Dusk

by Jeffrey Skelly California Soft Pastel 24x18

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Pastels USA 32nd Annual International Exhibition v

Accepted Entries

From the Top by Jan Thomas, California | Soft Pastel 15x24 $1295 Dancing in the Breeze by LaVone Sterling, PSWC, PSA California | Soft Pastel 12x16 $1400

Bowl of Lemons

by Marie Tippets, PSWC-DP, PSA California Soft Pastel 9x12 $2100

Larkspurs on Carrizo Plain

by Jim Tyler. PSWC California Soft Pastel 18x12 $800

Madrona Marsh Path by David Wolfram California | Soft Pastel 9x12 $725

What Once Was by Pam Walker Washington | Soft Pastel 9x12 $500 PSWC Magazine | Summer 2018 PSWC Magazine | Summer 2018

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PSWC Magazine | Summer 2018

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‘Proud Patriot’ by Jennifer Evenhus

Feature Artist

Gerald Boyd From Billboards to Top Billing: The true story of a lifelong career as a working artist.

by Jerry Boyd

Editor’s Note: I had a delightful interview with Jerry, as he is known to his friends--which is to say everybody. He is a wonderful storyteller, both visually, as you can see from his paintings, and verbally as I discovered listening to him on a recent Sunday afternoon. Understanding how an artist evolves is one of my favorite things to learn. From Jerry’s humble beginnings to landing an art job as a billboard apprentice out of high school, his journey is as multi-faceted as his art. In addition to answering my questions, he wrote out responses to them, which he sent me. I cannot do a better job capturing his incredible spirit than he can himself. Here is his story in his own words.

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

A: As a child I enjoyed making art and expressing myself, but I did not consider my skills any better than the other children until about the 5th grade. I began to feel like maybe I had some artistic talent just by the way teachers would commend me for my efforts.

By the 7th grade, I was doing some special art projects for the teachers and taking a leadership role in class art projects, but still did not think it very special. But by the middle of the 8th grade of Junior high school, in 1956 when I had just turned 14 years of age, my art teacher suggested that I, along with a few other students, do a piece of art to submit to the Oregon Statewide Scholastic Art Contest. I asked my 89 year old grandfather, who was living with us, to pose for me and I did a pencil portrait of him from life a little under life size. When it was submitted in my age and grade category I was astonished to be notified that I had won what they called “a Gold Key Award” (which I think was an award of merit for each of the several selected winners). The art exhibit was mounted in a hotel lobby in Portland, Oregon and I went with my teacher and a girl who had also won an award, on the bus to Portland to receive the Gold Key lapel pin and a certificate both of which I still have.

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Family at the Black Rodeo by Jerry Boyd

John’s Profile by Cuong Nguyen PSWC Magazine | Summer 2018

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Irene’s Way by Jerry Boyd

That recognition really got my attention and gave me the feeling I might have what it took to pursue art in a serious way.

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

A: As a teenager I was enamored by Norman Rockwell and the illustrators and began checking out books in my high school to read and study their work. At the same time, I had a woman English Literature teacher who took notice of my skills when I did some cartoon illustrations of Shakespeare’s “Julius Caesar” we were studying. She encouraged 38

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me and almost became my sponsor to promote my work more so than my art teachers. I began doing pastel portraits of some fellow students and even the Principle of the school mostly to please her. She took me down and introduced me to the school newspaper staff (we printed our own weekly newspaper) and I began doing drawings for them and eventually did the artwork for my yearbook in my senior year.

Q: What other jobs have you done?

A: Very limited. As a child and young teen up in Oregon, I first pulled a wagon door to door in my

Feature Artist

neighborhood at about 6 or 7 selling baskets of plums and other fruit from our backyard. Then I mowed lawns, stacked wood, and did yard work around the neighborhood. Also, when I turned 13, I got serious about picking blackberries and sold them and made pretty good money. In the fall I got a paper route for the Oregonian Newspaper.

When we moved to southern California at age 14, all my contacts and ways of making money dried up and I was too shy to apply for jobs at local supermarkets or businesses. There were no fast food jobs to be had in those days.

In my last years of high school I managed to sell a few small watercolor and ink drawings to a little gallery in the San Fernando Valley and did pastel portraits of classmates for small sums.

My brother-in-law introduced me to the billboard trade and I spoke with some artists and the boss and by the time I was about to graduate, he offered me an apprenticeship as a billboard picture painter. I became a journeyman and spent the next 42 years painting billboards and signs. In 1969, at 26, I went to Bethany Bible College for a year up near Scott’s Valley and painted pictures and sold them in a gift shop to supplement my income.

because of themore than one thousand billboards I painted (the typical one measured 14’x48’) But because of my involvement with the Pastel Society of the West Coast which began in 1987, I have increasingly turned to pastel and my focus has been entering competitive shows rather than sales or gallery exposure. I still do an occasional oil or watercolor painting. I usually use acrylic or gouache for small color studies.

Q: What other mediums do you use?” How do you feel about pastels versus the others?”

A: Having already covered the other mediums I use, I can only say that there are upsides and downsides to each of the mediums including pastel. Each medium has its own special qualities that are hard to duplicate. Oil paint is, of course, king in the minds of galleries and collectors and usually more saleable despite our best efforts to promote pastel and educate people. It has no need for glass and collectors like that. Pastel needs to be protected because of its rubbing nature, and it’s best to frame it as quickly as possible. I find this to be a good thing because it makes me do it as I don’t have storage space for many unfinished works. With pastel, there is no drying time and materials last longer because there’s no paint to dry up and waste. You can set it down and pick it up again without fear of dried brushes and so forth. To me, pastel is a forgiving medium as it can easily be changed and corrected and the color doesn’t change due to drying time as watercolor, acrylic, or even oil does. I also just like the “hands on” feel and control of both a drawing and Jerry’s Studio photopainting credit: Jerry Boyd

Q: Do you work exclusively in Pastel?

A: I’ve worked in pastel and watercolor, as well as pen and ink, pencil, and charcoal since I was a teenager and then started painting in oil when I went to work for the billboard company in 1961. For sheer volume, I’ve spread more artist quality oil paint on more square feet of surface in my 42 years of working life than anyone you probably ever met or will likely meet PSWC Magazine | Summer 2018

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Feature Artist

Spirit of America by Jerry Boyd

at right: Mother and Baby at the Beach

by Jerry Boyd

below: 32’x60’ BillboardSan Francisco in late 1980’s. painted by Jerry Boyd

medium.

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

A: First, I set up a few of my pieces in front of me to evaluate. I check carefully to see if each one is eligible for that particular show. Has it ever been accepted into that show before? Is it recent enough to still be “in date” and not over 2 years old or whatever the time element is, and does it follow all the other rules for entry? Is it something I’m also considering for entry into another show… and is the timeline going to work if it’s accepted into both. After that, I decide which one is the “star” of these few paintings and what I consider to be next best. I might even have one I’m particularly fond of but don’t think it would appeal to a judge so I give it a “what the heck” try. Conversely, I might have one I don’t really care that much about, but maybe a judge would and I might give that a go because “you never know”. The overarching question I must ask myself is “Is it interesting enough to grab the judge’s attention? Submitting a painting, even if it’s competently painted but blends in with so many others, is 40

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deadly.

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

A: The fear is real and common to us all. My advice is to self-evaluate your work as best you can and perhaps seek some honest critique from more experienced artists who won’t just give you praise to make you feel good. Then submit a couple of your best works. Consider your first few entries as nothing more than a learning experience to help you grow and build on. Even if it’s declined, you need to put it out there so that you have a base to compare

Red Scarf by Cuong Nguyen PSWC Magazine | Summer 2018

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Liam and the Butterfly by Jerry Boyd

your work to what eventually got accepted into the show. Then you can start to analyze why theirs resonated with the judges when yours did not. Whatever endeavor in life, nobody starts at the top but must learn and work their way up through experience.

Just as a bit of personal history with shows, when I was still in my late twenties or early thirties, I joined a small local art club and began bringing paintings to their monthly meetings for their “Artist of the Month” contest. Members would vote on their favorite paintings at break time and ribbons were given out. It let me see how my work stacked up with the others at this entry level of competition. Nothing was more enlightening as seeing your work lined up along a wall or long table with ten or fifteen other works. You could even evaluate how your framing looked compared to what was around it.

One of the pieces of advice I might give is to get some experience judging if you can. I started off judging a children’s show. But even if you don’t 42

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have that opportunity, get some practice by going to exhibits and grade the pieces on a pad and think about each one as if you were the judge.

Ask yourself what draws you to certain pieces and think about the criteria for a successful painting.

Don’t just go down the line and say, “I like that one, but, I don’t care for that other one.” Instead, give good solid reasons when you compare that piece to others. It will help you in evaluating your own work if you can begin to see it through the eyes of a potential judge. I’ve judged many shows myself and have been the chairman of PASTELS USA for over ten years overseeing judges, and I can tell you that there is no formula for knowing what a judge might like because opinions vary wildly even among the most prominent jurists.

Don’t depend on doing a piece that is similar in subject matter or style to the judge because he or she may judge more harshly on a subject which is their specialty. The one question to ask yourself at the beginning of choosing pieces to submit is

Feature Artist

“Is the painting interesting?” Would it be interesting to other people or just blend in? It may be nice enough, but blending in is deadly. Because there are so many pieces to look at, you have to grab the judge’s attention as quickly as possible. Some of the ways you can make your painting interesting are by describing a time of day by using light and shadow, highlighting some weather condition or time of year, introducing some mystery into the work, make it tell a story, use color that may be surprising and so on. After you have the judge’s attention, then of course all the other factors come into play such as originality, composition, drawing, value, color and so forth so work on what you feel is your weakest area.

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

A: Nothing is a substitute for hard work. At 20, I was taking private classes with an old academic teacher who pretty much ignored me as he Ballerinas - Putting in the Time by Jerry Boyd worked with older more experienced students. My employer paid for the classes and I was required to go, but the class wasn’t meeting my needs to learn the things I wanted to learn. Just by the practice he gave me, and through absorbing what was happening in the class, it gave me a pretty good foundation for drawing and values, but it bored me to tears. Perhaps if I had shown greater eagerness and diligence in the class, the teacher would have seen that I was serious and committed. I could have sought additional help by taking other classes or workshops, but yeah…I should have worked at it much, much harder!

Awards and honors- Jerry won the Best of Show in the 2006 Pastels USA, I’m a PSWC Distinguished Pastelist, a Signature Member of Pastel Society of America, and a newly minted IAPS Master Circle member. www.geraldboyd.com

Jerry in the Studio (Note his fabulous pastel cart!) photo credit: Jerry Boyd

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Meet the Members

Gary Huber Painting in the Big Horn Mountains

by Sabrina Hill

Several years ago, I had occasion to speak to Gary Huber regarding a pastel box he was making for me.

I had seen it on his website—felt I had to have it and ordered one posthaste. He called to see what type of wood and what color stain I wanted. A few weeks later, the most perfect custom-made pastel box arrived. I use it nearly every day, and I think of Gary every time.

He is a part of my painting ritual.

So I was thrilled when he agreed to be interviewed for the PSWC Magazine!

Gary grew up in Pennsylvania Dutch country surrounded by A Banks Show: Gary Huber | Jennifer Johnson Photo farms and real Americana. His mother was a professionally trained painter and he often accompanied her on her plein air jaunts, so the idea of being an artist wasn’t alien to him. Despite that emersion into art, he was more drawn to sciences and his college years found him studying geology. After college he headed to Denver, Colorado where he worked as a geophysicist in the oil business.

Seeing a need in the expanding 2D and 3D mapping arena, Gary founded a software company called 3D Nature. The software allowed users to create photo-realistic, hypothetical virtual visualizations of large-scale areas including vegetation, bodies of water, trees, sky, and even haze. One project he worked on was spending time in the field studying what makes water look wet. Understanding the play of texture, patterns, and light would be very handy in years to come.

His company was a success, but the overwhelming industrial growth in the Denver area made him rethink the place he called home. Wyoming called, and he followed. Though he still ran his software company, Wyoming was different and he was once again drawn to art. He was influenced by a number of artists including his mother, but one of his many favorites is Clyde Aspevig, an artist who specializes in painting the vast landscapes of his home state of Montana. Gary was mesmerized by the dramatic renderings and since he couldn’t afford an Aspevig painting, he decided to try paint-

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Zions Embrace by Gary Huber

Meet the Members

PSWC Magazine | Summer 2018

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Meet the Members

Round Bales at Crowheart by Gary Huber

ing one for himself. (It should be noted here that Gary laughed out loud telling me this story!) Thus inspired, he took up landscape painting; other favorite artists include Edgar Payne, Duane Wakeham, Maynard Dixon, Lorenzo Chavez, and Kim Lordier.

Several editions of the Pastel Journal were the catalyst for trying pastels. At first, Gary thought he would use them for quick sketching, but he liked them so much that he began using them in the studio. As his collection of work grew, he decided to enter some pieces in local shows. He got lots of compliments and entered a painting in the Johnson County Fair where he won the top prize. It was a huge boost to his confidence. He started to think of himself as a artist.

Gary is a great observer of nature, people, and processes. He watched Lorenzo Chavez evolve when he began using oils, so Gary turned some of his focus

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to oils. Studying the works of Marla Baggetta and Duane Wakeham he noted, “I have a notion that the most important thing about a body of work is the idea that comes out of it. It starts to hang together better. Your palette evolves. Your mark-making evolves.� A workshop with Kim Lordier was instru-

Into The Light by Gary Huber

Meet the Members

mental in giving Gary a deeper understanding of values in a painting, “One of the best workshops I ever took!”

Today he paints in the shadow of the Big Horn Mountain. His studio is mostly the great outdoors in good weather. He paints whatever interests him. If he is working on a gallery show, he thinks about his audience and consistency. If he is entering a show, he sometimes like to test things out to see what works and what doesn’t. He never enters anything with the idea of pleasing the judges. “With shows, you need to enter a hundred to develop a thick skin, but they are great for objective feedback. Start local, but paint to the next hierarchy of shows.”

Bradley Lake Shallows by Gary Huber

And his advice to his 20-year-old self?

“You’ll get there, but you’re not ready yet. When you’re ready you’ll do it.

Stay engaged in creative things. Develop self-confidence: who you are will show up in your art life experience. One experience always leads to another and another, and all past experience lead to where you are now.

Not one can be thrown away.”

Great advice--the air is definitely clearer in Wyoming! www.garyhuberart.com

Road Less Traveled by Gary Huber

PSWC Magazine | Summer 2018

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Meet the Members

Ga

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Meet the Members

A Banks Show: Gary Huber | Jennifer Johnson Photo

From the website: While Gary took his time coming to fine art as a profession, he has quickly accrued numerous awards and his paintings have found their way into collections across the United States. Recent honors include several Best of Show and First Place awards in national exhibitions, the Buffalo Bill Historical Center Award and placement in the Pastel 100 competition. Gary is a Master Signature Member of the Pastel Society of Colorado, recipient of a Master Circle Medallion from the International Association of Pastel Societies, a signature member of Pastel Society of America, Pastel Society of the West Coast and Northwest Pastel Society, and a member of Rocky Mountain Plein Air Painters and California Art Club. His work has been exhibited at the Butler Institute of American Art, The Haggin Museum, the National Arts Club in New York City and The Brinton Museum, which held a one-man show for him in 2015!

ary’s Outdoor “Studio”

Clearing Off by Gary Huber PSWC Magazine | Summer 2018

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Meet the Members

Waif Mullins

Just a Man and his Parrot Making Art

by Sabrina Hill

On a warm July morning, I called Waif Mullins to chat about life and art.

As he answered the phone, I heard a tremendous amount of squawking. “Oh, sorry. That’s Pappi, my parrot. He’s always in the studio with me.” How can you not be charmed by a man who paints with his parrot? Pappi continued to comment throughout our interview.

As a child, Waif always told people he wanted to be an artist.

Full disclosure: he also told his friends and family that he wanted to be a preacher because no one ever tells you to “shut up.”

His artistic talent was evident early on, and thanks to a mother with insomnia and a love of old movies, Waif often kept his Painting with Pappi mother company by drawing on the chalk board while she watched television. In high school he took art classes, focusing on oil painting which he likens to playing the piano as the foundation for music—it’s a strong base for all other painting. He had the good fortune to study under Tom Griffith while attending Chico State. Griffith taught color mixing and how to see color to achieve a three-dimensional look. College summers were spent working in the local cannery and during the school year he studied art, debated the merits of various art theories and ways to make money.

Waif & Pappi

After college (he attained a Masters’ degree) he worked in a fiberglass factory. One of the advantages was that they were open 24 hours a day and employees often worked in 12-hour shifts. This allowed him to put his time in and still have days to make art. He worked there until they moved to a more conventional schedule five days a week. This would leave him no time for his passion, so he quit and never regretted it.

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Meet the Members

Though he worked primarily in oils, he tried pastels during a visit to his grandmother and loved them. He found a box of pastel pencils, but had a hard time finding pastels.

He bought Ralph Mayer’s book, The Artist’s Handbook of Materials & Techniques, and taught himself how to make the delicate sticks. He has created a YouTube video on Making Pastels from Chips (https://youtu. be/acULqsjUUq8). As a full-time artist he has tried his hand at complex serigraph prints (with 25 to 50 colors), sculpture, dry point, 12-color linoleum block print, and monotype printing. He is getting ready to venture into photo emulsion printing. And he works in pastels—glorious paintings featuring various themes like his series based on Bidwell Park in Chico, where he lives. Waif likes working within a theme. He did a series of swimmers which are spectacular. He loves drawing the human form and still takes a live model drawing class every Monday.

Heirloom Tomatos, Cannes by Waif Mullins

Waif shared his thoughts on entering art shows, which he thinks is a good idea if it will provide you with something you need—for example: it’s a great way to build a resume, gain recognition, and get feedback on the quality of your work and so on. It can be expensive, so make sure you have a reason to enter. He recommends starting locally, gaining some confidence and then trying the national shows.

He has entered shows throughout his career, but he is currently focusing his attention on client work and a few large-scale paintings including one he has worked on for over 20 years.

Waif teaches workshops as well.

My final question is always the same, “What advice would you give your 20-yearold self with regard to art?”

Waif thought for a few moments

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Beach Vendors, Roatan by Waif Mullins

Jah Youth Strikes a Pose, Pastel, 15” x 20” PSWC Magazine | Summer 2018

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Meet the Members

Akumal Bay Beach and Wellness Resort by Waif Mullins

Sketches from Monday Drawing Class

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Meet the Members

then answered, “Don’t take that fiberglass job!”

He laughed, and also commented that so many things—instructions, books, supplies are available no that weren’t available years ago. He also offered these words of wisdom, “Learn about the business of art. It makes a difference in having a successful art career!” He gave a knowing chuckle and Pappi squawked.

Waif achieved Distinguished Pastelist Status in the PSWC in 1999. He is a past President of PSWC and won the Best of Show in the 2000 Pastels USA. www.waifmullins.com YouTube: https://youtu.be/acULqsjUUq8)

Swimmers by Waif Mullins

Kunte’ of Logwood by Waif Mullins

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Art School

Art Makers

Great Things Happen When Artists Collaborate

by Sabrina Hill

If you have tuned into Cable news or read a newspaper lately, you may have been bombarded with partisan political jibber-jabber. And you may be thinking, “Can’t we just all get along?”

to-realistic portraits and still lifes. Their styles are distinct and very different. Both artists were looking for something a little different in their art. What if they could share their painting tips with each other?

Frustrated by the state of discourse on social media, artist and gallery owner Lisa Ober was having this very thought when she received a Facebook friend request from artist Rob Weinblatt. A friendship developed over Facebook, then text messages and emails. A phone consultation about building a website for Rob found the two artists finding common ground in pastel painting. And a spark of an idea began to form.

They decided to try a painting exchange. The rules were simple—Lisa would send five small paintings with minimal work and few details. Rob would add some details and develop the painting, then return it to Lisa for completion. At the same time, Rob would send five small paintings to Lisa that he had started. She would add midtones and details then return them to Rob for completion.

Rob is primarily a contemporary impressionist landscape painter. Lisa focuses on stylized, pho-

Lisa Ober

Head Over Heels

by Lisa Ober Pastel 19 X 27

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The spark turned into a flame. Forty paintings have flown from New Mexico to Missouri and back. The paintings were created from different materials, featured different approaches, used different philosophies, and incorporated different textures and color choices. The most amazing thing is that there was no dominant artist—it was as if a third artist was born. Lisa and Rob each adapted their own styles to the art that came in, like presents from the other artist.

The collaborative process was exhilarating and addictive. And it was so effective that Lisa and Rob decided to take it to a new level. In August 2018 the BiARTisan Project opened its virtual doors to the art community. The project concept, in partnership with the non-profit Heartland Art Club, (a 501(c)3) is simple: (1) find a fellow artist, (2) agree to a painting exchange, (3) register on the BiARTisan website, (4) set some rules for yourselves, send paintings back and forth, then learn, create, and enjoy! When you have some finished pieces, submit your best collab-

Art Makers

orative work to the exhibition. All pieces will be featured on the website and a juried show will be held at OA Gallery in Kirkwood, Missouri.

Lisa and Rob’s tips for selecting an art partner: •

Consider someone with a different style than your own.

•

Set ground rules about materials, subject matter and size

•

Allow wiggle room for the creative process (not too many rules)

A Mentor and Friend I met Lisa Ober when I took her three-day still life painting class through the Pastel Society of Southern California. We became instant BFF’s. She is an amazing artist, but she is an even better teacher.

She’s funny as all hell, tells great stories, and loves barbeque ribs. We made pigs of ourselves at a local rib place in Redondo Beach.

She is a serious, serious artist. Her portraits are beautiful. John Singer Sargent is famous for saying, “a portrait is a painting with something wrong with the mouth.” Not Lisa’s. They are spot-on, as is evident in one of her most recent commissions for Ozzy Osbourne (yes, I am friends with the artist who painted Ozzy Osbourne.) As a teacher, she combines expertise with encouragement but not false

Rob Weinblatt

Amarillo

by Rob Weinblatt Pastel

flattery, helping to grow and encourage artists and positively impact the art world. I watched her work a room full of very talented artists/ students, offering commentary and critique on each one’s work.

No matter their skill level, every student had imOzzy Osbourne by Lisa Ober proved by the end of the class, and every painting had its own personal style. As a gallery owner, Lisa has brought together a diverse group of artists and styles that appeal to both the serious and casual collector. Through her gallery and her own workshops, she offers opportunities for growth and expansive learning to artists around the country.

Ron Weinblatt is also a serious painter. He studied fine art and received a BFA from Queens College in New York City. After a long and lucrative career in editorial hair and makeup in the fashion industry, he felt the pull of his art background and moved to New Mexico to focus on painting. He has immersed himself in landscape painting in the land of breathtaking vistas and light. Rob a one of a select group of pastel artists invited to represent a maker of luscious handmade pastels, Unison Colour.

One of the reasons I registered for the BiArtisan Project, and why I am encouraging other artists to do the same, is the impact that this approach has had for Rob and Lisa.

If this technique can create artistic growth for these gifted artists, it’s worth trying it! I have registered with Susan Goodmundson, and we are planning our piece this fall. We have a stack of sanded paper and a box of pastels ready to go!

For info go to www.biartisan.com PSWC Magazine | Summer 2018

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Art School

Art School Try BiARTisan Painting and Make Beautiful Art with a Buddy!

by Lisa Ober with Rob Weinblatt

The BiARTisan Project* presents a unique opportunity to collaborate with another artist to create one piece of artwork. Lisa Ober and Rob Weinblatt have developed the project to encourage the trading of ideas, techniques, and material skills.

On the next three pages, Lisa and Rob demonstrate how their process looked. The best result from working together was how much each learned about making art. As Lisa revealed, “It was not competetive but collaborative.”

Here’s how their art looks in the process...

From this loose beginning...

...to finished painting

...to details emerging...

*Biartisan is a special project and event enthusiastically hosted by Heartland Art Club and The Academy of Nature and Wildlife Arts as a unique educational opportunity for artists to build bridges across philosophical boundaries and technical challenges, and to create new solutions and artistic opportunities by learning from each other.

Pastel artists collaborate to develop an understanding of multiple viewpoints and perspectives while broadening their artistic experience and growing from exposure to new ​techniques, styles, subject matter, and approaches.

Heartland Art Club and The Academy of Nature and Wildlife Arts are 501(c)3 organizations incorporated in the state of Missouri. Your donation may be tax deductible. Please contact your tax advisor.

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PSWC would like to encourage you to participate in this project and learn from this process. Find a partner, register, and start seeing art from a BiARTisan perspective!

To register for the process go to the website and click “register” to walk through the steps. Let us know how you are proceeding! Post your collaborations on PSWC’s Facebook page to show us your progess and process. Then plan your trip to Missouri to see your selected works in the show!

Art School

1

Painting One

Step 1-Rob

Step 2-Lisa

Rob started this painting with an acrylic ink wash, waiting for the surprise of what the wash revealed to him. He followed with hard pastels (Rembrandt and Prismacolor Nu Pastels) so as not to fill the paper tooth. Finally, he indicated the location of the darker shadows as well as the light areas using some Unison and Terry Ludwig pastels.

Lisa responded to Rob’s palette and composition by building a variety of middle values to add elements to the painting. Intending to lead the eye from the left of the painting toward the path that leads around the tree mass on the left, Lisa began building the left foreground by adding bushy branches to catch the light, helping to “point” the viewer to the lighter path in order to lead the eye through the painting. Lisa built toward the highlights in selected areas and added more definition to tree trunks and branches. Lisa used Unison, Sennelier, Blue Earth, and Terry Ludwig pastels.

MATERIALS: Mounted Uart Sanded Pastel Paper, 400 grit 12 X 9

Step 3- Rob Rob softened the shadow side the front left tree area helping to add a sense of volume to the tree as well as variation to the painting. He added lighter tree trunks and branches and defined the areas where sky peeks through the foliage.

He placed more vivid color at the entry point of the painting in the lower left shadow section, giving the painting a more colorful and inventive feel. He used Unison, Mount Vision, Schmincke, Sennelier, and Terry Ludwig pastels.

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Art School

2

Painting Two Step 1-Lisa Lisa started the painting with an acrylic ink sketch to establish the composition, color palette, and major elements. She then indicated snowy pathways with cool blues, purples, and grays to convey a sense of direction for the eye to travel (and rest).

MATERIALS: Mounted Uart Sanded Pastel Paper, 400 grit 16 X 12

Step 2-Rob

Rob began by establishing the sky, keeping the cool temperature in order to retain the complementary color palette (warm oranges and reds against the cool purples and blues). Pops of more vivid colors (like the blue-green dabs) were interspersed throughout the painting, bold strokes were placed for dry grasses, and softer leaves were added, making for texture variation within the painting.

Pale yellow horizontal strokes were placed near the focal point of the painting, and middle values were developed, laying the important ground work for highlights and finishing touches. Girault, Unison, Mount Vision, Sennelier, Terry Ludwig, and Diane Townsend pastels were used.

Step 3-Lisa Lisa continued building toward the highlights throughout the painting. She softened the trees in the background to create a sense of distance. Lisa added more variation in the strokes she applied, paying particular attention to the warm orange tree. Around the snowy pathway, more directional marks were made within the grasses to lead the eye through the painting. Additional leaves were added to soften the trees with the intent of keeping the viewer’s eyes near the center of the painting. Lisa used Diane Townsend, Unison, Sennelier, Schmincke, Mount Vision, and Unison pastels.

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Art School

3

Painting Three

Step 1-Lisa

Step 2-Rob

Lisa began with a wet in wet ink wash, sketching the composition with the inked brush to provide just enough information to establish a scene but to leave plenty of freedom for color palette, mood, and depth. No pastels were used for this stage.

Rob began by shaping the trees in the distance, creating interesting shapes without fussing. He established the value and temperature (cool) for the large darker mass of trees on the right side of the painting, a great anchor for the eye against the lighter and sunnier background.

Rob’s color palette included lots of lovely lavender for the ground shadows to pair with the warm yellows in the areas where light was hitting the path. Rob used Unison, Sennelier, Girault, and Mount Vision pastels.

MATERIALS: Mounted Uart Sanded Pastel Paper, 400 grit 9 X 12

Step 3-Lisa Taking her palette cues from Rob, Lisa maintained the cool foreground and warm and diffuse background.

She broke up some of the large strokes in the pathway, keeping their horizontal movement. Lisa continued to build toward the highlights in the background, being careful to keep the marks soft to place them in the distance.

She further defined the dark mass of trees and balanced that with darker grasses on the lower left. Lisa finished the painting by focusing most of the more detailed pastel marks around the bend of the path. Lisa used Prismacolor Nu Pastels, Unison, Terry Ludwig, Mungyo Gallery, and Sennelier pastels.

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Art Workshops

Art Workshops Aaron Schuerr

Fresh and Direct Landscape Painting in Pastel Dates: Aug 26–28, 2019 Class times: 9:00am–4:00pm Tuition: $450 Level: All Levels Class Limit: 15 Get ready to explore the California coast with award winning artist Aaron Schuerr.

Find “the story” in the landscape and paint it in a way that is direct, simple, fresh, and honest. Engage in fun exercises designed to focus on value, color, and shape. From that foundation, you’ll explore edges, atmospheric perspective, color and shape relationships, composition, and mood. Most importantly you’ll learn to paint with greater intention. Through demonstrations, group discussions, composition walks, painting exercises, and plenty of individual instruction, you will learn to approach the landscape in enthusiasm and confidence. This workshop is open to pastel and oil, but the focus will be on pastel work.

Carmel Visual Arts | Barnyard Shopping Village | 3694 The Barnyard, F22,Carmel, CA 93923 |Studio Line: (831) 250-5732

www.carmelvisualarts.com/aaron/

Be sure to look for Aaron Schuerr’s selection of landscape pastels from Jack Richeson & Company. Eighty gorgeous colors--have Aaron sign the box at class!

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Art Videos

Liz Haywood Sullivan

Painting Brilliant Skies & Water Medium: Soft pastel Duration: 4 days Dates : May 2-5 2019 Class times: 9:00 - 4:00 with a break for lunch

Location: Sebastopol Center for the Arts, 282 S High Street, Sebastopol, CA 95472 Tuition: $495 Level: Intermediate/advanced Class size: max 18/min 10

The sky is the most emotional aspect of any landscape

how water behaves when calm and when moving, water

painting. It sets the mood, time of day and the attitude

in the dramatic seascape, how to use aerial perspective

of the painting. In this workshop with internationally ac-

principles in water to create distance, seeing and painting

claimed artist, instructor, and author Liz Haywood-Sulli-

correct values, plus much more.

van, we will explore how to capture the character of the sky, from sunny and bright to moody with precipitation, from early day to brilliant evening. Work on techniques for clear skies and creating believable clouds.

We will also explore the intricacies of painting water and reflections in pastel. We will use underpainting to assist the development of the layers of transparency found in water. Topics to be covered include depicting reflections,

Each day will start with a demonstration and there will be plenty of daily individual instruction at your easel.

Liz Haywood-Sullivan, PSA-MP, IAPS/MC, is a representational artist specializing in pastel landscapes. She is President Emerita of the International Association of Pastel Societies (2013-2017) where she managed 3 international conventions and 12 international exhibitions. https://www.creativeescapeworkshops.com/liz-haywood-sullivan.html

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Art Business

Art Business An New Venture into an Unexpected Art Opportunity

by Jen Evenhus

CHECK ONE OFF MY BUCKET LIST!! I have forever dreamed of having my artwork on a wine bottle! I often peruse the beautiful labels adorning wine bottles at my local market, thinking how cool it would be to have my artwork proudly displayed on the side of a Chardonnay or Syrah! Well, it happened!

In December 2017, I had a solo exhibit at Two Rivers Gallery in Wenatchee., Washington. One day I received a phone call from Molly Stutesman of Goose Ridge Estate Winery. She was visiting my exhibit and she said she loved my work and would I like to have my work featured on their Artist Series Club Wines*! The Vineyard chooses an artist each year to grace their Artist Series Club Wines that are only available to Wine Club Members. Each wine is specifically made to reflect the artist’s image and the Vineyard’s locale.

I was elated at the opportunity and thus began a fun project deciding which images might best represent their wines. After sending them 15-16 images, they chose 8 images total, 4 for their Spring Release (shown

here) and 4 for the Fall Release later this year.

I was invited to sign my wine bottles at the March Spring Release in their Leavenworth, Washington tasting room. I enjoyed meeting many art and wine lovers as they mingled, tasted wine, enjoyed delicious hors d’oeuvres and listened to live music. Wine Club Members took home many signed bottles of the Spring Release Club Wines with my colorful paintings embellishing the bottles. One of the perks, besides having my images in many wine cellars and on celebratory dinner tables around the country, I also took home a few bottles of each to enjoy and share with friends.

Two Rivers Gallery in Wenatchee, WA was thrilled to have my Artist Series Wines served to patrons during their July First Friday Art Walk. Thank you, Goose Ridge for your generosity! This has been a fun collaboration and a dream come true! Thank you so much Molly Stutesman and Tiffany Stetson for choosing my art for your 2018 wines! I’m looking forward to celebrating the Fall Release end of September 2018.

WIne Labels by Jen Evenhus

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PSWC Magazine | Summer 2018

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PAINT & TELL

PAINT & TELL Art Companions and Studio Pets

STUBBIE resting at Karen Horne’s studio

Christine Karras paints with SAMMY

SAMBUCA GIUSEPPE RICO sits under Lisa Rico

ALLEY CAT and STUDIO MAX are DMae Wright’s fur babies.

TRIXIE belongs to Barbara Archer

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PAINT & TELL

Linda Barnicott’s portrait of PIPER for Ginny Burdick

CHARLENE likes Susan Goodmundson’s blue pastels best!

SANTA PAWS manages Cat Curtis

Cindy Schreck’s painting of SCOOTER

SIERRA and DAKOTA like to snuggle to Marianne Harris

POPPY keeps Susan Dunker company

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PSWC Housekeeping

PSWC HOUSEKEEPING Here’s a Bit of News for Members & Information on New Members NEW WORKSHOPCOORDINATOR Daniele Todaro has taken on the task of coordinating workshop for the Society. She has come in ready to work and has already arranged for Liz Haywood-Sullivan to teach a course for us! Also coming up are workshops with Aaron Schuerr and Cuong Nguyen! If you are interested in seeing a specific artist teach a workshop, get in touch with Daniele. If you are interested in teaching a workshop and fulfill all the requirements for doing so, contact her about that as well. Congrats, Daniele and THANKS! Untitled by Daniele Todaro Doodle by Deborah Pepin

MEMBERSHIP DRIVE We are always looking to expand our membership. As one of the largest Pastel Societies in the United States, we are proud to have such talented, diverse and active artists in our group.

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.

VOLUNTEERS NEEDED 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. Please contact Susan Goodmundson for more information.

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PSWC Housekeeping

CONTRIBUTE TO THE MAGAZINE

Mike Ishikawa

The magazine is looking for ideas, suggestions and contributors. If you have something to say, an idea for a feature, or a favorite artist for an interview, I want to hear from you! And if you have graphics experience, would be willing to collect information, write an article or help with production contact me at pswcmag@pswc.ws

www.pastelsishikawa.com

PAINT OUTS & PAINT INS

Palos Verdes Estates, California Nancy Komick

ELECTED BOARD POSITIONS

Hermosa Beach, California Carmen Lamp

e: goodmundson@sbcglobal.net

Westlake Village, California www.carmenlamp.com Lisa Landis McKinleyville, California www.lisalandispastels.weebly.com Jacqueline McAbery

We have artists in areas around the country and around the world! If you are interested in hosting a Paint Out or Paint In, contact Sabrina Hill and we will send you information about setting one up and who’s in your neighborhood. And if you are already doing Paint Outs, let us know!

We want to see pictures and art.

Leah Read

Let’s get out there are PAINT!!

Kathleen E. Shy

Malin, Oregon Jeff Chase Genoa, Nevada

Linda Roemisch e: artandsoul@hughes.net Pastels USA Exhibits Chair Gerald Boyd e: jerry@geraldboyd.com PSWC Advisor

Sandra DesJardin Murphy

Nancy Bragg

Acting Vice President Ways & Means/Web Liaison

Pastels USA 2018 Awards Chair

Gualala, California

The PSWC is encouraging members in geographical proximity to hold a Paint Out or Paint In! These events are designed to bring artists together to share a common experience and meet other members.

NEW MEMBERS

President/Treasurer Susan Goodmundson

San Jose, California

Tina Moore e: mooregrafix@comcast. net

Scott M. Pascoe

Secretary

Port Townsend, Washington Laura Pritchard

Bonnie Griffith e: bzgriff53@gmail.com Scholarship Chair

Portland, Oregon

Russell Frank e: frankpastels@gmail.com Membership Chair

San Jose, California

Deborah Pepin

www.lkread.com

e: pswcmembership@gmail.com.

Cheryl Seward

Magazine Editor Sabrina Hill

Carmel, California

e: art@sabrinahill.com

Renay Shaffer Bellingham, Washington www.renayshaffer.com

Membership Show Chair Dug Waggoner e: dugwaggoner@att.net COMMITTEE APPOINTEES

Reno, Nevada

Eblast Coordinator/Publicity Cynthia Riordan

Philip Wilkinson

e: clriordan@gmail.com

Santa Rosa, California www.philiplodwickwilkinson.com

Facebook Coordinator/Social Media Rita Romero e: artist@romeroartstudio.com

DMae Wright

Workshop Coordinator

Tacoma, Washington

Daniele Todaro

www.dmaewring.com

e: daniele.todaro.8278@gmail.com

Louise DeMore Los Osos, California www.louisedemore.com Janice Harris Lindsay, California

Red, Red Poppies

by Louise DeMore 12x16-oil

Patricia Hefner Costa Mesa, California PSWC Magazine | Summer 2018

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The Pastel Society of the West Coast’s Premier Event

Southwest Art Magazine Award Combs and Senility by Parag Borse

Wakeham/Sutherland Award Homeward Bound by Renay Shaffer

PSWC Best of Show Award Alys by Nancy MacDonald

The 32nd Annual International Open Exhibition

August 16, 2018 - September 16, 2018 Art Center Morro Bay 835 Main St. Morro Bay, California 93442 72

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