See what our members in Idaho are doing to make their marks on the art world
Be impressed by the li fe and art of Otto Stürcke
Ginny Burdick retires into a full-time job, and it’s no surprise
Ursula Schneider on finding your artistic voice
Showcase
Idaho 2024
See the Show from Idaho members
Featured Artist Otto Stürcke talks to Pam Comfort
Meet the Members
Get to know five of our Arizona members!
Art Scholarships
Our newest winners for 2024
We Talk Art Bonnie Griffith on the coming programs
Painting Challenges 2024
12
Letter from the PSWC President From Pam Comfort
7 4 8 15
49 29
See the April Challenge and artists samples
The Art of Retirement Ginny Burdick retires to become a full-time artist
Art School
Ursula Schneider on your unique artistic voice
Art Workshops Workshops Coming
42 60 70 80
Letter from the Editor From Sabrina Hill
Regional Reps Update
See whats happening in PSWC Pastel World
PSWC Stars
64 70
The members keep the PSWC moving!
PSWC Housekeeping
Here’s who’s new in the Society
82
Dear Pastelists,
Welcome to another edition of the PSWC Magazine! Our issue is a bit unique because we usually have a big competitive show to feature. Our last issue had the MOOS show and our next issue will feature the PASTELS USA: 99 Voices in Pastel. We are always searching for great content, and that’s when Bonnie Griffith and Cindy Gillett approached us with the show they organized in Idaho.
Well, are we lucky or what?
You can get a feel of this lovely show starting on page 19. And by the looks of the reception pictures, it was well-attended and well-received!
Our intrepid reporter and society president, Pam Comfort, has been interviewing and writing furiously as she talked to featured artist Otto Stürcke and five of our Arizona members, Anne Gee, Cheri Saffro, Kenneth Keith, Jeanne Conant Kramer, and Nori Thorne. It’s impressive that we have such interesting members and that they are also such amazing artists.
New to our contributors is Ursula Schneider with her Art School piece on finding your artistic voice. She offers practical steps to approaching a potentially difficult task - figuring out your artistic style. Lot’s of great lessons here.
Back by editor’s demand is Ginny Burdick! A long standing member of PSWC, she has retired and you can laugh, as I did — because she is now working as a full-time artist. You cannot keep her in retirement. She is an inspiration, and she is teaching, if you are in the area.
Regional reps around the country have been working to get members together and painting. See what they are up to starting on page 12.
“Creativity belongs to the artist in each of us. To create means to relate. The root meaning of the word art is “to fit together” and we all do this every day. Not all of us are painters but we are all artists. Each time we fit things together we are creating –whether it is to make a loaf of bread, a child, a day.”
—Corita KentIf you want to paint, but don’t have a group to paint with, consider participating in our Painting Challenges (see page 10). We do four per year, the instructions are there and on our website. It’s lots of fun, and there is prize money!
Finally, if you are interested in contributing to the Magazine or have ideas for articles or artists to interview, let me know at art@sabrinahill. com
Now read this issue, and go get your hands dusty!
\Happy Painting,
Sabrina Hill PSWC Vice President and Editor, PSWC Magazine
Pam Comfort, President PSWC - In addition to serving as President, I chair the Scholarship Program, one of the ways we support students planning a career in art. My background is in the field of education. I earned a doctorate in Educational Leadership and Organizational Management, and retired from my position as Deputy Superintendent of Schools for Contra Costa County in 2018. Having only dabbled in art and music throughout my life, I discovered after retiring that I loved the immediacy and tactile satisfaction of working with pastels. love to travel and aspire to create art that communicates a strong sense of nature, culture and place. www.pamelacomfort.com
Ginny Burdick PSWC, is a contributing writer for the Pastel Society of the West Coast publication. She started her working career as a teacher, then transitioned to serve as the Chief Human Resource Officer for three different hospital systems. In 2012, she opened a fine art gallery in Fresno, California, A Sense of Place. After 11 years, she sold the gallery and became a full-time artist. See what she says about this transition in The Art of Retirement in this issue. www.ginnyburdick.com
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!
Bonnie Zahn Griffith PSWC, Secretary of the PSWC - is a current resident of southwestern Idaho and spends significant time in MT and UT painting throughout the year. She participates in numerous plein air events in the western US, judges competitions and offers workshops in pastel techniques, both studio and plein air. Her work is represented by galleries in MT, ID, OR and WA. Collectors include corporate and private throughout the US, Canada and Australia. Bonnie’s work can be seen on her website www.bonniegriffith.com
Ursula Schneider is a pastel, watercolor and ink artist with a flair for modern style. Ursula Schneider most commonly illustrates her greatest influence — the Sonoran Desert. Living in the midst of the lush desert near Tucson, Arizona, she was inspired to begin creating fine art in 2016 when a friend asked her to teach an illustrated art journaling class.
A self-taught portrait photographer and graphic designer and recently, an art instructor, Ursula began formal art study at Arizona-Sonora Desert Museum Art Institute in 2019. Having taught adults in a variety of settings, she now turns her attention to helping artists develop their abilities to their fullest potential through the exploration what each student brings uniquely. You can find Ursula on Instagram at Ursula_Schneider_art, at her website at www. ursulaschneider.art.
Cover art by Otto Sturcke, The Last Ride Fonts: Sabon and Open Sans All photos are property of the artists
Join the most dynamic pastel group in the USA for less than 25c per day
You don’t have to live on the West Coast to become a member. With PSWC members located around the US, as well as international members, the Pastel Society of the West Coast offers a strong voice for expanding the presence of soft pastel as a major fine art painting medium. PSWC was organized in 1984 to promote pastel artists and the medium of soft pastel. Today, we are one of the most recognized pastel societies in the country, with an ever-increasing international presence. Benefits include: Pastels USA Annual Exhibition | Members Only Online Competition | In-person and Virtual Workshops by Noted Pastel Artists | PSWC Magazine | PSWC Social Media Exposure Opportunities | We Talk Art Interview Series | Regional In-person Events | Online Demonstrations | Free Online Gallery | Membership in IAPS.
All levels of artists are welcome to join.
Our goal is to promote the art of pastels through education and competition and also to make it easier for you to become a well-connected, well-informed pastel artist. We look forward to including you on our Society’s roster!
Dear Members,
I recently returned from a painting workshop in Florence, Italy where I had the privilege of joining 11 other painters to learn more about painting en plein air from Marla Baggetta. And of course, I did learn a lot! We painted piazzas, café scenes, ancient ruins, and gardens. We also sketched scenes around the Arno, Ponte Vecchio, and other locations. We watched demonstrations and benefited from on location suggestions and critiques.
All of that was what I’d been hoping for, but there was more. Much more. I left Italy with new friends from around, and outside the country. I left with a feeling that I could reach out for support, encouragement and peer coaching from a number of trusted fellow artists, whom I hadn’t even known before – long after the workshop ended.
As a career educator, I have certainly known about the benefits of peer coaching among learners, but I’d had limited occasions to connect that knowledge to my painting journey. I have always found the mere idea of plein air painting to be intimidating. My decision to join the workshop was my way of “walking into” my fear. I found that I was not alone, and that the encouragement, support and coaching from members of the group helped to give me confidence – not in the least because I, too, had encouragement and valid suggestions to share. I anticipate that the impact of this experience will be quite valuable for the long term.
Walking into our fear or letting go of self-limiting thinking is popping up as a thread through recent PSWC events and features. Our Pastel Evolution Discussion Panel, moderated as a We Talk Art event by Bonnie Griffith featured a fabulous, eye-opening conversation with Judith Smith, Dawn Emerson and Kelly Milukas. All three are daring, innovative artists who treat their studios like “labs” where experimentation thrives. The recording is available on our YouTube channel.
This issue of PSWC magazine features an article by Ursula Schneider, an Arizona artist who relishes experimentation in her art and keeps her work focused on the truest possible expression of herself as an artist, without regard to limitations. Her article shares practical steps for finding our own voices as artists.
In a phone call with Otto Stürcke (our featured artist) today about the demonstration he will be doing for our June 2, 2024 General Membership meeting, he referred several times to the joy he is finding in “experimentation.”
Making art can be a very solitary endeavor, and that’s what is sometimes necessary. However, I am encouraged and bolstered by knowing that whether I am struggling, celebrating or experimenting – I have fellow artists to whom I may reach out, and for whom I am happy to provide the same support. I anticipate that this feeling will be compounded after this year’s IAPS convention. If you plan to attend, please look for me, wear something purple on Fiesta Night and watch for an announcement about a group photo. Wherever you are, I hope that being a member of PSWC helps you to feel a part of an artistic community!
Stay inspired!
Pam ComfortOn the move, easels in hand, creating art wherever they can.
The most recent paint out for the PSWC Santa Barbara area was at Seaside Gardens Nursery in May. Representative Carol Talley has now planned a paint out to celebrate the beginning of summer on Friday, June 21 from 9-12. Painters will meet at Alice Keck Park Memorial Garden in downtown Santa Barbara.
https://santabarbaraca.com/businesses/alice-keckpark-memorial-garden/. This site has info about the garden, photos and a map.
There is a lot of free parking, and restrooms are across the street near Kids World in Alameda Park. There are large specimen trees, flowering shrubs,
benches, meandering pathways, a koi and turtle pond, and a sensory garden. Plenty of room to set up either in the shade or sun.
This was the first location where Carol painted in plein air long ago, so it holds a special place in her heart.
Please let her know if you can attend. Even if you can’t make it until after 12:00p.m., that’s all right too. There might be others who prefer the afternoon. Invite others, all media are welcome. Please contact Carol Talley, carol@caroltalley.com.
Clark has extended a special invitation for PSWC members and guests to come paint at his gorgeous country property on Saturday, June 29 from 10-2. There are beautiful vistas in every direction including eucalyptus-studded valleys, oak covered hills, and intimate gardens brimming with color.
There will be a friendly show-and-tell near the
end of the session. Take the opportunity to visit Clark’s wonderful straw-bale studio packed with examples of plein air pastel paintings. There will be plenty of shade and restrooms are available. Bring your lunch and beverage.
For directions, RSVP to Clark clark@cgmitchell. com
Our newest volunteer to join Team PSWC is Regional Representative is Beverly Carlson Bradshaw.
Beverly started drawing at a young age, creating drawings of the animals she found on the family farm in Montana. She later attended night courses when she could at Eastern Montana College while working full time. Her life and career took her to Seattle, Washington where she continued to study when possible at the University of Washington. She attended workshops with well-known artists Ned Mueller and Clark Elster. Her previous career in Interior Design helped her with color and balance in her art. Beverly found pastels when she was in her late 20’s after working in oil and watercolor. The immediacy and the feel of both drawing and
painting kept her working in that medium. After moving to AZ, she started painting full-time in 2019 and taking as many workshops as she could, trying to catch up for all the years she was unable to paint. Now she enjoys painting the landscape and animals of the desert.
Since it’s already getting warm in Arizona, Beverly has planned a trip to Cowgirl Up! in Wickenburg, Arizona on Thursday, June 6, 2024. Participants will carpool and meet at The Home Depot at 4925 E Carefree Hwy, Cave Creek, AZ 85331 at 9:30am.
Cowgirl Up! is an annual exhibition at the Desert Caballeros Western Museum which showcases the brightest contemporary female artists working in the Western genre. “In the male-dominated world of Western Art, Cowgirl Up! turn[s] the spotlight squarely on women’s voices and perspectives, serving up a new, deeper understanding of the American West.” Questions? Contact Beverly at carlbrad16@gmail.com
The next PSWC Paint Out for California’s Central Coast will be held on Saturday, June 15, 2024 at 9:00 – Noon at San Bernardo Creek Road, one mile north off Hwy 1 (Morro Bay area). This lovely rural home and garden includes a lake, lovely flower beds, lily pond, a variety of trees and open space. Once an Alpaca Farm, there are fenced areas, fruit trees, out buildings and flowering landscaping throughout the property.
This lovely property will not disappoint - so much to see, so much to paint! Please RSVP to Bobbye Thompson to receive the location address. You need not be a member to join us at this event...all mediums welcome. Come and be inspired by so many painting opportunities. Contact: Bobbye West-Thompson bobbyethompson@ charter.net
Art Works Downtown is happy to have received support from Pastel Society of the West Coast for our exhibit Pastel Panache, April 5–May 25, 2024. Thanks to Pamela Comfort, PSWC President and artist, and Bonnie Zahn Griffith, PSWC Secretary and artist, who served as our jurors, Pastel Panache is offering a unique exhibit for the public to experience a variety of expressions and techniques using the classic medium.
Art Works Downtown, Inc, is a 501(c)3 non-profit art center. Located on Fourth Street in San Rafael California. Our 40,000 square-foot building houses four galleries, 33 art studios, group studios, a jewelers guild, frame shop, ceramic center, restaurant, and more. We feature new exhibits and events every month including the popular 2nd Friday Art Walk. We hope you will visit soon.
Learn more at: ArtWorksDowntown.org
We Talk Art is the quarterly Zoom presentation for members of the PSWC. Bonnie Zahn Griffith chats with well known artists in an informal virtual setting.
When we launched the We Talk Art series of interviews a couple of years ago I thought it would be an interesting endeavor, but I didn’t know what a great time it would be talking with so many interesting and talented artists. Earlier this year I interviewed Craig Lemly the owner of Dakota Art, artists Mitchell Albala, Tom Christopher and more recently Lyn Diefenbach. What a wealth of knowledge these individuals have – and shared with our audience! If you missed these interviews, you could still access them on our YouTube channel!
Even though we planned for the We Talk series to happen quarterly, if I come across a possible interviewee that is available off the planned schedule, I’m going to go for it and do the interview when they are available!
What is great about the live sessions mode is that it allows the audience to “talk” to the guest by typing questions and comments on the “chat” option in Zoom. This “chat” option is monitored through out the interview so that everyone’s question gets answered. My goal is to anticipate questions and
notes of interest as part of my interview. The next interview is scheduled for July 13 at noon PDT with
Ivan
. If you haven’t seen his work, check out his beautiful paintings and log onto the Zoom Interview on July 13, 2024.
In a recent episode focused on art journeys and experimentation, Bonnie led a lively panel discussion with Dawn Emerson, Judith Smith and Kelly Milukas. The panel members shared their experiences of falling in love with art, exploring different mediums, and constantly experimenting to discover new techniques. They discussed the challenges and solutions related to framing, shipping, preserving and enhancing the beauty of pastel artworks, and the resulting appeal to buyers and galleries. Lots of wonderful insights make it the perfect video to sit and relax with.
Also scheduled is an interview with Bethany Fields on October 20, 2024 at Noon, PDT. Mark your calendars for these and watch for our email reminders!
Got ideas for people to interview? Contact Bonnie at Bzgriff53@gmail. com
By Bonnie Zahn Griffith and Cindy Gillett
Early in 2024 Meg Glasgow, owner of Finer Frames and Gallery in Eagle, Idaho contacted Cindy Gillett and Bonnie Griffith about doing a pastel show of local talent and wondered if they thought there would be interest. Cindy and Bonnie decided it was an excellent time to invite the PSWC regional members of Montana, Idaho, and Wyoming to participate in a month long exhibit at this popular art venue. Meg is the founder and brains behind the Eagle Plein Air event held annually in October. For several years, PSWC has generously sponsored the “Best Pastel” award for this event, which is the largest plein air competition in Idaho.
Gathering the list of PSWC members in the region, Cindy and Bonnie reached out to see who might be interested in participating in a show. There were 20+ members, most of which were local or near the venue, so they were certain they could put together
a great representation of pastel work!
Cindy contacted everyone and 17 members agreed to submit two paintings each. She put together a case of samples of pastels, papers and tools for an educational display and a framed hanging of the process steps to complete a pastel painting. The Open House for the kick-off of the show was April 27 and was well-attended by artists and patrons. Following the reception, a large group of the artists lunched together at a popular restaurant. On Saturday May 11, Bonnie did a demo in pastel, a free event for artists and those curious to know about the medium. The staff of Finer Frames did an exceptional job of displaying the works and hosting this event.
Learn more about the show on their website: www.finerframes.com/ pastelshowcase/
In order to create, we draw from our inner well. This inner well, an artistic reservoir, is ideally like a wellstocked fish pond … If we don’t give some attention to upkeep, our well is apt to become depleted, stagnant, or blocked … as artists, we must learn to be self-nourishing. We must become alert enough to consciously replenish our creative resources as we draw on them — to restock the trout pond, so to speak.
—Julia CameronOur Featured Artist: Otto Stürcke
We are proud to present the PSWC Magazine interview with Otto Stürcke.
Camellias by Otto Stürcke
“You can’t connect the dots looking forward, you can only connect them looking backwards. So you have to trust that the dots will somehow connect in your future. You have to trust in something – your gut, destiny, life, karma, whatever. This approach has never let me down, and it has made all the difference in my life.”
- Steve Jobs
One thread that runs through any conversation with Otto Stürcke is the importance of story-telling. It is both an element of all of his work, and also something for which he has plenty of material. Otto has done such a wide variety of creative work, that you must forgive me, dear reader, for taking our chat off on a few fascinating tangents.
Pam: We’ve read in your bio that as a child, there was not a lot of art guidance from family, but that you were influenced by watching Sister Wendy on PBS. How does she continue to influence your work?
Otto: I often imagine Sister Wendy standing beside one of my paintings, critiquing the work to a television audience. What would she derive from it and would she critique it to shreds? I laugh of course, at the thought of her no-holds-barred description of any one of my paintings. Perhaps it’s that thought that has been so influential. I want my paintings to speak to people, to draw people in like children ready to listen to a good story. Sister
Wendy continues to be influential in a manner that inspires me to offer a great narrative with my work; one worth visually listening to.
Pam: You had wanted to attend art school, but serving in Desert Storm sidelined that plan. In retrospect, how do you think this change of plans ultimately impacted the way you think about and create your art?
Otto: There is no denying I wish I could have attended a great accredited art school when I graduated from high school, but I revert to a saying my family members often repeated when I was young: “There is nothing so bad in life that something good can’t come out of it.” Taking detours in life from a path you have your heart set on may not seem ideal at the moment, but it taught me several lessons every time I did. Firstly, being sent to war helped put things into perspective. If anything, it helped solidify my longing to be an accomplished artist. It was a dream worth dreaming during a time that presented an
unpredictable future for me. Second, it set forth a determination to hit the ground running as soon as I returned home. Perhaps I didn’t have the means to attend the art schools I wanted to attend, but I was going do my best to be in the places that would teach me the skills I needed to do what I loved. Lastly, the urge to want to paint the things that meant something to me couldn’t have been greater. At the time, I may not have been able to put it into words, much less put it on a canvas, but I knew I wanted my art to mean something, anything.
Pam: You’ve said that you strive to find common ground between contemporary and classical art. Are there contemporary artists who have influenced your work?
Otto: Absolutely, there are quite a few but here is my short list. If you would put their paintings in a room, you might wonder how a mishmash of work could be so influential. Some of their work isn’t even reminiscent of my own. Mike Butkus, whose work
is mainly created for film and television projects was probably the most influential artist in my life as soon as I had been discharged from the military. I enrolled in several of his art courses at Associates In Art, an unaccredited art school back in the mid 1990’s and learned many illustrative techniques under his tutelage. He was influential in teaching me how to design, compose, and remain disciplined in meeting deadlines for projects he had referred to me. I attribute my successful beginnings in the world of illustration to him. Natalie Featherston and Carlo Russo have been very influential as well. I have taken workshops from both of them, and am grateful for their direction and insight. Natalie prefers to paint in the style of trompe l’oeil with narratives that can be wildly humorous and descriptive while Carlo paints mostly florals that pay reverence to the
classical Dutch masters. All of them are masters at their craft!
Pam: Speaking of the Dutch masters, your bio mentions that influence in your own painting. Can you tell us more about that?
Otto: They were well known for their chiaroscuro, which was the battle between light and shadow. I was always intrigued by how they could create these beautiful high contrast paintings, some of them extremely detailed. There was a certain connection that I had with these moody paintings and how they used strong contrast to manipulate the composition of a still life or landscape. It was very appealing to me. I wondered how I could replicate that mood in some of my paintings, in a contemporary style, which also represented my culture.
Pam: That culture being …?
Otto: I’m first generation American, my parents having come from Mexico. Although, my name comes from my great grandfather who came over from Germany. I’m Mexican-American and Spanish was my first language. I started speaking English when I was 4 or 5 years old, entering kindergarten. When I first started painting, I was painting all of these Mexican icons, because those were the movies I was watching - people like Maria Felix, who was like the Elizabeth Taylor of Mexico. Then I transitioned over into many different portraits and still life, which is my forte today.
Pam: You didn’t start out using pastels, what was your first medium?
Otto: I actually started working with acrylic. The very first tool that I really started becoming proficient in was the airbrush! I had gone to fairs or the park, and I’d see these young guys airbrushing T-shirts. There was a line of people wanting to get their T-shirts painted with their names, sunset imagery, etc. It was a very big thing back then, and some of the work was cartoon-y but still really neat looking. I saw the money being exchanged, and thought, “Wow!”
So I saved up, and I got my first tool, my airbrush, and it took a few years before I really got the hang of it, but I started painting T-shirts when I was in high school. It started becoming a little bit of a money maker for me, so I started buying more equipment, and then eventually ended up working at some of the State Fairs. I worked at the Oregon State Fair, Colorado State Fair, here in Pomona, the LA County Fair, and I was doing the fair circuit for a few years. That helped me to put some money together, so I could start taking some formal art classes.
Pam: When did you discover and start working with pastels?
Otto: I might have dabbled with student grade pastels in high school. But, after I was discharged from the military, in 1995, I started taking classes at Associates in Art. I took a class on illustration where the instructor was teaching how to take pastel and grind it down with talcum powder and then use makeup applicators or sponge to swipe on pastel and create a beautiful gradient. We were learning how to illustrate cars. And then he would take an eraser or markers create these beautiful transitions, using the pastels ground down with talcum powder.
I think that was the first time I really started playing with pastel, but it wasn’t until 2011 when I took a course from Diana Ponting. She is a Canadian artist who was teaching in San Clemente, which was about a two hour drive from my home. I just loved her work, and I loved the way she taught. And after that there was no looking back. I do remember spending about $900 just to get all the pastels and paper that I needed. I thought, “Oh, I’m breaking the bank!” and then, “Well, if I’m spending this kind of money, I better stick to it.” Ever since then, it’s been pretty much my number one medium.
There was also some necessity. My wife was pregnant with my first son who was born in December 2011, and smells got to her when I was painting with oil, so I switched over to pastel. And since my boy’s room was right next to me on the other side of the wall, it made it easier to be able to paint. If I were painting
in the middle of the night, and heard him cry, I could just put down the pastel, clean up and take care of him.
Pam: You talked earlier about narrative and visual storytelling, can you say more about how your process moves you from the role of author to artist?
Otto: When an idea for a painting comes to mind, I might create a little sketch of it and write some keywords or notes beside it so I may refer to it as my idea further develops. As it does, I will likely journal it, drafting it further until the narrative becomes clearly noted. Once I have a connection to the story, I will often look up and compile references should I need it. It is not unusual for my paintings to have a title prior to initializing the painting process. I find this stage of forming the narrative very enjoyable as it fortifies the reasons for painting the work. Once I commit to the narrative, I begin the staging process, working out the design, the composition, the mood lighting and so on. I suppose you can relate it to working out the staging for your actors in theatre if you were the director. Although, no amount of good acting or special effects is going to cure a production of bad story-telling. I keep that analogy in mind when producing my own work.
Pam: Do you think that the use of allegory in visual art can be taught, or is it something that is innate? Do you have a sense of how and why it became such a strong force in your work?
Otto: I believe allegory in visual art can definitely be taught. It is no different than teaching one to observe, draw, and paint. The definition of allegory in essence is a story, poem, or picture that can be interpreted to reveal a hidden meaning. It doesn’t always have to be a political or moral one. I can opt to use allegory as a tool to reveal subtlety or nuance about my life as an artist or give greater meaning to the objects I paint, because they are recognizable and relatable to the viewer. As humans, it is not unlikely for us to keep things hidden from other people even though we wish to expose it to some degree. In my workshops, I often encourage attendees to use allegory to strengthen their own connection to their work and to make the work a bit more compelling.
Pam: What is the source and role of “silence” in your work?
Otto: Growing up in a small house with 10 people in it wasn’t the quietest of places! I never experienced
true silence until one night while I was patrolling a mountain ridge in Norway during my time as a Marine. For a moment, there was no wind, no pines rustling, no sound. The polar lights were dancing above me and the complete silence surrounding me was something I had never experienced before in my life. There was power in that moment, a humbling power that made me feel both insignificant and whole at the same time. Later in life, I wondered if I could entwine that Zen moment into my work. Was it possible for me to make someone feel peace solely by viewing my works of art? It was something I wanted to strive for apart from feeling at peace with my own work.
Pam: You are the first artist I’ve interviewed who is a member of SAG, and you have an IMDB page listing you as an actor and producer! What’s that about?
Otto: Ha ha! Yes, I haven’t been doing much for a while, but I have been doing voice acting. The last time I actually acted was probably 8 years ago. I started producing because my friend, who I met at Valley College was at Cal Arts, right next door to me working on his thesis film. He asked if I’d be his art director and producer. It actually worked out and
we ended up producing a few projects. It was fun, but that was before kids.
Pam: And you have also done illustration for Disney, Warner Brothers and Sony Pictures, as well as toy design?
Otto: Well, again, in 1995, when I started taking these classes at Associates in Art, which had this amazing list of artists who were working in the industry, some were working in toy design, in graphics, film and television projects - I was able to take classes from them, and one of them, specifically, Michael Butkus, took me under his wing and showed me the way to illustrate and become an illustrator. So, I have illustrated for a variety of projects, including Star Wars, Pirates of the Caribbean, Smurfs, East Bound and Down, Narnia, Voyage of the Dawn Treader, Gulliver’s Travels and The Polar Express. We also did some toy design projects for Jurassic Park, Monster in My Pocket, Stink Blasters, and others.
Mike and I have known each other for close to 30 years, and we teamed up and created a company called Mad Monster Company. And now we’re actually creating our own toys. Our first project is a family tabletop board game, called Mad Monster
Bash, and we are working on some figurines. Of course, our niche is monsters. I also currently work as an assistant field art director for Walt Disney Imagineers.
Pam: What’s your favorite toy design?
Otto: I think that would have to be Jurassic Park. Working on the dinosaurs has been a lot of fun.
Pam: You were described at one time as being a “wannabe chef.” Do you still spend time cooking?
Otto: I think it all started when I was actually about 12-13 years old. I went to Catholic school, and I was trying to do all my community service hours in order to graduate from the eighth grade. You had to have so many hours, and your parents had to have so many hours, but both of my parents worked. So, the school also allowed me to do the hours for my parents. On Friday nights, there was Bingo in the hall, and I was the assistant short cook, assisting an elderly man. Every time I would show up he would give me my apron, and my little paper cap and say, “Alright. Let’s fire up the grill!” But he became ill, so at the age of 13 I actually started taking over. I was making the burgers, the grill cheese, etc.
and everyone was so nice to me. But one day this gentleman arrived, wheeling his mother in, and he had a problem with his order. He asked who was in charge. I said, “I am.” He didn’t like that, and I don’t know who he talked to, but I couldn’t do it on my own anymore. But I loved it.
I didn’t become a cook in the military, but all the guys would have these barbecues, and I became known for being really good at putting a barbecue together. So, the guys would put some money together and have me go buy the ingredients, and they paid me to do the cooking. I was doing it all the time. I contemplated taking some cooking classes when I was discharged, going to a chef school, the Cordon Bleu or something like that. If I hadn’t pursued art, I might have done that. But no, I just love to cook at home. And I like going to good places to eat!
Pam: Are you still “experimenting” with pastel and what is your latest new process or technique?
Otto: I don’t think my days of experimenting with pastel are behind me just yet. I can’t help it, I want to know how far I can push my materials and the medium that has taken hold of me for over a decade now. Lately I’ve been working with alcohol washes
which I absolutely hated in my first few attempts! I felt I had no control over the process whatsoever until I began to work with that technique some more. Now, I absolutely enjoy the alcohol lay-in process on UART paper which allows me to quickly set up my values and see the painting as a whole in a reasonable amount of time. It helps create some unique textures based on the way I apply the technique and I can always revert to my initial sketch and line transfers to get back any details I wish. All and all, the technique feels more freeing and keeps me from getting too uptight from the get go.
Pam: What is your biggest challenge as an artist?
Otto: I think the biggest challenge as an artist has been my lack of academic training. It can be frustrating trying to work things out on your own without the direction of professionals. Thankfully, I have had the fortune of meeting artists who have helped me immensely along the way.
Pam: Who is Tito?
Otto: Oh, that would be me! It’s the nickname my sisters gave me when I was very young. When I was in school, it was half and a half. Some people called me Otto, some Tito. One time at a show several years ago, two people were arguing about a certain painting, “this guy Tito painted it” and “no, this guy Otto painted it.” Turned out it was one and the same!
Pam: That’s funny…the many personas of Otto Stürcke.
Otto: Yeah, what do they say? Jack of all trades, master of none?
Pam: Looks to me like you are “mastering” everything you touch! Your work received the Best of Show award in the PSWC 2022 Members Only Online Show (MOOS), in the General Member category, and recently your work titled “Milano Boot” won
Best of Show in the 2024 MOOS, in the Signature/ Distinguished Pastelist category. The list of awards is quite long and goes back to 2012.
Otto: I’m very, very honored. At one point, I thought oh, gosh! Maybe this was a fluke, or something because I know pastel is a very mark-making centered medium. It’s nice to be acknowledged in that sense, because my work tends to be more representational, and I wouldn’t call myself a hyper realist, but either way, I was just really honored to be able to get those awards. Just this weekend my
work got Best of Show and People’s Choice Award in the Pastel Society of Southern California (PSSC) show. Karen Margulis was the judge. That was a really nice surprise.
Pam: Congratulations!
Otto: Thank you.
Pam: It sounds like you have been drawn throughout your life to try pretty much every kind of creating. Creating stories, creating art, creating food, creating toys, creating worlds, creating a character through
acting … it seems to be really sewn into your DNA.
Otto: I think part of that ties into, or maybe segued into my artwork. Because when you’re working for these companies, you have to tell the story. When you’re in advertising, you know it has to hit home. It can’t be vague. And so I think having worked with directors and art directors, it was always about telling the story, the narrative, and the clarity of it. Then Sister Wendy - all of that played into my artwork. I was always conscious of asking, “what am I trying to say with this piece?” It could be something subtle. But it really did play into how I perceive my own work, and also how I want to portray it.
Pam: What advice would you give to your 20 year old self?
Pam: What should we be watching for next from you?
Otto: I am definitely trying new techniques. I was talking about the alcohol wash that I absolutely hated when I first tried it, but I was inspired by Liz Haywood-Sullivan’s workshop.
And actually, the work that won Best in Show, Milano Boot, was done with an alcohol wash.
Otto: I would advise my 20 year old self to draw more and paint more without the self-doubt. I beat myself up too much and it dwindled my motivation to become better at what ultimately was my greatest joy. I would congratulate him on his will to fulfill his dream as an artist, but that he should definitely visit more museums just like Sister Wendy did. Speaking of which, I’d tell him to do his darndest to get a picture with her, and to tell her how much a part of his life she became.
Pam: What question you wish people would ask?
Otto: I wish people would ask themselves, “If art is so integral in our lives and history throughout, why do we continue to exclude it from public teaching?” I wish I had more of it as a child! I see how important drawing and painting has become to the development of my own two boys, that I wish for all children to be exposed to the wonders of creating art.
I really love how you can get really neat textures with the wash. I recently gave a workshop based on that technique, which is not uncommon, but I’ll redraw on top of it, or I’ll use a transfer to get my details back. I also just did a huge hotel piece. It was a 4 foot by 8 foot, and typically, my pieces haven’t been any bigger than 18 by 24 inches,
so I’m considering doing more large scale pieces.
More than anything I want to go back to using some more cultural imagery, and give the viewer a little more insight into my heritage and how I grew up. I want to teach my boys about how important culture has been to me and to my wife, who was the head of an all-female mariachi when she was younger. That’s how I met her. I was invited to do a show where they were performing.
Later, I painted my older son when he was a little under 2 years old playing the guitar. (El Musico) I put him in a mariachi outfit as an homage to my wife. I’d like to do more imagery like that, maybe to big scale. And then also, maybe using some new techniques and retracing some of my culture.
See more of Otto’s work at www.sturckestudio.com/
Up for a friendly challenge? Prep your boards and join us each quarter for 10 days of pure painting chaos.
For seasoned artists, choosing a palette may become intuitive. For others of us, it may be a little more challenging.
Our April Challenge asked participants to engage in a daily practice of using complementary colors for ten days. Complementary colors are colors that are located opposite each other on the color wheel. When used together in our paintings, they create contrast and vibrancy, making the colors appear more intense and visually appealing. Here are some ways we use complementary colors:
1. Creating Contrast: Complementary colors provide the strongest contrast when placed next to each other. This contrast can help to make certain elements in the painting stand out and draw the viewer’s attention.
2. Color Mixing: When complementary colors are mixed together, they create neutral tones such as browns and grays. This can be useful for creating shadows and adding depth.
3. Enhancing Vibrancy: When complementary colors are used together, they can make each other appear more vibrant and intense. This can create a dynamic and visually striking composition.
4. Creating Harmony: While complementary colors provide high contrast, they can also balance each other out when used in harmony. By using different shades and tints of complementary colors, we can create a harmonious color scheme in a painting.
5. Emphasizing Form: By using complementary colors to highlight the light and shadow areas of a subject, we can create a sense of volume and form.
The result of the challenge was fun and educational, and yielded some pretty darn good studies! Those who complete the challenge have their names entered into a drawing for $100. The winners of the random drawing for April were: Sally Ladd, Karen Glancy and Becky Chappell.
Participants are talking:
“I love painting challenges, it gets me thinking and working every day, in different directions.”
“The delight of seeing so many wonderful artists and how they address the challenges is the true inspiration in the challenges.”
“These challenges are always so much fun to do!”
“I have really enjoyed this challenge, I now see complementary colors everywhere!”
“I’ve loved the subject matter and seeing everyone’s work. Personally, I enjoyed working with some less used colors, pink and bright green on several pieces. Yummy.”
APRIL 2024
Challenge Two - Winners
CHALLENGE ONE: February 1st - 10th, 2024: Animal Instincts 10-day challenge #PSWC10N10- Create a portrait in a realistic or impressionist style of a pet or wildlife. Keep textures and personalities in mind as you create.
CHALLENGE TWO: April 1st – 10th, 2024: Complementary Colors 10-day challenge #PSWC10N10– Delve into the use of complementary colors to create an interesting work. Use complements to create contrasts when values are compressed, or add vibrancy and visual interest to a painting. Using complementary pairs like blue and orange, or red and green, in strategic areas of your artwork can make elements pop and draw the viewer’s attention.
CHALLENGE THREE: July 1st - 10th, 2024: Sunshine and Shadows 10-day challenge # #PSWC10N10- Summers days are filled with contrasts of bright sunshine and deep shadows, or dappled sunlight through the trees. Capture a bit of summer in this challenge.
CHALLENGE FOUR: October 1st - 21st, 2024: The Big Challenge, 21 paintings in 21 days #PSWC21N21–. Great way to get some holiday gifts done or ready to sell. You may even create the painting you enter in MOOS in 2025!
Here are the rules:
Members Only
Any subject
Any size – though we recommend 6”x6” to 9”x12” for the sake of speed
Mostly pastels
Must post every day to be entered into prize-drawing
Quick studies are OK
New work only
Posting Rules:
• Please post on our PSWC Facebook Page with a commentary about the painting (a paragraph is plenty)
• Include Hashtag at end of post #PSWC10in10 or #PSWC21in21
• You may comment on other artists’ paintings, but this is not a critique. No negative comments.
Suggestions for process:
• Limit painting time- We suggest 30-45 minutes.
• Limit palette- Try a limited palette. Experiment with temperature and hue
• Try different pastels- Work with hard instead of soft or soft pastels instead of hard. Try pastel pencils.
• Change subject matter- If you paint plein air, try a still life or a portrait. Try Abstract.
• Experiment with underpainting- Try a wet underpainting with water or denatured alcohol. One artist in our society underpaints with splashes of ink.
A sampling of paintings submitted to the April Challenge ...
Meet a few of the members of the PSWC
by Pam Comfort
Association (APAA). They are Nori Thorne (APAA President), Cheri Saffro, Anne Gee, Ken Keith and Jeanne Conant Kramer. Though they all share a love for pas-
This issue’s Meet the Members article is focused on a few PSWC members who live in Arizona and are also members of the Arizona Pastel Artists
to know the five artists interviewed for this issue. Despite the obvious differences, you will find they are brothers and sisters in our big art family.
tel and their Arizona home, they also reflect the diverse backgrounds and interests we enjoy learning about among our members. So, here is your invitation to get
PSWC Member since December 2021
When did you first become interested in making art?
I became interested in art very, very early. I found my report card a few years ago from kindergarten and it said that I excelled at art. My parents would take our family to the Art Institute of Chicago every couple years and it was thrilling! I took some art classes in high school and in college I also had drawing classes. I did not really pursue art until I was in my 30’s and started with watercolor. I was so interested to see what could be achieved with watercolors, and how delicate and lovely it was.
What made you try pastels?
About the same time, I met a pastel artist who was an impressionist. I was thrilled by the immediate beauty, color, texture, and looseness that could be achieved. I also was in the antique business for more than 30 years, and one day I was out looking for treasure. I saw a sign by the side of the road that said, “pastel garage sale.” I had accidentally stumbled onto Terry Ludwig Pastels manufacturing location, and they were having a garage sale on the seconds or slightly imperfect sticks of pastels. I could not believe my eyes! I also met Terry Ludwig that day and he gave me a tour and showed me how pastels were made. Terry also encouraged me to sign up for some workshops with artists that flew
in from around the country. They were being held right there at his manufacturing location. And being in his factory, able to buy any color I wanted when I needed to during the class was an over-the-top candy store experience! I was hooked! I continued to take classes with some of the best artists of our time and because of Facebook and Instagram, it was a wonderful opportunity to connect with people all over the world.
Where do you find inspiration?
I find inspiration…everywhere. I am constantly looking and seeing a potential painting. When I start a new day at the easel, I am filled with all the possibilities. I love the potential of color, patina, expressive gestural drawing and texture put together.
My paintings are based on a photo, a combination of photos, painting from life and my mind’s imagination. My hope is that the viewer experiences an emotion that calls to them. Some of my influences are the scenery in the foothills of Colorado to the desert of Arizona. I really love to paint what I see out my back door. Although I was never raised on a farm or owned a cow, I absolutely love to paint them and am incredibly drawn to cow paintings. It may be because I was born in Wisconsin which is the land of dairy. I am constantly taking drive-by photos of cows for my reference.
What is on your easel right now?
I try to do something different all the time to push myself in different directions. On my easel now is a twist on the classic bird nest ~ something wild and crazy, loose and free. My color palette is the accented neutral, which includes neutral colors and small doses of other colors.
Learn more about Anne at www.annegeeart.com
PSWC Member since June 2022
When did you first become interested in making art?
My first memory of making art was laying on the floor in our dining room drawing with the light from a kerosene lamp. I dabbled with art through school, always sketching. I did the artwork for my senior yearbook. After receiving my BFA in Advertising Design I decided to study Architecture. My summers off were spent in Colorado. I worked construction several summers but eventually started a portrait business in Estes Park.
What made you try pastels?
I had experience with different media in college classes, and based on that I chose charcoal for black and white portraits and pastel for colored portraits. Pastel was convenient, Immediate and rich in color.
Do you have any daily or weekly painting practices?
After I graduated with an Architectural degree I devoted my efforts to that. After retiring, I started
doing art, but not in a serious way. Fortunately, just before Covid hit I became active again and took the Covid quarantine time to seriously practice and develop my pastel skills. I started entering online national and international contests and began joining artists organizations. I was fortunate to be juried into many shows that I entered.
Where do you find inspiration?
I work primarily from photographs and my wife and I have been able to travel across the United States and to Europe. While traveling, taking photo references has become our focus. Those photos and studying the work of other artists has been my inspiration.
I paint almost every day. Some days 8-10 hours if I am just starting a painting and some less if I am tweaking unfinished pieces. I have discovered that doing the artwork is only a part of the job. Show submissions take up a lot of time. Entering shows has been a technical challenge for me but it is getting easier.
I spend a great deal of time sorting through and selecting the photo reference images that appeal to me. Once those are chosen, I modify them as necessary on the computer, cropping and adjusting color where needed. With experience I have learned to not worry so much about the composition of the photograph but look for certain aesthetic elements expecting to crop it for composition later.
What is on your easel right now?
I do portraits, figurative work, cityscapes, architectural interiors and some still life. Lately, I seem to find southwestern landscapes on my easel, but I am sure that will change with new experiences.
Visit Ken’s website at kennethlkeithartworks.com.
PSWC Member since June 2023
When did you first become interested in making art?
Five years of age is as far back as I can remember, and the number one thing I remember from those wee years is coloring in my coloring books. That was magic to me. It was the beginning of a lifetime love affair with putting color on paper.
Later, I made a shift from waxy crayons to pencil and charcoal. I loved how I could blend and remove the charcoal as I wanted. I drew mostly from what I saw, including a few portraits from magazines. From there, the leap to pastels was easy.
What made you try pastels?
Studying for my art degree in college meant experimenting with various mediums, including woodworking and welding. But when I tried pastels, I knew I had found my thing. The immediacy of color really gets to me and the gritty sound they make as I use them never gets old.
Where do you find inspiration?
Pinning down my source of inspiration is like shooting an arrow at a moving target. I’ve always needed variety in my life and so I have many sources of inspiration. As I become inspired by something, my painting style changes a little too. I love that aspect of my painting life. Experimenting
and changing things up now and then is what keeps me interested. I mostly enjoy abstract and semiabstract landscapes.
Do you have any daily or weekly painting practice?
A new art studio at my home has helped to increase the number of days and hours I spend at the easel. It’s so new, I’m still getting accustomed to the larger space and I am so grateful for that. I try to paint every day and even though that doesn’t always happen, having a nice, organized studio coupled with being retired means the possibilities are endless!
Painting with oil and cold wax medium is another strong interest of mine. The method of applying the pigment is far different from pastels. I love being able to add ingredients that will texturize the paint. Again, it’s about experimentation and watching as something new and exciting evolves on the canvas.
What is on your easel right now?
On one easel in my studio is a large, colorful, abstract pastel with lots of shape and line. On another easel is a colorful abstract oil painting that’s almost done. I can’t wait to see how they both finish up!
For more information, please visit….. www.artjconant.com
Contemplating Autumn by Jeanne Conant Kramer
PSWC, PSA, IAPS-MC, CPP-M, APAA-DP
PSWC Member since January 2017
When did you first become interested in making art?
My kindergarten report card stands framed in my studio. “Your child shows a special interest in Art,” is written and signed by the first teacher to recognize my early passion and interest in art.
My fondest memories continue to be rainy days when indoor recess meant an extra art project. In seventh grade, I was awarded a scholarship to the Art Institute of Chicago where I attended Saturday lectures and workshops.
What made you try pastels?
After 40 years of drawing with charcoal, pencil and pen and ink, I was looking for a way to add color to my drawings. In 2003, I found a Pastel Workshop taught by Albert Handell and Anita West. Not only did I not know anything about pastels, I also knew nothing about this Master teacher that was conducting this workshop in Sedona. I arrived at the workshop with only an easel and bought my first box of Schminke Pastels and Wallis paper on site. Little did I know that I was starting with the best of everything!
Where do you find inspiration?
My time spent at the Art Institute and other museums acts as my inspiration and motivation to paint classic themes. Color, gesture and personal
connections inspire my paintings. Each painting tells a story and titles give the viewers room for interpretation.
I attend at least one workshop a year at the Scottsdale Artists’ School. Most workshops are pastel-related, but I also find that branching out into sculpture and oil painting can enhance my work.
IAPS Conventions are also inspiring. The buzz around the easels, the vendor displays and that gorgeous Albuquerque sky! Receiving my Master Circle Medallion at the 2019 convention was a highlight in my artistic journey.
Do you have any daily or weekly painting practices?
By nature, I do not follow a schedule or routine. I’m a go with the flow, do what you feel like at the moment, kind of girl. But, I must say that I get a lot done in a day! I am over organized in my Studio. I have a data base with 700 paintings recorded by title, year, size, paper support and price. My pastels are arranged by value in a rotating color wheel palette. Unframed pastel paintings are arranged alphabetically by title on a wire closet rod. Framed paintings are hung salon-style and I rearrange them when adding another piece to the gallery wall. I am constantly looking for new reference material. Taking and editing photos, drawing in my sketchbooks and reading about other artists keeps me engaged. Applying to competitions also takes time and thought. And then there is framing, commissions and actually creating new work.
What is on your easel right now?
I am working on a commissioned piece of four adult siblings. The group portrait is a 75th birthday gift from her kids. It is an impossible task to paint four faces looking out at the camera. I tried very hard to get a more suitable reference photo for the drawing but to no avail. Someone will not be happy with their mouth!
Learn more about Cheri and her work at: https://www.saffro.com
PSWC Member since June 2023
When did you first become interested in making art?
My mother was a talented portrait painter and always encouraged me to draw and paint. I was a very shy kid − something I struggle with to this day − and always felt more at home roaming the Colorado foothills, riding horses and drawing animals and plants.
What made you try pastels?
Years ago, I saw an exhibit of Edgar Degas’ work at the Phillips Collection in Washington, “Dancers at the Barre.” When I gazed at Degas’ pastel paintings with all those shimmering layers, drips and squiggles revealing what lay beneath, I knew I had to work in that medium. My mother had an ancient set of Schminkes and some horrible old pastel paper; I put my oil paints away and I never looked back.
Where do you find inspiration?
I moved to Sedona because of the beautiful red rock landscape. It’s a constant source of inspiration for my paintings as is Oak Creek,
which runs through this amazing desert landscape.
Like Degas, I am inspired by dancers, and many of my paintings are of the folkloric dancers who perform in my town.
Do you have any daily or weekly painting practices?
I belong to a wonderful group of friends who plein air paint once a week. I am a reluctant plein air painter, but I do it because it forces me to paint what I see from life, and not from a photograph. I work in my studio every day — either at my easel or at my computer, updating my website, participating in online workshops, and catching up with events going on in other pastel societies.
What is on your easel right now?
I was happy to see the national hoop dance competition at the Heard Museum a few months ago and am doing a series of young Native American hoop dancers. It’s quite a challenge to capture their beauty, athleticism and movement.
Learn more about Nori at: https:// norithorne.com
“I belong to a wonderful group of friends who plein air paint once a week. I am a reluctant plein air painter, but I do it because it forces me to paint what I see from life and not from a photograph.”
I started my working career as a teacher, then transitioned to serve as the Chief Human Resource Officer for three different hospital systems. In 2012, I left my corporate job and opened a fine art gallery in Fresno, California, A Sense of Place. It had always been my dream to one day have my own gallery. During a year of planning, I interviewed gallery owners, visited as many galleries as possible, and read a tall pile of books on the gallery business. Then, I jumped in with both feet and did not look back. I was fortunate to have a strong business management background which helped in setting up the gallery. It was a success! I recruited many well-known artists and built a solid clientele base, all the time painting when I could find the time for it. I brought in nationally recognized artists to do workshops; people came from all parts of the country to attend. I soon found that gallery ownership is both time consuming and rewarding.
mile commute (one way) and management tasks have dropped away.
What a change – but a change I was prepared for. I have time! I have new energy and new insights into my work. And I have a place to work that encourages creativity.
On our property we have an old barn, which we converted years ago: a study for me and another for my husband. A bed is in the corner for Piper, our miniature Australian shepherd, and there is a 620 square foot studio, which is large enough for teaching, mentoring, and holding small workshops. Most important for me is the separation of my media: A dedicated area for pastels, another for oils, and yet another for watercolor, ample storage for supplies – and views of the surrounding hills. Each area is self-contained so I can be set up and working on multiple projects without transition.
After nearly 11 years and with my husband retiring, it was time to sell the gallery. Fortunately, the wife of one of the artists from the gallery bought the gallery, so what I had started and grown continues. I still participate in the gallery as a represented artist and meet with my gallery-mates for weekly painting sessions. So, my legacy continues, but my daily 45
For example, one of the first things I did was to look at how each area was set up to ensure that it worked for me when I was painting. I took all of my pastels, and like most pastelists I have many sticks (about 2,100 at last count). But I need them arrayed so they are easily accessible and intuitively arranged. I bought trays, lined them with foam, and set them on stainless steel racks, in color order, and
by my easel. They are at hand, and I can easily reach for the proper color without a search.
Each morning, I dress for my new job as a full-time artist. I commute from my home to my studio, a physical journey of perhaps 75 yards, and a psychological journey from workaday to creativity and inspiration.
The studio is now the creative center of my days. Northern light floods into the space through large windows that look over the surrounding Sierra foothills. This is where I spend my days painting, working on my web page, teaching students – and displaying my work. It is a place where people come and enjoy my paintings and others come to learn. I love to mentor artists, and this is a place where I can do that.
This transition to full-time artist has been energizing: My painting life is no longer crammed in the corners of my calendar, an afterthought. Instead, it is my whole creative life. My work has become more focused, more experimental. I always have at least two oils and two pastel paintings on the easel. This allows me to walk away from the paintings when I feel stuck and work on another painting. By not overworking the one I have become frustrated with, I can come back later with fresh eyes and perspective. Because I am now living with these paintings full time, they are getting stronger, and I am enjoying the act of painting so much more.
Someone once asked me why I paint. I paint primarily landscapes because when people look at my work I want them to feel as though they can walk into the painting and stay there a while. I paint to create a sense of place. My landscapes are all of places I love, places I have been, places that make me smile. As I walk through the gallery part of my studio, I can spend time looking at my work with a more critical and thoughtful eye. I have always had a strong sense and use of color, but now in this place and time the colors are stronger and I am stronger as an artist. Before I was here full time, I would just pass through to my study off the studio and not spend time looking at the work. At that point they were just in a resting place and not in a gallery space for others to see and respond to. Now they are hung with purpose.
Into the Dusk by Ginny Burdick
People who know me and know my art have said they see a difference in what I am doing, because there is more of me on the canvas. I am both a studio painter and a plein air painter, but also a painter with a sense of purpose
The Hardest Step
For me, the hardest step is throwing works away. Getting the working part of the studio ready for fulltime work meant finding the right equipment and placing it so it made sense. I had a storage area that was crammed with many old paintings and tools that I have not looked at or used in a very long time, so it was time to grit my teeth and make choices. As I viewed the paintings, I was taking a memory walk down my path and growth as an artist, which was valuable. I literally touched every painting in the studio, set it on the counter so I could step back and look at it. I then asked myself one question “Is this a painting that I would hang in a gallery?” If the answer was no, then the frame was removed for future use, and I destroyed the work. Hard? Yes, absolutely. But
keeping something around just because I painted it keeps me looking backward instead of forward. It was in some ways liberating and revitalizing because I could focus on the future. And selfishly it also gave me more frames to work with and places to store the work I would hang in a gallery. All of the empty frames are now bubble wrapped for safe storage, inventoried so I know what I have, and each frame is labeled with the size so I can look and quickly find the size I need. This has made framing a much easier task.
I like the work that I have created since being in the studio full time. And I have something specific to work toward: I am having a one-woman-show at my home gallery A Sense of Place in August of 2024, so I have many more works to create, many wonderful hours of new creations, my painting and my life.
See more about Ginny at www.GinnyBurdick.com
“Most important for me is separationthe of my media: A dedicated area for PASTELS, another for oils, and yet another for WATERCOLOR, ample storage for supplies – and views of the surrounding hills. Each area is self-contained so I can be set up and working on multiple projects without transition.“
It should not come as a surprise that our volunteers are the single most crucial element in the functioning of our society. Without the efforts of the wonderful folks who give their time to PSWC, we simply couldn’t exist. It’s easy to think of the personal costs of volunteering, such as time commitment (without compensation), the need to learn new skills or processes, and the occasional challenge of coming to consensus. Sometimes we forget the many benefits that experts have identified of volunteering in big and small ways: additional sense of purpose, increased sense of community, meeting new friends, increased social and leadership skills, boosted self-confidence, learning new skills, getting out of your comfort zone, and adding to your fun and happiness!
PSWC has opportunities for interested members to volunteer on small, or larger scales. You don’t have to be an award-winning artist, an experienced organizational leader, or someone with advanced technical skills to make a difference. The most important asset is a willingness to participate. If you’d like to learn more, please feel free to contact any member of the board. We welcome your inquiries.
Deborah Pepin’s journey as a self-taught artist with a passion for creativity and abstract expression is truly inspiring. Her unique “Doodles” abstract artworks, created as a form of stress relief and mental rejuvenation, reflect her deep connection to the creative process and its healing qualities.
Working in both oils and pastels, Deborah’s love for the pastel medium was sparked in late 2016. She has also worked in acrylics, alcohol inks, pen and
ink, watercolor and abstract collage, and has taught classes in alcohol ink pouring. Deb enjoys plein air painting excursions in the Sierra Nevada Mountains, deserts, and the Central Coast of California. She has a deep appreciation for the natural world and is able to translate the beauty, tranquility, and essence of these landscapes into her artwork. Her success in having her work accepted into national and international art shows is a testament to the quality and impact of Deb’s art.
Deborah’s artistic vision is of forging an intimate connection with nature through her work, and resonates with the idea of art as a powerful vehicle for fostering appreciation and respect for the natural world. Her intent is to create a space for viewers to pause, reflect, and immerse themselves in the beauty and tranquility of the world around them.
Deb teaches art classes at a Senior Center near her home, as well as Doodling and pastel workshops at the Door Gallery in Fresno. She is a signature member of PSWC, as well as a member of the Pastel Society of America and the San Juaquin Valley
Chapter of the Society of West Coast Artists.
In addition to working as a successful artist and workshop presenter, Deb devotes time to serving as the PSWC Treasurer. She keeps our books straight, monitors the budget, writes checks, processes deposits, and serves as a valuable member of our Executive Board’s decision-making process on a variety of topics.
Cynthia’s artistic journey, deeply rooted in her lifelong connection to the beauty that surrounds her, reflects a passionate and dedicated exploration of various mediums and techniques to express her artistic vision. Her early recognition and talent in art have paved the way for a successful career marked by numerous accolades and achievements in national and international exhibitions.
Working primarily in oil and pastel, Cynthia’s dedication to capturing the essence of fleeting moments in nature through en plein air landscape painting showcases her commitment to authenticity and immediacy in her artistic practice. In addition
to her landscapes, her skill in portraiture and commissioned work demonstrates a nuanced understanding of capturing the essence and personality of her subjects, whether painting from life or using photographic references. Her ability to convey likeness and emotion in her portraits reflects her sensitivity and keen observation of human expression and character.
With an artistic philosophy, rooted in the fascination with the interplay of light and shadow in scenes, Cynthia underscores her ability to infuse her work with depth, mood, and atmosphere, inviting viewers to engage with the emotional and visual dynamics of her paintings. She is a graduate of University of California, Santa Barbara and has an MBA from Santa Clara University. She is the mother of three sons and lives in the San Francisco Bay area with her husband.
As the PSWC eBlast Coordinator, she is responsible for keeping our members up-to-date about upcoming events. She also fields inquiries that come about in response to the emails, and ensures that these are forwarded to the appropriate board member. Cynthia provides an important conduit for member engagement. In addition to being a signature member of PSWC, she is a member of the Portrait Society of America, the California Art Club, the American Impressionist Society, and the Santa Cruz Oil Painters.
I Told You So by Cynthia Riordan
Karen was born in Denver, Colorado, but at age 9 moved to California. A love of nature, animals and art has been an important part of her life since early childhood. Her early art education was through art courses in high school and college and workshops in printmaking and life drawing. After she and her husband moved to the foothills near Placerville, her time was spent working a full-time job and raising and training her Quarter horses.
After retiring and moving to the North Arkansas Ozarks, Karen met artists who introduced her to pastels and encouraged her to join the Arkansas Pastel Society. Pastels soon became her primary medium, and she started attending pastel workshops and exhibiting her work. She returned to California in 2020 and enjoys expanding her knowledge through online and Zoom courses by artists she admires. She draws inspiration from nature and animals.
In addition to being on the board of the Pastel Society of the West Coast, Karen is a Signature member of the Arkansas Pastel Society, and a member of the Pastel Society of Southern California, Red Rock Pastel Society of Nevada, and Mid America Pastel Society.
For the visual artist, finding your authentic voice is as much about discovering what you want to say as it is about developing your physical technique. It is about your personal identity as a creative being and becoming settled in that. I have found that the students whose voice becomes apparent most readily are those who view themselves in the light of being an artist, rather than excusing their pursuit of creative learning in a self-deprecating manner. We often find it awkward to take on the identifying term of artist, but I believe doing so is one of the essentials of finding our authentic signature and creative voice.
For myself, it’s been a process of trying things on to discover whether or not they fit. In the end, I’ve realized that one of the most important things for me as a visual creator is to demonstrate that there are many ways to say a thing, and they are all valid. I love variety. I love being presented with variety. And I love creating variety. My authentic voice comes through when I am able to work with a variety of mediums and styles to explore a subject thoroughly. I’ll take you along on the journey that I used to discover my own voice and hopefully you’ll gain the courage to take hold of your own voice.
In preparing to write this article, I did a fair bit of research and discovered that the idea of ‘finding your voice’ applies to myriad topics. People find their voice as vocalists, authors, activists, CEO’s, engineers and, of course, as visual artists. Each of these pursuits contains the seeds of wisdom for all of the others because the most important aspects of the process are the same. Here, I’ll do my best to share the concepts that have been most useful to me personally and you can decide whether they will be of service to you as well.
Let’s begin by recognizing one key barrier to accessing your voice. I’ve found that there will always be an outspoken opinion about what you ought to do, and it will often be counter to whatever feels inherently right to you. Part of discovering your voice is the practice of being able to set aside the opinions of others and attending most closely to your own and often, you’ll need to do that work in solitude.
This practice can be quite a challenge since many of the other voices are stridently insistent and might even be deeply admired. You must choose to ignore the voice in your head that says, “Do not cause a ruckus,” and go your own way. When I am tempted to listen to that other voice, I consider the concept offered by author and podcaster Glennon Doyle who says, “Every time you’re given a choice between disappointing someone else and disappointing yourself, your duty is to disappoint that someone else.”
Many people are looking for a signature style, but at the same time, they are taking one class after another, studying under this master and that master with the hopes that their genius will rub off on them. While classes and mentoring are incredibly valuable, if you are at a point where you are thinking often about what it means to paint a subject in your own style, there is no substitute for breaking out on your own and practicing. We’ll walk through some practical steps that allow the artist to find and hone their vision to arrive at an individual voice.
Have you ever noticed that if you take a workshop with a well-known artist, many of the works produced in that class bear a strong resemblance to the work of the instructor? That is because the pull to do what the master is doing is nearly impossible to resist. You admire what they are doing, that is why you take the class in the first place. But when you use their techniques, you find it very difficult not to imitate their style.
It becomes imperative that you learn how to listen to your own instincts, and this doesn’t usually happen if you are always working underneath the master. Why? Because most masters have very strong opinions of their own. That is how they became masters, they honed their own voices and when you present your work to them, they will notice how it doesn’t do what they believe it ought to do. And so, a battle ensues between the inner voice you have telling you what to do and the outer voice of the master. In this way, you
must leave the presence of the master and begin to listen to your own voice. Even if the master is great at encouraging your unique voice, it is still difficult to regularly view their work, if it resonates with you, and not be inclined to mimic it.
Discovering your unique voice isn’t something that happens in an hour or two or even a few weeks. It is a process, so give yourself the gift of time and energy because this is a big deal, and it matters to your art journey.
To discover your signature, you can begin by asking a few questions. The reality is that your creative voice is likely already in operation, but you may not have recognized it for what it is.
Start by taking a bit of time to look around you and journal about what gets your creative juices flowing. Look for clues in places like your closet, your home decor, your garden, your car, your favorite photographs. What things do you have around you every day that you absolutely enjoy? Is there a particular piece of glassware, an old photograph, a cherished item of clothing you wouldn’t be without, a favorite book, a magazine subscription that you’re always excited to dig into?
Do you have a favorite recipe or dish at a restaurant, how about you most coveted cocktail or dessert item? Write out a good long list of Stuff I Like. There are NO wrong answers. Anything is a candidate for being added to the list.
If you can, gather those things together (this can be done physically or digitally, you can use photographs of the items if that is more convenient). Take some time and evaluate what their characteristics are. Observe attributes such as color, style (i.e. classic or avante garde), textures, shapes, and patterns. Do they share any of these characteristics in common? You may want to arrange them in groupings according to a specific feature, color or purpose.
Example One: You have gathered a ‘Black and White cocktail, an Architectural Digest, a scruffy, well worn, brown fisherman’s sweater, a gooey slice of decadent chocolate cake, a perfectly balanced and simple cylindrical vase and a classic pair of crisp, white Keds tennis shoes.
Example Two: You have selected a velvet textured coffee table book, a thriving pothos plant, that Guatemalan pillow cover you found last year in on a cruise stop, a plate of vividly colored macrons, and a sandalwood candle.
Example Three: You have picked leaves from your favorite sage plant, the bark from a tree, a uniquely shaped twig, a few acorns, some ochre colored stone, a hunk of green moss, and a collection of Mary Oliver poems.
These selections can tell you a great deal about what you love, what inspires you and what you want to portray in your own creative work. I recommend writing all the notes you can about the things you have gathered and considering how these themes show up in your work already.
Next, pull out your five favorite ‘made by you’ pieces of artwork (not necessarily the ones you think are
your best work, but the ones you LIKE THE BEST). Line them up side by side and use a similar process to evaluate what their characteristics are. What do you like about what you did? Is it the color choices/ palette? Is it the type of marks? Is it the subject matter? Is it the way you used light? Shape? Line? Texture? Can you see a theme of what you like across the five pieces? Again, make generous notes about what you’ve observed. Compare what you discover with the first set of notes you took.
Now, move on to other artist’s work. Do you have a Pinterest board or a favorite art collections site? Browse a bit and pick out a handful of pieces that really draw you in. (These can and should be in ANY form, perhaps 2D paintings, but also clothing, sculpture, assemblage, whatever floats your boat!) Again, go through the process that you went through with your own work to discover what it is that is interesting to you.
By now you ought to have a few themes starting to form. More than likely you will have found some color themes, some subject matter and some specific types of mark making that really make you excited. THIS is what we want to find! We want to find the things that most spark your creative spirit!
Once you’ve gathered these concepts, I recommend starting on a fresh piece of paper or computer document and making a bullet item list of what you discovered you like. These are going to form the bones of your signature; they are things that are likely to show up again and again in your work and let viewers in on the clue that it’s your work.
You have now created a list, give yourself a chance to explore the ideas in the list through a new piece of work. You will choose a subject that inspires you and allow your list to guide you as you select subject, palette, mark making and so on. Try making a few versions of the same piece but each time utilize the bullet points to see whether you included the elements that you noted which speak to you. If you’ve included the main elements of your list, you’re likely to discover that you are satisfied with the outcome. If you find that you didn’t include certain elements, try to find a way to include them and see if you now feel differently about the final work.
As you move through this process, understand there is no correct method, and it may take you a while to find your groove and settle into it. Furthermore, you may settle for a while and then discover there is something else that needs to be included or perhaps something that needs to be excluded. Trust yourself. Each time you listen inwardly, you are likely to discover something else that will help you more fully hone your personal craft.
As a bonus, I’d like to recommend a few books and a class that have helped me along the road to discovering my own creative path. When I’m feeling a bit stuck, I’ll often pull one of these out and read a bit to remind myself that I have a distinctive voice and that my purpose is to use that thing which only I have!
• Big Magic: Creative Living Beyond Fear by Elizabeth Gilbert
• The Creative Act by Rick Rubins,
• How to Be an Artist by Jerry Saltz,
• Daybook by Anne Truitt.
And if you really want to dig deep into this concept, I know of no better teacher than Pamela Caughey who teaches something called Art and Success Pro Master Class. It’s a cornucopia of ways to listen to and develop your own amazing voice.
When I look for someone to be inspired by, I’m always looking for someone who helps me to recognize and use my own voice rather than someone trying to mold me in their own image. I can spot those folks who are looking to clone themselves a mile away , and while I may appreciate their work, I know that I can’t use my own voice under their instruction.
I’ve gathered together a few of my favorite pieces over the course of my rather brief soft pastel career to show you how my voice was present right from the beginning, even if I didn’t yet know it! I hope you’ll be able to use these examples to assist you in observing your own voice and signature breaking through regardless of subject, style or classroom influence.
One of my very first pastel pieces, this was Pear 3 4x6 Colorfix), the third pear I made effort at while in a class with artist Marla Baggetta … when I look at this, I see that I am still using line in my signature manner.
American Homestead (8x10 Uart 400) was done after a year of intense study of soft pastel … what do I see here … a continued love of the color red and, yes, lots of distinctive line work.
Another year passed and I’m still exploring intense red shades in Canyons and Light (12x16 Uart400), though I’ve morphed a bit and made friends with the violet end of the spectrum….and yes, there is unmistakable line at play….I also can see that my favorite pieces seem to be representational abstractions.
Fragrance of Morning (5.5x11 Pastelmat) happened after another 2 years…..I’m learning how to work in more subdued colors by now, but line remains and I’ve still got the mauve in there, representing my passion for rouge.
Clearing over Navajo Bridge, 12x24 on Pastelmat was completed after another year had passed and here I am again, a more sophisticated use of red merging with a quieter, but still clearly present use of line.
Rincon Bliss represents my foray into plein air, which has become a regular part of my creative practice. What I notice here is that despite the fact that the scene was overall cool, I still can’t resist including some elements that lean red and line is emphasized throughout. I’ve been consistent in these ways from the beginning of my pastel journey until now!
Here, in Jagged, you can see that work completed in graphite, water-soluble graphite and done en plein air carries the line clearly, there are very few soft edges when I work this way, there could be rounded areas but rarely soft.
Here, in Seeing Blind (8x10 ink) is a blind contour drawing later embellished with the use of additional line work to add emphasis. You also see the use of lots of hot tamale red ink dominating this searing desert landscape.
The painting Real is acrylic on board (12x16). You will see that I used red as a main accent foil against the yellow, as well as an underpainting color and that line features through painted and scraped out marks throughout the piece. Even the writing reminds the viewer of the value of line to the artist.
As you consider what it means to find your own clear style and voice, I hope you will realize that this is discovered as you look inside yourself and find what is there and wants to come out. We’ve often been trained to look OUTSIDE ourselves, but you can never find what is uniquely yours ‘out there’ somewhere. It is the act of pulling out what is hidden within that our true voice is expressed. As I have practiced this myself, I find I truly love my own work more and more. Do I still admire other artists? Yes, of course. But I have become my own favorite artist and this is because my work says the things that I want to say, that I know only I will be able to say. I have learned that my voice is trustworthy. And so, we come full circle to the remembrance that in order to find our voice, we must know ourselves as ‘the artist’ and we must bring forth that which it is important to us personally, to say. May you move forward in self-trust and be stunned to find your very beautiful Voice.
See Ursula’s work at www.ursulaschneider.art/
This year we had 38 applicants from 18 different states, one from the UK and one from South Africa! We had a mix of high school seniors and continuing college students. Many of the applicants were attending or planning to attend art colleges. The majority planned to pursue art as a career. Other careers mentioned were 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. I forwarded the folders for three finalists to our executive officers for ranking, and through that process the two scholarship winners were determined.
Marguerite Livezey is from New Hope, Pennsylvania and is a senior at Solebury School. She will be attending Brown University and Rhode Island School of Design, majoring in International and Public Affairs (at Brown) and Painting (at RISD). She is the recipient of a 2023 National Merit Scholarship Commendation, 2023 College Board Rural and Small-Town Recognition Award, 2023 AP Scholar With Distinction Award, 2020-23 Phillips Mill Youth Art Show - 2nd place award for “Works on Paper.” Marguerite is also an athletic MVP.
Her art teacher says of Marguerite, “It would be very easy for Maggie to coast through figure drawing on her present skills, but she never does that. She is constantly pushing. The same is true of her painting. You will see from her portfolio that she is very capable of painting or drawing a still life or an interior. What she excels at is bringing in expressive color and mark. She thinks about how the color and light will affect the mood of her work. She thinks about how edges work and how she can play with the visual space. She thinks about what is outside the window or beyond the door frame.” Another of Solebury’s faculty members notes that Marguerite “impacts our entire community with maturity, wit, and a sense of fun” on a daily basis.
When writing about her goals for her art, Marguerite states, “Art offers a place to see myself reflected, to uncomplicate the thoughts that twist at my mind, and to personify that which seems impossible to replicate. We all imagine ourselves to be unknowable. At the same time, we wish to be known. I’d like to continue to explore the idea of connection — to fashion a mirror out of my canvases — in the hopes that their reflections might reveal some part of myself I was hoping to define, or some part of someone else they had imagined was theirs alone.”
By
Shane Adams lives in Wantagh, New York and is a senior at Wantagh High School. She plans to attend the University of Vermont to pursue a degree in Art Education. Shane has been a member of both the National Junior Art Honor Society (middle school) and has been a member of the National Art Honor Society (NAHS) since 9th grade. In her junior year, Shane was elected as the NAHS vice president, and now holds the position of president of the society. Shane has had work submitted for numerous exhibits within the state year after year.
Through the National Art Honor Society, and on her own, Shane has earned community service creating and sharing her art throughout the community.
Shane worked on an art abandonment project, in which she created small works of original art, which were then dropped off around the community in various locations for others to pick up and enjoy.
Shane also created and painted several window storefronts for both the holidays and for general displays. Shane is also Wantagh’s “go to” person when the school needs anything from a front cover
for the curriculum guide, to a mural outside of a classroom, or anything requiring an artistic talent. In the fall of her junior year, Shane participated in a ten-week intensive figure drawing class at Adelphi University. Shane excelled so much that the professor asked her to come back in the spring, as a peer leader. This year, as a senior, Shane volunteered again at Adelphi and is even teaching parts of some of the classes.
Shane’s decision to become an art educator has been influenced by her own teachers. Of one in particular, Mrs. Hagan, Shane says, “She changed my life in unfathomable ways, and continues to inspire me every single day. She is my role model, and I hope to teach and inspire other young artists like she did for me. She helped me to hone my skills, provided me with opportunities… and has given me countless resources to self-study from. I hope to be as impactful as she is, and as much of a credit to whichever institution I teach at.”
The Pastel Society of the West Coast congratulates Marguerite and Shane, and looks forward to seeing their continual artistic development!
So often, portraits, especially those commissioned, are stiff and don’t reflect the personality of the subject.
In my workshop, you will learn how to find the unique qualities of each model, not just of the head but also the whole figure. I’ll instruct you on how to pose and light the model to best reflect their feelings and personality.
Some of the subjects I will cover are pastel techniques, composition, the effects of light on the face and clothing and how to integrate the background with the figure. Each day I will do a demo to illustrate what we will be covering that day.
TBD
Judith Kazdym Leeds is a internationally known award winning artist who has created over 3,000 book jackets including the classic book, THE COLOR PURPLE. Her work has appeared in both national and international magazines and has won numerous prestigious awards and medals. She was named by PRINT Magazine, in its 40 year Design Retrospective, as being among the elite group of artists who had created the most innovative designs in the United States over a forty year period.
Judith paints portraits, still-lifes and landscapes in both pastels and oils. Her work has garnered many awards, medals and honors
https://www.judithleeds.com
August 24-25, 2024
Goal: New approaches and techniques for communicating our emotional response to the landscape.
Content: In this workshop we’ll explore a variety of different tools, applications and methods for using pastels to paint emotionally accurate landscapes. We’ll talk about reference selection, photo processing and compositional choices. Mark will demonstrate different approaches to creating painterly images, from block-in to finishing details, including how to set up a dry underpainting and how to suggest details. Participants will have the opportunity to use these techniques on their own paintings and receive direct feedback.
Approach: Mark is a hands-on demonstrator who fields questions even as he paints. Workshop participants can watch and/or paint along as he does the demonstration. Depending on the workshop size and student preferences, we can do breakout sessions with individuals or do critiques and discussions with
the whole group involved.
Zoom is the main tool, and Padlet is used as a simple bulletin board where participants can post reference options and work in progress, and comment on the posts of others (much like Facebook).The raw video is recorded and will be made available at no cost on YouTube for participants for one month after the workshop. The Padlet board will also be live for a week following the workshop. Participants can post their work and solicit feedback. Mark will respond to all posts during that week.
https://www.markivancole.com
Pastels USA: 99 Voices in Pastel is being held at the Brea Gallery in Brea, California.
The Brea Gallery is a 6,500 square foot contemporary art space that presents four major exhibitions per year. Located in the Brea Civic and Cultural Center, the Gallery has been offering meaningful exhibitions, workshops for all ages, artist lectures, live art demonstrations, a gift shop, and unique artistic opportunities for the community since it opened in 1980.
The Brea Gallery is a community-based arts space, working with upcoming and established artists in a variety of ways. However, the Gallery does not represent artists, have a permanent collection, or offer art appraisals. Please visit our opportunities page for information on how you can be a part of what we do here.
We offer Art scholarships to college students who are planning to major in art. The criteria is posted on the website. Annual deadline is in April, so if you know an art student, have them apply online by April 15, 2024.
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.
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.
EXECUTIVE BOARD
President/Regional Reps/ Scholarship
Pamela Comfort e: pam@pamelacomfort.com
Interim Vice President/Magazine
Sabrina Hill e: art@sabrinahill.com
Secretary
Bonnie Griffith e: bzgriff53@gmail.com
Treasurer
Deborah Pepin e: deb.treas.pswc@gmail.com
BOARD APPOINTEES
Membership Chair
Karen Jones e: pswcmembership@gmail.com
Pastels USA 99 Voices Co-Chairpersons
Francesca Droll e: fd@abacusgraphics.com
Peggy Davidson Post e: peggydpost@gmail.com
Membership Show (MOOS) Chair
Dug Waggoner e: dugwaggoner@att.net
Ways & Means Chair
Open
Workshops Chair
Jean Vineyard Myers e: jeanmyers1990@gmail.com
Publicity Committee Chair
Open
COMMITTEE MEMBERS
Website Coordinator
Diane Breuer e: diane@dianebreuer.com
Membership Status Chair
Jan Miller e: halfhalt@saber.net
Social Media Coordinator
Unfilled
eBlast Coordinator
Cynthia Riordan e: clriordan@gmail.com
