PSWC Magazine Summer 2023

Art School - Tech Edition

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

“You must do over the same subject ten times, a hundred times. In art nothing must appear accidental, even a movement

Edward Degas

Dear Members,

The Pastel Society of the West Coast Governing Board and myself are hoping that your 2023 has been going well and includes plenty of time in front of your easel. As the new President, I am honored and humbled to be working alongside dedicated and talented volunteers to constantly enhance the benefits of your membership.

In 2023, we have been continuing to provide a variety of opportunities for ongoing education, camaraderie and exposure for all of our members. To that end, we have been scheduling virtual and in-person workshops, conducting quarterly painting challenges, coordinating regional activities, reaching out through social media and email communications, designing full-color issues of our beautiful PSWC magazine and of course, holding our competitive and renowned shows, the Members Only Online Show (MOOS) and Pastels USA: 99 Voices in Pastel International Exhibition.

Additionally, we have scheduled quarterly General Membership Meetings via Zoom, during which we have demonstrations by master artists, and quarterly sessions of your new We Talk Art series –interviews with noted and fascinating members of our art community. You may stay abreast of these activities by visiting the event calendar on our website www.pswc.ws. While you are there, please explore the wealth of information available about your society, our current and past shows, available scholarships, and additional ways that you can become involved.

Finally, I have two important notes of appreciation. Firstly, I so much appreciate the leadership and dedication that Sabrina Hill provided as President, and that she continues to provide as our interim Vice President. Her commitment and creative spirit have had a direct impact on the society and it members. I clearly understand that I will need to work hard to live up to the standards that Sabrina set.

Secondly, I want to thank you, our members, for continuing to engage in your society’s activities and programs. We are only as strong as our membership, and we count on you to let us know how we are doing and what you need.

PSWC President

Pamela Comfort

Dear Pastelists,

This year has seen the rebirth of inperson classes and more brick-andmortar exhibitions, including our Pastels USA: 99 Voices in Pastel!

Our MOOS show is always online, and you will see the whole show in this issue. The quality of the work is outstanding. It is exciting to see a member’s work evolve as they enter each year, often moving from General Member to Signature Member to Distinguished Pastelist in the process. Many thanks to Susan Kuznitsky for her judging of this years’ show.

Our Regional Representative Program has been revived by Pam Comfort and activities are now dotting the calendar in California and Montana. We encourage anyone who has a passion for plein air and a hankering for social gatherings to contact Pam about organizing events in your area! You can read about three of our Regional Reps, Cindy Gillett, Clark Mitchell, and Jean Myers in this issue.

Our featured artist, Bithia Bjurman, has only been working with pastels since 2018, but she is a name you should know. Her work is meticulous, detailed, and stunning! And she is a lovely person as well.

Our MOOS Chairman, Dug Waggoner, submitted a charming article about his long career as a working artist. See how he has progressed from commercial art to fine art. Bonnie Griffith, PSWC Secretary, has developed a new feature for members - We Talk Art - which is our quarterly interview with an artist.. Let us know if you have an artist you would like to see interviewed!

One of my favorite contributors, Laura Pollak, has done all the legwork to let us know about the best way to inventory and track all your artwork using the latest technology. This in-depth article is a must-read for anyone who is planning on selling their work. Our new workshop coordinator, Jean Myers, has been working to expand our workshop opportunities. See the current offerings. And special congratulations to our two scholarship winners. Natalie Hayes and Tenley Douglass, we can’t wait to see you blossom!

Finally, we welcome Pam Comfort as the new PSWC President. She hit the ground running, and she has lots of wonderful ideas as the Society moves forward. Her energy is infectious, and she will do great things for PSWC.

Happy Painting,

Sabrina Hill

PSWC Vice President and Editor, PSWC Magazine

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!

KEEP IN TOUCH & FOLLOW US!

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

We. Are. Pastelists.

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

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

All levels of artists are welcome to join.

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

News and Notes

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

California State Fair

Marie Gonzales has two pastel paintings displayed at this year’s California State Fair for the Fine Arts competition. The first one is titled Obi is Gold and the second one is titled Dream Vacation - Ahwahnee Hotel, Yosemite.

Our Society President, Pam Comfort, was one of twenty artists invited to participate in the Sierra Vista Vineyards first annual Art Show over the July 8-9, 2023 weekend. She joined watercolorists, photographers, abstract artists, oil painters, jewelry makers, and many more for a wonderful weekend of art and wine. The weather was beautiful, as was the art. Check out her website to see her lovely work!

www.pamelacomfort.com

Dream Vacation- Ahwahnee Hotel Yosemite by Marie Gonzales

Obi is Gold by Marie Gonzales

Sierra Vista Vineyard & Winery Art Show

Pam Comfort at the Sierra Vista Vineyard & Winery Art Show in July.

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

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

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

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

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

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

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

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

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

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

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

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

Go challenge yourself!

Quick Sketch by Tamra Sanchez Quick Sketch by Dug Waggoner

Quick Sketch by Bonnie Griffith

Some paintings from Challenge One: Portraits

Flashback!

Dug Waggoner Looks Back on a Career as a Working Artist

by Dug Waggoner

This is a flashback and forth to my very early, innocent attempts, along with some images from my professional career and a few of my latest fine art pastel paintings.

From the beginning I always knew there was something to this ability to put down on paper a thought of an image using whatever medium was available, pencil, crayons, watercolor or clay. Thinking back to the realization of my artistic skills there was no one in my immediate family who had any artistic ability or demonstrated any talent for drawing. Or so I thought.

A few years ago, a question came up regarding my early interest as an artist that led to a professional career as a graphic designer, art director and an illustrator. I set out to design a self-published book just for my family members and a few friends. It showed the evolution of my artistic journey. In doing some research, we came across some notes my mother made describing her family’s depression era road trip as they left Missouri when she was just sixteen. Her skill in rendering leaves and flowers and the descriptions of flora found along the way was to me a revelation. Mom never had the opportunity to display her skills

while managing a rural household and raising two children. Somehow that artistic ability found its way into the genetic thread we see in my work today, albeit 85 years later.

If there was any art training at all it started with my high school art teacher, Dean Gibson. When I met Sonja and our ultimate marriage in 1958, we decided that if I was serious about an art career it was time to make the leap and go for it. We moved to the Bay Area and worked hard for 3 years which rendered a B.F.A .degree in Advertising Design from the art school, California College of the Arts in Oakland, California. After 35 years in the advertising center of San Francisco and the East Bay I made the change to creating fine art, not to retire but to continue learning more and becoming a better artist. The work continues and the hours and the commute are more conducive to my time at the easel.

This smattering of images included here have collected the dust from the last century, graced the pages and promotions of many advertising campaigns, and finally found award-winning spaces on gallery walls. A journey that over time has been punctuated with frustration, left over oven roasted Spam and the satisfaction of fulfilling an artistic passion and newfound recognition. Thank you, Mom!

Dug’s Mug: Self-portrait

Above and right: Two of my first watercolors when I was 12

Page from my Mom’s sketchbook!

Art school sketch

Right: Cottonwood Refuge by Dug Waggoner This painting was for the 2022 Pastels USA Exhibition and the Hilbert Museum Show

Above: Stones of Ireland by Dug Waggoner This pastel was given Honorable Mention in Pastel Journal

Green Valley Vista by Dug Waggoner. Recent work.

Pontiac Program Cover Art by Dug Waggoner

Airbrushed painting of peaches for a commercial project

Cover Illustration for Santa Clara University Magazine

In the spirit of seeking “benefits of membership” Bonnie Griffith, Secretary of the PSWC, proposed launching a live interview series with distinguished artists, gallerists and others in the art world who would share informative and helpful information to the PSWC membership. The PSWC board embraced the idea, and the first “test” interview was done in 2022 with Dug Waggoner. This was then repeated in January of this year for the membership as the inaugural launch of the program.

The interviews run about an hour via Zoom, are recorded for members who can’t attend the live presentation, and are scheduled at least on a quarterly basis. The schedule of We Talk Art is posted on your PSWC website calendar as well as the We Talk Art page under the Programs tab. The Zoom link to each interview is sent to all members via email, and is posted on the PSWC Facebook page. The link to the recording is shared in the same way.

Scott Christensen, Natasha Isenhour and Clark Mitchell are just a few of the artists who will join us for these informative chats about all things art. The goal is to also interview artist/educators who

will be offering workshops so membership can be introduced to them and hopefully generate interest to then enroll in that person’s workshop.

The PSWC board encourages members to watch and learn from these interviews. Interaction and questions for the guest are created in the “chat” during the interview. All questions posted are answered as time permits!

Please join Bonnie and her guests on We Talk Art. These interviews are generally held at noon Pacific Time Zone, on Sundays, quarterly. The next interview is scheduled with award winning artist Clark Mitchell in early October. Watch for announcements and details to log into these chats in your email and on the Facebook members page.

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

Bonnie Griffith

Natasha Isenhour was recently interviewed about her art

The Art of Natasha Isenhour

Coffee on Broken Arrow by Natasha Isenhour

Phoenix by Natasha Isenhour

Father Time by Natasha Isenhour

MOOS Members Only Online Show

MOOS 2023 Winners

The Pastel Society of the West Coast’s Members Only Online Show represents some of the best art in pastels. Thank you to all those members who entered the MOOS 2023. We are so grateful for our judge, Susan Kuznitsky and to our show chairman, Dug Waggoner for all the hard work they put into this event. Special thanks to Austin Hamby at ShowSubmit.com for his tireless work getting everything ready for judging! Here are all the accepted entries and prize winners. Thank you for making this such a dynamic, beautiful show.

Signature/DP | Best In Show

Antero Spring by Stan Bloomfield

General

Membership | Best In Show

Browsing by Bithia Bjurman

Signature/DP

First Place

Morning Moon by Terri Ford

MOOS First Place Winners

General Member

First Place

Cincinnati Landmarks by Francis Huffman

General Member

Second Place

Moonlight on the Tracks

by Carol Strock Wasson

MOOS Second Place Winners

Signature/DP

Second Place

Embracing the Light by Laura Pollak

General Member

Third Place

Shadows Cast and Formed

by Sarah Rose

MOOS Third Place Winners

Signature/DP

Third Place

Honeycrisp

by Marie Tibbetts

MOOS Honorable Mentions

Signature/DP

Honorable Mention

Tools of the Trade

by Cindy Gillett

General Member

Honorable Mention

Clinging to the Day

by Larry Hemmerich

ACCEPTED ENTRIES - SIGNATURE/DP

Monsoon Season by Tony Allain

The Extrovert by Patti Arbino

Blue Bowl Brown Eggs by Barbara Archer Baldwin

Light of Discernment by Mary Aslin

Footpath by Marie Gonzales

I Think It’s Raining, I Do by Gerald Boyd

Fenceline by Bonnie Griffith

Old Dunes by Morgan Green

Last Rose of Summer by Deborah Henderson

Over Hills and Valleys by Dottie Hawthorne

White House at the Coast by Albert Handell

Woman in Yellow Hat by Ellen Gust

Season’s Greetings by Karen Israel

Cayucos Pier Sundown by Virginia Kamhi

I Will Overcome by Judith Leeds

A Day in St Petersburg by Shuk Susan Lee

Dodge Love by Stephanie Rose Long

Connected Aloneness by TaiMeng Lim

Broadway 2310 by Evalynne McDougall

Thoughts of You by September McGee

Light in Rouen by Nancie King Mertz

Evening Glow by Evelyn Miller

The Invitation by Jan Miller

Venerable Oak by Clark Mitchell

For the Love of Bees by Maryann Mullett

November Reflections by Karen Miller

High Desert Beauty by Linda Mutti

Summer Peaches by Carol Murphy

La Catrina by Judy Miller

Wild Cherries by Barbara Newton

I Don’t Fetch by Debbie Patrick

Afternoon Near Camp by Erika Perloff

Endurance by Sandra Place

Storm Waves by Peggy Post

Hope the Rescue Horse by Christine Obers

Sphere With Small Bowl by BF Reed

Summer Splendor by Heidi Reeves

Anna’s Slice of Life by Otto Stürcke

Olive Branches by Terri Taber

Remembrance by Vianna Szabo

Bird Refuge by Ann Sanders

La Flamenca by Nori Thorne

Song of the Siren by Jim Tyler

Ohioan Dry Season by Helen Turner

New Orleans Sunset by Dug Waggoner

The Way Through by Carol Talley

September in Yellowstone by David Will

ACCEPTED ENTRIES GENERAL MEMBERSHIP

Laid to Rest by Sharon Will

Varied Thrush, Moss, and Maple by Kimberly Wurster

Dwell In The Moment by Robin Angelides

Painting With A Secret Name #2 by Britt Block

September Splendor by Marcia Ballowe

The Three Musketeers by Laura Chan

Sunset Stroll on Crescent Beach by Donna Catotti

Honeysuckle by Gina Carstens

Sundown On The Ridge by Stephanie Brown

Perfect Ending by Joan Brewster

White House Memories by Vicki Brink

Mom’s Hill by Pamela Comfort

Sunshine of Jerusalem by JoMei Chou

African Grey Crowned Cranes Getting Acquainted by Mary Constantino

Fran by Molly Ann Cooley

Patience by Sidnee Cox

Queen Lily by Laetitia Comps-Agrar

The Harvest Gleaning Murder by Karen Glancy

Bedside Angel by Donna Dutra

Shining Through by Jane Ditri

Beyond Still Waters ll by Laura Fouts

Open by Jeri Greenberg

Lili by Masoud Habibyan

Cat In Light by Kelly Hine

Melrose Morning by Patti Hagan

The Backside of Chair #3 by Mike Ishikawa

The Curious Ones by Nancy Hull

Grand Canyon Dusk by Kenneth Keith

High Sierra Autumn Glow by Lucinda Johnson

Celestial Exclamation by Lynda Kravitz

Coffee And Tea Cafe by Kim Long

Goat Fell, Arran by Clair McFarlane

Montmorillon Sunrise by LouCinda Laughlin

Across the Plains by Anne Kullaf

Morning Walk on Woodchuck by Mary McInnis

Bailey by Kathie Miller

Water Reflections by Catherine McKeever

A Children’s Journey by Ugo Paradiso

Ghost by Nancy Paine

My Emuse by Tashia Peterman

Morning’s Glory by Deborah Pepin

Memories For Sale by Denice Peters

Wolly Warrior by Janet Rawlings

Marmalade Skies by Darcie Roberts

Last Glow by Patricia Pendergast

Shifting Realities by Wendy Peterson

Sandbanks by Lorraine Roberts

The Pack by Cheri Saffro

Coming Or Going by Letitia Roller

Monet’s Garden Robin Samiljan

Red Lanterns by Tamra Sanchez

Hot Cocoa by John Sherri

Sway by Deborah Shea

Wired by Anne Spivey

Garden Dreamers by Teri Sloat

Dust Dry Orange Road by Teresa Steinback-Garcia

Open Wide Everlasting Doors by Frederick Somers

The Art and the Deal by Jill Storey

Ocean Spray On The Rocks by Rachel Sylvers

First Daughter by Caryn Stromberg

Caribbean Wreck by Viviane Trubey

Gateway by Harley Talkington

Black Tie Affair by Leslie Trujillo-Batts

Beneath by Denise Vitollo

Moonrise in December 2 by Bobbye West-Thompson

Last Rays by Jill Wagner

Cloud Shadow

by Christina Williams

Grand Daughter Wearing Pearl Earrings by Cheery Young Prisoner Rock by Marianne Woosley

Aloe Broomii by Elizabeth White

JUDGE AND JUROR MEET SUSAN KUZNITSKY

I was very lucky that my parents noticed my interest in art all the way back in high school and signed me up at the Village Art School in the suburbs of Chicago where I grew up. The owner and teacher was the late Joe Abbrecia who went on to become a very well-known Western Artist in Kalispell, Montana. There I had a very traditional art education, working in charcoal from plaster casts, then oils, then watercolors. Joe recognized my passion and talent and guided me to the American Academy of Art in Chicago after high school.

Fresh out of art school I worked as a freelance portrait artist for a Chicago chain of department stores. I didn’t know it then but for the next 4 years I got the best ‘on the job’ training that I could get drawing 25-minute portraits, all ages, all types!

A huge advantage to art school in downtown Chicago was exposure to the amazing Art Institute. I fell in love with the Impressionists and became completely smitten with the pastels of that era. Since there was very little instruction at that time in this medium, I decided to move to Woodstock, New York to study with Master Artist Albert Handell. It just so happened that Mr. Handell needed a studio assistant. I worked in that capacity for the next two years.

Mr. Handell not only taught me about pastels and oils but also how to teach. He would have me follow him from easel to easel during his workshops. After two years in New York, I opened my own studio in Chicago where I taught workshops and classes. In the mid 1980’s, I had the good fortune of painting at the Palette and Chisel Academy of Fine Art with another living Master Painter, Richard Schmid. This was a time of tremendous personal challenge and growth. I was juggling a full-time career while caring for my late husband who had terminal cancer. My first husband’s death deepened my desire to experience life to its fullest and to continue to paint and create.

In the early 1990’s I remarried. We moved to the Pacific Northwest and started a family. I continued to paint and teach as much as I could while raising our two boys. Over two decades later the boys are grown and on their own. Sadly, my husband died suddenly at the end of 2017. Throughout the years of joy and sorrow the one constant has been my love of art. It has been the lifeline that has kept me moving forward.

www.susankuznitsky.com

I was a fan of Bithia Bjurman’s art before I ever spoke to her. I had seen her piece at the PSWC’s collaboration exhibition with the Hilbert Museum in the Fall of 2022. I had the pleasure of chatting with Bithia during my preparation for this issue of the PSWC Magazine. This is when I found out that she had the same pastel teacher as me − Sandy Jones of San Jose, California!

As an artist, Bithia has a meticulous approach to getting the concept onto paper. She uses drafting tools to draw everything out perfectly, as you can see in the piece, Browsing, on our cover.

She calls herself a baby artist, but she is very accomplished and works in several mediums including clay. She is represented by the Perfect Piece Gallery in Oregon.

Bithia has two children, a grown son and daughter, and her family recently moved to Oregon upon the retirement of her husband.

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

A: I definitely did not consider myself an artist! I grew up surrounded with music and always

Bithia Bjurman

considered myself a musician and even began my college major with music. However, I eventually changed majors and graduated college with an engineering degree and worked in the tech industry. Much later, I began working at a small, private school and they needed help developing their Fine Art program. I thought it might be

Bithia Bjurman talks to Sabrina Hill Images by Bithia Bjurman © All Rights Reserved

Our Featured Artist: Bithia Bjurman

The Last Course by Bithia Bjurman

something I would enjoy, so I took a number of art classes in order to stay ahead of the students and figure out how to develop their art program. That’s when I discovered soft pastels and fell in love with the medium.

It was in the spring of 2022 that I decided to take the plunge and work seriously as an artist. I developed my website, created my Instagram art account, started working with a gallery, and actively entered juried shows. So truly, I feel like I can only call myself an artist for about a year now.

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

A: I began soft pastel lessons in 2018 with Sandra Jones, in San Jose, California. She introduced me to soft pastel technique that helped set the foundation. Once I moved out of the area, I began to passionately delve into the world of pastels and

absorb as much as I could online and in books. I was voracious in trying to learn. From the start, I was awed by Liz Haywood-Sullivan. Her ability to paint with purpose and express color and light is inspiring. I now admire her because she gives so much back to the pastel world. She generously shares the knowledge and wisdom she has gained with decades of experience. Now, I would say that I am influenced by the work of Michael and Julie Freeman and Michele Ashby for their attention to detail and the freedom in expressing their own point of view, particularly in the area of realism.

Q: What other jobs have you done?

A: As mentioned previously, I used to work in the tech in Silicon Valley. Specifically, I worked in the disk drive industry as an engineer who brought prototype products to production overseas. After the birth of my two children, I began working at a

Our Featured Artist: Bithia Bjurman

Morning Devotions by Bithia Bjurman

school eventually becoming the Department Head of Math and Science. Once I took on the challenge within the fine art department, I also became the Director of Visual Arts.

Q: Do you work exclusively in pastels?

A: I would say that I am proficient at other mediums including graphite/charcoal, watercolor and acrylic, but honestly, I am a soft pastel artist at heart. Outside of 2D media, I am also a ceramic artist. I’ve been “doing pottery” for over 20 years and also have a pottery studio. It’s been an interesting balance trying to focus on two different mediums!

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

A: I would love to see pastel receive the kind of instruction, attention, and seriousness that other

mediums receive in the art world (I’m looking at you oil paints!). While I believe there is momentum moving forward, particularly with recognizing that pastels can produce serious work, I think introducing and educating our youth and college level students is paramount to making that happen.

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

A: I try to find work that has something to say, is unusual in its point of view, and differs from the rest. Before I start a new painting, I assess whether or not it is a fresh or unique take on the subject.

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?

Our Featured Artist: Bithia Bjurman

Les Livres by Bithia Bjurman

A: I was indeed terrified when I first began entering shows! I would send family and friends a series of pictures of my work and ask them to rank the pieces. From their results, I would create a spreadsheet and mathematically figure out which one was the “winner.” Looking back, I have to laugh at the engineer in me. Eventually, I discovered that I need to ultimately be at peace with my submissions instead of trying to find work that appeals to masses of people. I think an artist always knows which pieces are the best representation of their own work regardless of what people may say.

Q: What do you wish people would ask you bout your art and what advice would you give to your 20-yearold-self regarding art?

A: I’ll answer this a little differently by sharing what I wish I could tell people when they ask about becoming an artist (Art wasn’t on my radar when I was 20!). I don’t believe I have natural talent. I watch other artists draw and paint with awe. That kind of raw talent is amazing. I’m a determined artist. I work hard, I try hard, and I keep on learning, experimenting, failing, and putting myself out there. It’s a journey. If you genuinely want to be an artist, do it, but be willing to work for it.

Our Featured Artist: Bithia Bjurman

Left; Hidden Treasures by Bithia Bjurman

Right: Westward Bound by Bithia Bjurman

Wish by Bithia Bjurman

Last Glass by Bithia Bjurman

Bithia’s art studio

Main Street and Broadway by Bithia Bjurman

Cindy Gillett, PSWC, PSA

by Pam Comfort

Cindy likes interacting with others but considers herself an introvert. She is an early riser, so her “nocturnes” are often based on early morning light.

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

There are so many benefits to painting with others. Many of us who tend to happily paint in our studios sometimes forget the benefits of connecting with other artists. We get lulled into communicating via Instagram and Facebook. And with COVID, we all embraced Zoom … which was a bit better since it was often a live conversation. But, in person connection with other artists is invaluable. I think that’s why plein air painting has taken off over the last couple of decades. As struggling artists we all need the support and human connection. Painting with others is always a good time…whether our paintings come out well or not.

What are the advantages of gathering with other artists?

We laugh a lot! And also commiserate with each other. Sometimes we help critique each other’s work. We share our studio spaces and share information about the latest gizmos and gadgets we purchase or make to help us create. We often paint outdoors so we get lots of sunshine and great conversations with the public (if they are around). Most of all, we give each other encouragement which is often missing when you are painting in the studio alone.

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

We have a pretty broad geographical area. There are a lot of miles between Idaho, Montana and Wyoming and not a lot of heavily populated cities. This makes it difficult for everyone to get together physically. The greatest concentration of PSWC members in our area are in Idaho. To that end, several of us participate in the Eagle Plein Air Festival. We get together

Artist Cindy Gillett

Morning 2 by Cindy Gillett

beforehand or during that event. PSWC regional events don’t require PSWC membership.

How has being a Regional Representative impacted your practice?

I anticipate it complimenting what I already do with the local plein air group. I’m planning on having a get together each fall and spring, but keep the summer months open since so many of us travel and have other commitments.

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

Be a part of the largest local art group you can find…then connect with other pastelists. Consider joining a plein air group, even if you aren’t a plein air painter. It could open up other opportunities as well. There are advantages when a small group of artists gather to share ideas…even if it’s only two people.

Inhibitions go by the wayside and real connection often occurs. Also, be open to connecting with all types of artists – not just pastelists. Most of all, volunteer within a group you like. We can’t all be participants, we do need to pitch in from time to time and help out as our schedules permit.

From her website: I am an artist living in Southwest Idaho who paints primarily with soft pastels and oils. I find pleasure in focusing on “the little things”. The nuances of individual objects, people, animals or intimate scenes. I relish the specific qualities and details that make a person, place or thing uniquely its own. Because of this, my artistic style leans towards representational realism. It’s the details that draw me in and allow me to get lost in the moment of painting, unaware of the passing of time.

Over the past few years I’ve studied with several well known pastel artists who generously shared their wisdom and talent for this old yet unique medium. After viewing a few pastel paintings by Edgar Degas close up, I was amazed not only by his skill as an artist but at the quality of the pastel pigments. Unlike other mediums that may yellow or crack in time, his works looked fresh, as though they could have been painted yesterday. While I do paint with other mediums such as oil and gouache, my preference remains strong and steadfast for my beloved soft pastels.

https://www.cindygillett.com/

Meet the Regional Reps: Cindy Gillett

Table For Two - The Patio Is Open by Cindy Gillett

Along the Shoreline by Cindy Gillett

Clark Mitchell, PSWC-DP, PSA

by Pam Comfort

Clark Mitchell became a PSWC Regional Representative in 2022. He hosts events in the Sebastopol/Napa/Sonoma area of California.

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

The pluses outweigh the minuses! I’m much more likely to get out to paint if I have at least one other artist making location suggestions and pinning down a time to get out to paint. I tend to decide where to paint fairly quickly, so it can mean a little more driving or hiking when you have several sets of eyes looking for

Artist Clark Mitchell

Meet the Regional Reps: Clark Mitchell

“that perfect scene.” When I’m out on location, my focus is painting, however, I may walk away from my own work part way through to see what everyone else is doing and then return to my easel to finish with fresh eyes. After the session, when we gather round to look at what everyone has done, I enjoy the banter.

What are the advantages of gathering with other artists?

I love to get inspiration from other people’s compositions, color choices and view choices. I firmly believe in group energy. Maybe it’s just the dynamics of the power in numbers. Maybe it’s partly wanting to do a good job before my peers. Group critiques and conversations at the end of a session are always fun and educational.

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

One of the first gatherings will be a group critique at my wonderful straw bale studio, which I open once a year during Open Studios. At this first session, we will get to know each other better than at a paint-out where we’re scattered. We can decide as a group best days/times to meet and talk about future gatherings.

There are numerous regional parks in our area as well as countless vineyards with terrific views. Fall color can last for several months, beginning in September and going all the way through December, so I’m planning on taking advantage of this. I also love to do demonstrations in front of groups, especially other artists. I’m sure there will be other participants that would be happy showing their process.

Storm to the West by Clark Mitchell

Meet the Regional Reps: Clark Mitchell

How has being a Regional Representative impacted your practice?

I’m sure it will “up my game” painting in front of others. I will get to know new artists in the area. I love the advice and suggestions (such as about framers, art materials, galleries, upcoming shows) that get exchanged in group settings.

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

When planning a paint-out, find a location with a variety of subject matter. Farms can be great, or wineries with views. Bathrooms are essential, as is good parking. Views without too much hiking can accommodate all types of folks. Plan to be done with each painting within two hours. Anything longer and the light will have changed enough so that it’s time to start a new scene. I often do a quickie if companions are still working. Dress in layers and bring plenty of water and a snack. Hats to block out the glare are essential.

For paint-ins and still life painting, keep it simple unless this is your regular subject matter. I always like to include something natural: flowers, fruit, etc. Play around with lighting. Do a number of sketches

until you find your favorite composition. When attending critiques, remember that everyone will have a different opinion. Take people’s words as one way of looking at your painting, not necessarily “the” way to see it. Be gentle with yourself and others. Frame suggestions in a positive way, and only make changes to your work based on suggestions given after careful consideration.

Most importantly, allow yourself to relax and be happy with however the session unfolds. Be easy on yourself.

From his website: Mitchell has been designated a Master Pastelist by the Pastel Society of America and a Distinguished Pastelist by the Pastel Society of the West Coast, and he recently earned Signature Member status with the Laguna Plein Air Painters of America. He has received numerous awards in local as well as national competitions and has oil and pastel paintings included in art collections internationally. In 2005, Mitchell won Best of Show award at the Laguna Plein Air Invitational, and in 2011 won Best of Show in the Maui Plein Air Painting Invitational. He was the cover artist for American Artist’’s March 1993 issue. He was chosen as poster artist for the Sedona Plein Air Festival for 2008. In 2009, his painting was on the cover of Southwest Art’s annual landscape issue. In 2011, Mitchell’s painting was on the cover of The Pastel Journal’s June issue.

https://www.cgmitchell.com/

Family Fun on the Russian River by Clark Mitchell

Sierra Buttes by Clark Mitchell

Montaño de Oro by Clark Mitchell

Sierra Buttes by Clark Mitchell

Meet

Jean Myers, PSWC

by Pam Comfort

Jean Myers has been a PSWC Regional Representative for about five years. Our conversation with her takes place shortly after she received news that her painting submitted to the Bold Brush contest was awarded Outstanding Pastel Painting.

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

I think they are both important to me. When I paint alone, I become deeply focused on my connection to the landscape and it’s very rejuvenating. When I paint with others, there is camaraderie as we decide where to set up, compare some new art supply, discuss our successes or frustrations, etc. I love painting alone but sometimes I need the connection and friendship with others.

What are the advantages of gathering with other artists?

Painting with other artists helps me to have accountability. If I set a date to paint with a friend or PSWC artists, then I have to ignore that little voice that says, “oh never mind, you don’t need to go today.” It helps keep me going forward. Painting together is also a good safety tactic as there is more safety in a group and when someone needs help setting up or possibly forgot an item, we can lend a hand or share our supplies.

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

I have planned and led paint outs in the Southern California region parks, beaches, and even a plant nursery. Some of the locations we’ve painted include King Gillette Ranch in Calabasas, Rancho Sierra Vista Satwiwa State Park in Newbury Park, Carpinteria Bluffs overlooking the ocean, Ventura Harbor and Marina Park in Ventura, Sea Side Gardens plant nursery in Carpinteria, and historic Camarillo Ranch. Sometimes the hardest part is choosing where to go because there are SO many great options in Southern California! In 2023, I am hoping to plan paintouts in the Orange County area for members who live farther south.

Artist Jean Myers

Utah Gold by Jean

Getting Edgy by Lisa Ober Myers

How has being a Regional Representative impacted your practice?

Overall, being a representative has been great for me! I like researching possible locations and planning. I have a lot of freedom to choose what events I want to create.

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

When planning an event, be sure that you know about facilities nearby (bathrooms, etc.) or any potential safety concerns related to the area. Look for locations with good parking. Be aware of the possibility of high use on certain days.

I hope you will jump right in and attend an event. I am trying to organize one paint out a month that I post to our PSWC Facebook page a week or 10 days beforehand. If it’s your first time painting outdoors, know that everyone is friendly and supportive. Or maybe you’ve been painting a long time, then come join us and make new friends! Please feel free to

message me with any location requests or paint out ideas. Also, you could be a representative for your area, too!

From the website: Jean grew up in St. Joseph, Missouri with animals and nature in abundance. Summers were spent riding horses, swimming and yearly trips to a cottage on an island in Ontario, Canada. Her varied and visually rich experiences shaped her desire to express herself as an artist.

After receiving a BFA in Graphic Design, Jean worked in advertising but eventually became interested in developing as a fine artist, so she began exploring different media and taking art workshops. She enjoys all media but works primarily in soft pastel doing studio and plein air work. Her visual style has strong value contrasts and vibrant colors. Jean has enjoyed taking art workshops with Jim Wodark (oil), Terri Ford (pastel), Michael Obermeyer (Oil), Michael Hernandez (gouache), and Rita Kirkman (pastel) - all to whom she is grateful for their influence on her work!

In 2018, Jean achieved her Signature Artist status with the Pastel Society of the West Coast and enjoys exhibiting and showing her work. She heads up regional plein air painting events for the club and recently, she became the Workshop Coordinator, scheduling artists to teach workshops and assisting with the details of virtual or in-person workshops.

Meet the Regional Reps: Jean Myers

Perfect Day by Jean Myers

White Pumpkins by Jean Myers

Art/Tech School

Oh, the Joys of Creating Art! (Oh, the Headache of Tracking It!)

by Laura Pollak, PSA, PSWC, PSNC, PPS, SPS, IAPS MC

Anyone who has ever been in retail knows the tedium of taking inventory. Even running a household requires keeping track of what you have and where it is. I cannot tell you how many times I had to run out and purchase something because I could not find what I already had!

Whether you are an art hobbyist or a professional, full time artist, it’s important to keep track of your creations. When you want to pull out a painting as a gift or submit to a gallery or ship to a patron, you need to know where your artwork is. I don’t know about you, but I go into a panic if I can’t find a piece, especially if it just sold!

There are several ways to keep track of your creations and only you can decide which one works with your lifestyle. Today, we are going to review a few of the basic inventory methods, and I hope you will share your favorites with me as well.

Inventory System Needed

I began painting full time in 2009, after my leaving advertising career. So, over the years, I have created and accumulated about 500 works of art. Thank goodness many have sold and some I’ve given away as gifts. But every time a patron requests a painting, either by seeing it on my website, in a gallery or on Facebook, I need to know its location.

To make matters more complicated, we have become ‘Snowbirds’ in the last few years, wintering

in Naples, Florida and heading back to Greensboro, North Carolina in the spring and summer. With two studios, keeping track of the location of each painting has becomes critically important. We are lucky, for sure, but trying to remember what is where, from six months ago is no easy feat!

That said, my inventory system has evolved over the years. In the beginning, I had no system! I didn’t think much about keeping track. I was not producing all that much, and I certainly didn’t feel like a professional. Over the years, my pace of creativity has quickened, and I can easily paint 250 pieces per year!

So, how to keep track?

Let’s begin with the simple solutions. Many artists abhor computers and stay in the realm of pen and paper. They love the simplicity of a spiral notebook. This is how it all began for me as well. I would record a painting’s title, medium, size and a bit about the piece. But I couldn’t place a photo of the painting in the notebook. Let’s face it, we are all visual people, and a picture would have been great.

I am one of those that loves the ease of computers (when they actually work), so I tried my hand at an Excel spreadsheet. That worked better. I could search a name or field; however, I had trouble seeing everything in those tiny little columns. And

expanding them would scoot rows or columns off the page. Also, importing photos of the artwork was cumbersome. (I do know many wonderful artists who still happily use this method successfully.)

Since I’m a die-hard Mac person, I went to a seminar at my local Apple Store and saw a demo of a Relational Database. The native Apple software is called FileMaker Pro by Claris. Years ago, I had a version of it, but I never took the time to really learn how to use it. This time, I decided to invest my brain power and learn how to make this database work for me.

You could see steam coming out of my ears and

chronology of the ownership, custody, or location) of an of a painting became more critical!

True story: A well-known artist entered a regional show with a lovely painting. And of course, the painting was accepted. Unfortunately, the artist forgot to pull the painting from the gallery and the piece sold. “YAY,” for the artist, right? Not so good for the show! Now the painting could not be shipped to the show. The show was short a painting (which meant another artist could have been accepted) and the guidelines for the show state that this artist is precluded from entering this show for the next three years! Not a good thing! My Dad used to say: “Smart people learn from others’ mistakes.”

it took three weeks to set up the perfect format. Now, I can set up a new database in minutes! It was elegant and perfect for what I needed. The only problem − it was only licensed for one computer, so if I was away from my computer I could not access it.

The more I painted, the more information I felt I needed to record. Going beyond just title, size, and medium, I felt it was now important to track a painting’s location. Studio or gallery? North Carolina or Florida? Sold or on hold?

And as I began to enter shows, the provenance (the

That said, I immediately added a field in my database − not only which shows the painting was entered in to, but also if it was accepted, and if it won an award. “Why,” you ask? Because if the painting isn’t accepted, it can go to another show. If it was accepted, I don’t want to inadvertently enter it into another concurrent show, or the same show next year! If the painting actually won an award, I have to be careful about entering it into a show that doesn’t allow an award-winning piece to be entered. (YIKES! Now that I’m trying to step up my game, the rules get a whole lot more complicated!)

FileMaker Pro Database Page

I now also include for my own information the following fields:

• Date of creation

• Unframed size

• Framed size [some shows have size restrictions]

• Substrate of the painting (i.e. archival foam board with Uart Paper, or Gator Board)

• Price

More recently, I’ve started including a serial number This keeps me apprised of my total number of paintings. You can create codes that make sense for that information. For instance, Jeanne Rosier Smith creates a number that includes the year, month and the number of paintings in that month. Brilliant!

For example:

P-319-4-2020

P = pastel painting

319 = inventory number

4 = month

2020

= year created

As my paintings began to sell, I then realized that keeping track of my patrons would be smart as well. So, as part of my categories, I added:

• Name of the patron

• Patron info - mailing address, email, phone number

• Painting(s) purchased

That way, I could contact them again if a painting in the same genre became available.

From my marketing and advertising days, I learned that mailing lists are critical, so knowing who you

have sold to, is very important. Next, I realized that if I have a painting placed with a gallery, I need to put that in the provenance as well.

True Story: Many years ago, early in my painting career, I had three paintings at a gallery in Virginia. It was out of the way for us to visit, so I didn’t keep in touch (BIG MISTAKE). I contacted them when we were going to go up to the region for a visit. They didn’t have any idea which pieces of mine they had! They were new owners and had trouble locating them in their inventory. UGGGG! Again, through my own mistakes, I’ve learned to keep track of where paintings are placed! (They did find them, but I won’t make those mistakes again.)

When adding new fields, I realized that a description would be helpful. Everyone loves the story behind a piece of art. And often these descriptors can sell a painting. So, I have added that field as well.

What I could not do, (though I tried many times), was to use the ‘relational’ part of the FileMaker Pro database. What I was trying for, was to create a mathematical formula that said: This is how much I’ve earned this year by selling this painting. In other words, a running total income. I am quite sure that many of you reading this could have easily figured it out, but my brain is totally math challenged, not to mention programming challenged. So that never happened.

A New Player- Artwork Archive

A few months ago, I saw a presentation by Jeanne Rosier Smith regarding the software that she uses for archiving her works. Jeanne is represented by eight galleries, and she is the consummate professional. For her to

FileMaker Pro- Adding new fields

FileMaker Pro- Adding description

keep track of her multitudes of paintings, she stated plainly that she couldn’t do what she does without the Artwork Archive service.

I’m known as a very stubborn person (Taurus that I am), and here I am watching Jeanne’s presentation and thinking to myself, “My FileMaker Pro can do all that, and I won’t have to pay a yearly subscription.” (I paid for it once, and then one upgrade and I’m good to go for a few years.) However, the further Jeanne got into the specifics of the App, I found myself getting pulled in. When she demonstrated the platform and what is possible, my little brain started pondering if it might do more of what I needed.

Artwork Archive has a trial period which is free because they want you to be absolutely certain of the service. I really didn’t like the concept of paying yearly, but when I looked at how much I’ve paid to FileMaker Pro over the years, I realized it almost equaled out. (BTW, I’m not a spokesperson for them and not getting paid. I’m just sharing my journey on how to keep track of my art business.)

Artwork Archive has three levels of membership depending on how many paintings you need archived: 100 pieces, 500 pieces or Unlimited. You can choose what you need and always upgrade, if necessary. I decided to try them when I saw a 30% off yearly fee. Because of my volume, I went for the highest level. I didn’t even take the trial period. If I take the time to migrate all my data over to them, then I’m already committed. It did, however, take a few months before I made the transition from FileMaker Pro to Artwork Archive.

Migrating to Artwork Archive

Migrating from FileMaker Pro was impossible, and it really wasn’t much easier migrating from FASO (Fine Art Studio Online, the website host that I, along with many other artists, use).

I was ready to call them up and ask for my money back when I finally got up the nerve to ask Artwork Archive to help me with the data merge between FASO and their site. They will do a one-time conversion of data for free; however, it just wasn’t

working. Finally, I got on a conference call with the owner of Artwork Archive and the owner of FASO! That was quite entertaining. I was a fly on the wall, listening to all the tech stuff (totally over my head), and they were collaborating to make it work for me. I also think that they are now moving forward to work together in the future since these two apps are symbiotic and work well together!

Since then, I’ve tweaked the platform with some of my own input and added a few works that didn’t make the transition. Other than that, it’s working beautifully. One of the things that Jeanne showed in her presentation was something that no other platform that I know of can do, PRIVATE VIEWING ROOMS! This is the coolest concept! This last week, a patron contacted me and asked about several paintings. I put together a private, curated collection of paintings I thought she would like based on her past purchases. I included important information along with pricing and framing information, etc.

She LOVED it! It looked professional and made selling easy.

This can also be used to present a collection to a prospective or current gallery. You can easily drag and drop paintings from your inventory into a custom named collection, and then create a web link for the collection to click and see artwork you selected exclusively for them! It’s clean and beautiful!

There are many features I’m only just discovering. There are tax features that will summarize your income. You can create reports- one is an inventory report of what is dropped off at a gallery. These are PDF reports that you can share with the gallery. If you choose to make your entire inventory public, then Artwork Archive could act as your website (though it is not designed to do that and doesn’t have much design flexibility).

A while back, I felt that QR codes looked cheap, but now I’m seeing them everywhere, even in upscale venues like Art Basel (I went last November to this amazing show). The galleries exhibiting there were using the codes throughout the exhibition. Artwork

Artwork Archive Logo

Archive can produce a QR code for each piece. You simply take a picture of it with your smart phone and boom! You have all the info you need on a painting! Settings may be made public or privatefor instance, if you do not wish to show the pricing, you have the option to uncheck that box and then it will not show up.

My latest goal is to research new galleries and create a database of who I might approach. The platform allows for new contacts to be entered and subdivided into groups. When you make contact or send out information, you have a place to:

• Make notes of when and what you sent

• Schedule a follow up reminder that will pop up on your computer

• Annotate conversations

If all this sounds too complicated, don’t panic! They have a Learning Center where you can watch videos on how to perform a certain task.

One of my favorite aspects of this platform is that it is cloud-based which means that if I’m on my computer, my iPad, or my phone I can access information no matter where I am. And if I decide to hire an assistant, that person could also access the files! That would be a huge advantage to me! On FileMaker, I had access at the computer where my database resides.

As cranky as I was about the concept of changing my inventory system, I’m really glad I did. The depth of the Artwork Archive software is amazing, and I’m discovering something new that can help me with my art business every day. We all love being at the easel, but that is only one part of the job! You must keep track of inventory. It’s like a GPS for your paintings. Yes, there is some data entry, but once done, you will have the necessary information immediately at hand, no matter where you are or which device you use.

Artwork Archive Database

Artwork Archive- Generating QR Codes

Here is a sample of a Private Room I created just for you to view. You can see how a Private Collection might look when you share the link (just copy and paste into Google):

https://artworkarchive.com/rooms/laura-pollak/bda698

Let me know what you like to use. Let’s share info!

www.laurapollak.com • laurapollak.artist@gmail.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.

Art Workshop AARON SCHUERR

Alpine Landscapes and Coastal Seascapes

A Virtual Workshop with Aaron Schuerr, PSWC, AIS, PSA, LPAPA, September, 2023

Daily Schedule

Day

1

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

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

Day 2

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

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

About the Artist

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

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

www.aaronschuerr.com

Art Workshop

NANCY KING MERTZ

Puzzled by Perspective?

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

November 16-18, 2023

Open to Members and Non-Members $360

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

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

About the Artist

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

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

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

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

www.nanciekingmertz.com

Art Workshop

LAURA POLLAK

Driven to Abstraction

Ongoing virtual and in-person workshops in all levels of pastel painting

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

Here is a sample curriculum from DRIVEN TO ABSTRACTION which 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. Check our the website for current in-person and virtual classes.

About the Artist

Laura is an award winning fine artist, showing her works in galleries and museums across the nation. Her works have been juried into national and international 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

Art Workshop

SUZANNE KUZNITSKY

McCord Gallery & Cultural Center

9602 W. Creek Road

Palos Park,Il, Illinois 60464

Linda Buchanan

office@mccordgallery.org

708.671.0648

Each day will begin with a Power Point Presentation covering the following topics:

Day #1 – Color and Relativity – how color is influenced by what color is around it.

Day #2 – Painting ‘White’ – how to create colorful whites in your paintings.

Day #3 – High Chroma – how to use the power of strong color without over doing it.

Rockport Center Center for the Arts

204 S Austin St, Rockport, Texas

Kathleen

kathleen@rockportartcenter.com

(361) 729-5519

Join me for this destination 3 day pastel workshop at this impressive Art Center on the Gulf of Mexico in beautiful Rockport, Texas

Each day will begin with a Power Point covering the following topics:

Day 1 – Color and Relativity – how color is influenced by the color around it.

Day 2- Painting ‘white’ – how to create colorful whites in your paintings.

Day 3 – High Chroma – how to use the power of strong color without over doing it.

PSWC Scholarships 2023

The PSWC Art Scholarship Program allows us to fulfill part of our mission to promote education in the arts–especially pastels

Each year, we solicit high school art teachers, college art departments, statewide arts organizations and our members to help us find talented, dedicated students interested in pursuing a career in art at a junior or four-year college or university, or an accredited art school. Applicants who are planning to pursue a career in arts submit a digital portfolio and letters of recommendation by the annual deadline of April 15. PSWC Board members review applications and select winners. This was a banner year as we had 35 applicants from 18 different states and one from an international student! Applicants were planning to pursue a variety of art-related careers such as art educator, animator, illustrator, graphic novelist,

architect, fine art curator, and art therapist. There were quite a few applicants who submitted very impressive portfolios, and many had outstanding letters of recommendation. Our finalists rose above the others in both categories.

Our congratulations go to the 2023 Scholarship recipients, Natalie Hayes from East Rockaway, New York and Tenley Douglass from Clemmons, North Carolina.

Natalie is a senior at East Rockaway Junior Senior High. She will be attending School of the Art Institute of Chicago in the fall. SAIC has a consistent ranking among the top graduate fine arts programs in the nation by U.S. News and World Report.

The Art of Natalie Hayes

Natalie took first place in the 2021 Nassau County High School Juried Competition and took home an Award of Excellence from the Long Island Art League last year. She also earned a national gold medal in the 2022 Scholastic Art and Writing Awards. She is a National Honor Society Art Club member, won the 2021 Scholastic Summer Scholarship Award, the 2022 Renzo & Lynette Bianchi Scholarship Award and took first place in the Babylon Citizens Council on the Arts’ 32nd Annual Judged Art Show.

Natalie placed first in the 2022 Congressional Art Competition. Her artwork will hang in the Capitol Building in Washington, D.C. for a period of one year. Natalie’s goal is to be a working artist and to teach art to young children.

Tenley is a senior at West Forsyth High School, where she has taken 4 years of honors level art. She will be attending University of North Carolina, Greensboro in the fall, majoring in Art.

Tenley was awarded four gold keys, five silver keys and three honorable mentions in the 2023 Scholastic Art and Writing Awards. She also won

gold and silver keys in 2022 and 2021. She was featured in a Kappen Education Journal, awarded a People’s Choice Award and Grand Prize Award at Artizens 2022, presented at the University of North Carolina School of the Arts, was accepted into the National Art Honor Society 2022 Juried Art Exhibition, and was a Grand Prize Winner in the 2021 Emerging Artists Invitational at High Point University’s Sechrest Gallery. Tenley also serves as President of the National Art Honor Society.

Tenley’s goal is to become a successful artist and work for a large animation company such as Disney or Pixar. Natalie and Tenley will each have a $2000 award sent to their respective colleges to offset their costs in the coming school year.

If you know of any high school seniors or college students who are eligible and might benefit from the PSWC Scholarship, please direct them to the Scholarship page on our website: https://pswc.ws/ art-scholarship/ for more information.

The Art of Tenley Douglass

PSWC HOUSEKEEPING

EXHIBITION NEWS

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

ALWAYS LOOKING FOR VOLUNTEERS

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

MEMBERSHIP DRIVE

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

WORKSHOPS

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

NEW MEMBERS - 2023

ELECTED BOARD POSITIONS

President/Scholarship

& Regional Reps

Pam Comfort

e: pam@pamelacomfort.com

Vice President/Editor

Sabrina Hill

e: Art@sabrinahill.com

Secretary Bonnie Griffith

e: bzgriff53@gmail.com

Treasurer

Deborah Pepin

e: deb.treas.pswc@gmail.com

COMMITTEE APPOINTEES

Eblast Coordinator/Publicity

Cynthia Riordan

e: clriordan@gmail.com

Facebook/Social Media

Jennifer Von Bergen

e: jenandjewel@gmail.com

Membership Chair

Karen Jones

e: pswcmembership@gmail.com

MOOS & PASTELS USA Chair

Dug Waggoner

e: dugwaggoner@att.net

Museum Liaison

W. Truman Hosner

e: truman@wtrumanhosner.com

Ways and Means

Francesca Droll

e: fd@abacusgraphics.com

Website Coordinator

Diane Breuer

e: diane@dianebreuer.com

Workshop Coordinator

Jean Myers

e: jeanmyers1990@gmail.com