PSWC Magazine Winter 2018

Pa s t e l

S o c i e t y

o f

magazine PSWC Volume 11, Issue 1

t h e

W e s t

C o a s t

Winter 2018

Dug Waggoner

An interview interview with with an an Award Award An winning PSWC PSWC member member on on going going winning from commercial commercial to to fine fine art art from

Meet the Members

A few few fun fun facts facts and and artwork artwork from from A members Alejandra Alejandra Gos, Gos, Karen Karen Horne, Horne, members and Deborah Deborah Pepin Pepin and

Membership Show Info & & Deadlines Deadlines for for entering entering our our Info members only only show show members

Paint Your Pet Demo Jean Myers Myers shows shows you you her her step-by-step step-by-step Jean method for for perfect perfect pet pet portraits! portraits! method

Inner Fire by Laura Pollak, 2017

Local’s Favorite by Dug Waggoner PSWC DP

Enter the PSWC Membership Online Show!

All accepted paintings are featured on Social Media, PSWC’s website and OnlineJuriedShows.com.

Winners will be featured in PSWC Magazine Spring 2018.

Not a member? It’s easy to join, and you don’t need to live on the West Coast to become a member!

For more infomation click here or visit www.pswc.ws and click on Membership Info

Best of Show – Membership Show 2017 Along the Shoreline by Cindy Gillett

PSWC Membership Show Enter the PSWC Membership Online Show Deadline: March 4, 2018 To enter go to: OnlineJuriedShows.com

2

www.pswc.ws

Table Table of of Contents Contents

PSWC magazine Pastel Box of Kathy Detrano

FEATURES News & Notes What’s Up at PSWC

6

The Interview Artist Dug Waggoneer: A Career in Art

16

Meet the Members Alejandra Gos

26

Meet the Members Karen Horne

30

Meet the Members Deborah Pepin

34

ABOUT ART Art School Step-by-Step Pet Portrait with Jean Myers Art Shows and Competitions New Competitions Making Art Makes You Healthy Carmen Frank on Art & Healing Guest Blog Laura Pollak: Making Your Mark

8 15 24 38

REGULARS Letter from the PSWC President A few words from Susan Goodmundson PSWC Art Scholarship Applications are now being accepted Members Only Here’s what’s happening with PSWC members New Members Welcome to our newest PSWC members

PSWC Newsletter |WInter 2018 PSWC Newsletter | Winter 2018

5 40 42 43

3 3

Letter from the Editor

Dear Members, The Pastel Society of the West Coast welcomes in 2018! We had an exciting 2017 with two very successful shows, Pastel USA and the PSWC Membership Online Show. And as we expand our membership, we are also expanding our newsletter, which will now be an online magazine!

In each issue, four member-artists will be interviewed. This is my fa-

vorite part of the job. The more artists I interview, the more I realize how very fortunate we are to have such stellar talent in our membership. And now that

Want to get involved?

this is officially a magazine, the magazine will offer opportunities for our members to keep up with the society, the art trends, and the stories that impact us.

There’s always room for more.

I invite anyone who has a story idea, wants to write an article, has an upcoming

Let us know what you want to do,

workshop, wants to submit an instructional project, or offer commentary on

and we’lll find a spot for you!

the art scene to contact me at art@sabrinahill.com.

Keep In Touch & Follow us!

In this issue, we are fortunate to have the teaching talents of Jean My-

ers (www.jmyerspainting.com) in the step-by-step pet portrait project on page 8. Two of our featured artists wrote their own articles, Dug Waggoner and Debbie Pepin. After reading my preview questions they sent written answers to them, which were too perfect to change. Laura Pollak shared her most recent blog post with us—her advice is always so relevant. My friend, therapist Carmen Frank wrote about the power of art to heal, which was echoed in the story of Alejandra Gos, an immensely talented artist from Seattle. My interview with Karen Horne was facinating--she has a gallery/studio in Salt Lake City,

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

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

Utah where she paints with her mother who is a very talented landscape artist.

We are encouraging the membership to organize Paint Outs in their

geographical areas. We have clusters of membership around the world. Send us pictures of your Paint Outs and we will post them in the upcoming issues in May and September.

I will leave you with words from our Membership Char, Debbie Pepin,

“If you don’t paint everyday, you can’t be better than yesterday.”

Paint, paint, paint!

@stockindesign Fonts: Capitals and Open Sans All photos are property of the artists

Editor, PSWC Magazine

4

www.pswc.ws

Letter from the President

Dear Pastelists!!!

The days are brighter and a little longer, as we enter 2018.

Celebrate our PSWC MAGAZINE with

Sabrina Hill as editor. Sabrina has taken the newsletter to a new level. We commend her for this great publication.

We want to thank Linda Roemisch, Ways

and Means Chair, who is starting to obtain donations for this years Pastels USA Exhibition. She also wears the Vice Presidents hat and has aided me in many way this past year. In addition, she coordinates information for the Website Manager. This past year, Linda has put the Artist Critique Service on the website and made it very user friendly. She had a very big part in updating the PSWC ByLaws. A big thank you to you, Linda, for your many, many hours of work for PSWC.

Our new Board Member, Deborah Pepin, has taken over the Membership Chair position from Ginny Burdick.

PSWC has experienced a seamless transition because of Ginny’s training. Ginny resigned at the end of 2017. We want to thank Ginny for a great job as Membership Chair and for her donation of a laptop computer to the PSWC for the sole use of the Membership Chair. Welcome back Jerry Boyd as Pastels USA exhibits chair! Jerry will also be the Shipping Agent for the 2018 Pastels USA Exhibition at the Art Center of Morro Bay, California. Tina Moore will still be the Awards Chair for the exhibition.

Be sure to enter the MEMBERSHIP SHOW with the deadline of MARCH 4, 2018. Go to onlinejuriedshows.com

for the prospectus. The Judge, Diana De Santis will judge the two catagories with two Best of Show awards of $750.00 each. One award for General Members and one award for Signature/DP members.

Rita Romero our Membership Show Chair is also the Social Media Chair. She has started a U-Tube site and

if you have an educational video you would like to share please contact her at artist@romeroartstudio.com. Russell Frank is working hard at finding a 2018 Scholarship recipient. Let Russell know if you have a high school graduate who would be studying art. This is a very important part of what PSWC does.

We had our third meeting via Zoom. Board members can enjoy the freedom from traveling to meetings. Our Secretary, Bonnie Griffith, lives in Idaho! We wouldn’t be able to have her extensive knowledge if it wasn’t for this great computer conference service.

Last but not least if you as members of PSWC have a talent and expertise that you would like to volunteer

please contact me at goodmundson@sbcglobal.net. I would like to hear from you. Please join us in making the Pastel Society of the West Coast the best of International Societies.

HAPPY PAINTING TO ALL OF YOU,

Susan Goodmundson PSWC President

PSWC Newsletter | Winter 2018 PSWC Newsletter |WInter 2018

5 5

News & Notes Pastel Box of Duane Wakeham

Awards, Honors, & Things that Make Us Jump for Joy PSWC members are busy year round! Here’s what’s happening: Kathy Detrano writes, “...much to my delight, I sold Blue Sky Morning at the Pastel Society of Taiwan’s Invitational Exhibition in Taipei, Taiwan in December.” www.detranostudios.com

Blue Sky Morning by Kathy Detrano

September McGee PSA, PSWC, CPS, NPS Elected Member, Allied Artists of America, NY,Salmagundi Club, New York writes, “My painting Pom Pom and Gaugin was juried into the Allied Artists of America 104th National Exhibition, NY and won the Pastel of America Award for Pastel.

Pom Pom and Gaugin

by September McGee

My painting The Conductor was juried into the Connecticut Pastel Society 24th Annual Renaissance in Pastel Exhibition and won the Pastel of America Award for Pastel!!

And two paintings, The Conductor and Red were juried in the IAPS online exhibition still ongoing!”

The Conductor

by September McGee

66

www.pswc.ws www.pswc.ws

www.septembermcgee.com

NEWS & NOTES

Open Letter to the PSWC Artist Laura Pollak recently sent me a note: “Being on the East Coast, in North Carolina, one would ponder why I would join the Pastel Society of the West Coast. Actually it started as an opportunity to enter a show!

When PSWC had an online only show, I figured, well I’ll enter and see if I get in. And by the way if I join the Society, it will be a lower entry fee. So there you have it. In an effort to save money, shipping fees etc, I became a member of PSWC.

I got way more than just the acceptance into an online only show!!!! Besides being juried in to one of the most prestigious shows in the world, I started winning a couple of awards here and there. I was now playing with the ‘big kids’. The level of work among your members is totally inspiring and when I see their paintings, I learn something new at every stroke!

When Sabrina Hill started her amazing Newsletter, she had a call for article submission. I jumped on that possibility, and we had the most wonderful phone conversation and interview. The gorgeous publication that she puts out is just top notch and I include it in my list of honors and on my CV. The newletter also included one of my Blog posts about starting my art career later in life. Her inclusion of that article has brought

many supportive comments from around the country.

One of my favorite parts of being a member occurred at IAPS last June, where I met Susan Goodmundson at the President’s Forum. That connection has helped me so much during my tenure as President of the Pastel Society of North Carolina. I had called Susan and asked advice on certain aspects of running the Society and her sage wisdom has guided me, from starting our first Online Only Show in N.C., to how to run Video Conference Board Meetings! Susan’s patience has been an incredible and generous resource of information that I could not have gained any other way!

Now, I’ve surprisingly attained my Signature Membership in our wonderful Society and feel warmly welcomed into the PSWC community!

I encourage all to join this vibrant society because the benefits far outweigh the small cost. And the more active you are with these incredible artists, the more you reap. It’s a Win-Win, all the way around!

Laura Pollak

Top: Fractal Bead by Laura Pollak Bottom: Protected by Laura Pollak

PSWC Newsletter Newsletter || Winter Winter 2018 2018 PSWC

77

Art School

Art School

Jean Myers schools us in how to paint the perfect pet portrait.

by Jean Myers

I am owned by two terriers and enjoy painting their portraits in pastel. I also have occasional opportunities to paint dog portraits on commission and have created a demo to share a little about my painting process. I love the intimacy of working on my dog’s portrait and spending so much time viewing all the little nuances of his face. When it is all done, I step back and enjoy!

1

My work starts with a reference photo as dogs can’t hold still for very long. For this demo, I am using my dog Max, who is a super cute Norfolk Terrier with very short legs! I photographed him with his head turned at a slight angle to avoid a straight on view of the face which can appear ‘all nose’ in the finished piece.

After taking the reference photo, I print out an 8” x 10” xerox copy and choose a 9” x 12” format on UArt 400 sanded paper. I am going to use an alcohol underwash, so UArt is a great choice because it accepts alcohol without degrading. Plain water can be used for the underwash if you are a sensitive individual and need to avoid solvents.

8

www.pswc.ws

Art School

Next I use a graphite pencil to draw a simple grid on both the reference photo and my blank pastel paper. This helps me to draw my subject onto the pastel paper more accurately. Then I select pastel sticks from my collection that best represent the colors and values in my reference photo and place them beside my work area. This step prevents the constant interruption of my creative process during the painting. I don’t need to stop and hunt for colors, as I already have the majority picked out.

2

PSWC Newsletter | Winter 2018

9

Art School

3

Next I tape the pastel paper to a masonite board and lightly sketch the main shapes using a pastel pencil. When satisfied with the composition, I loosely block in the head and body with a middle value Nupastel in brown; using the stick on its side and a light touch.

Then I apply a darker Nupastel in blue for the shadow areas; again applying on its side with a light touch over the brown.

Remember to go light as heavy pastel at this point can turn too dark after the wash step.

4

10

www.pswc.ws

Art School

5

For the wash, I use a # 8 hog bristle brush dipped in denatured alcohol; brushing it lightly over the painting surface to dissolve the pastel. My goal is to create blended masses and lose the hard edges. I use a liberal amount of alcohol on the brush and work quickly as the alcohol dries rapidly. I limit myself to one or two brush strokes over each area as more than that can remove too much pastel.

PSWC Newsletter | Winter 2018

11

Art School

6

When the surface is dry (10 - 15 minutes), I switch from the Nupastels to soft pastels. I like Great American, Terry Ludwig, Mount Vision or Schminke. Using the side of the pastel and working loosely, I block in the background wall, chair and dog’s fur without much detail. Then to create the individual hairs in Max’s fur I layer with Nupastels that have been sharpened to a point with a utility knife.

This step requires patience to go slowly and closely examine the reference photo. I check and adjust values often, as it is the key to getting an accurate representation. At this stage, I intentionally leave the eyes and nose unfinished as I will complete them last.

I keep the background wall and chair softer focus to avoid it becoming too dominant in the composition, as I want the dog’s face to be my main focal point.

12

www.pswc.ws

Art School

7

After bringing all the other parts of the painting to completion, I paint the dog’s eyes, nose and mouth with Caran d’Ache pastel pencils to create the tiny hairs around the eyes, mouth and nose. A final highlight in the eye or nose is gray or gray blue as white is too bright and looks stark.

PSWC Newsletter | Winter 2018

13

Art School

Portrait of Max by Jean Myers www.jmyerspainting.com

14

www.pswc.ws

Art Shows & Competitions

Art Shows and competitions PSWC Membership Show

Call for Artists

The PSWC Membership Online Show offers members of PSWC the opportunity to compete and win while still in their P.J.’s! Submissions are made online, winners are selected by an award winning judge, and not a single picture is ever damaged in shipping! You must be a member in good standing to enter.

Philadelphia Water Color Society 118th Anniversary International Exhibition of Works on Paper.

October 14 - November 24, 2018 at the Wayne Art Center, Wayne, Pa. Juror of Selection: Alan Wylie, Judge of Awards: Alvaro Castagnet.

Workshop Alvaro Castagnet.

Over $ 8000.00 in awards, including $ 1500.00 Best in Show. Media to include watercolor, acrylic, pastel, gouache, pen & ink, graphite, colored pencil and hand pulled prints. Online entry. ProspecThe Prayer by Barbara Berry tus, submission information and workshop info at www.pwcsociety. org.

Deadline: March 4, 2018 Juror/Judge: Diane DeSantis To enter go to: www.onlinejuriedshows. com. If you are new to competitions, this is a great way to test the waters. Artists find the competition process is beneficial for artistic growth and is a great sense of accomplishment. Those artists whose work is accepted and possibly even honored with an award can take pride in the fact that this is one of the most prestigeous societies in the country.

For additional information about the show go to our website at www.pswc.ws or contact Rita Romero at artist@romeroartstudio.com

PSWC Newsletter | Winter 2018

15

Feature Artist

Dug Waggoner Dug on Dug

by Dug Waggoner

The pivotal moment in my life as an artist began with the recollection of a family visit to my paternal grandmother who lived in a small apartment in Stockton, California. It was a large, imposing house of Victorian design with bevel glass entry doors and a carpeted staircase. Grandmother was a tall, elegant woman with a softspoken voice and she often told my sister and I stories about small children and their dog who saved them from hair-raising scenarios. I can still recall her saying, “On Rover, On Rover” as the children called out to their furry companion to save them!

I assume Grandmother wanted to counteract Rover’s heroics with a calm activity, so she sat us down and with a pen in her well-worn hand began to draw a perfect picture of a flower. That image was burned into my memory, and I knew I wanted to draw things that were recognizable to my family and me. We didn’t have a refrigerator art gallery back then, but my sketches and scribbles began to pile up along with my enthusiasm to create--anything.

With that spark ignited I continued my artistic journey through all the years of school, on to Junior College and eventually to the intense training at the California College of Arts and Crafts (CCA). Graduating in 1961 with a BFA in Advertising Design combined with three years in classes of art history, life drawing, painting, sculpture, pottery and graphic design, I embarked on my first job out of college--painting signs for a hardware store.

That lasted for three years before I took my BFA and headed for San Francisco in the middle of the Golden Age of Advertising.

My first employment was in an art studio as an associate working as a contractor to large ad agencies and private clients. Ten years of handling clients and producing pre-press assignments prompted me to launch Dug Waggoner Illustration and Design in 1973. Throughout those years I was constantly aware of the top illustrators making magic at the highest levels attainable. I still have illustrator annuals featuring the work of Bernie Fuchs, Bob Peak, Brad Holland, Mark English, Bart Forbes, David Grove and so many others who struck a note in my soul. Along with those heroes of the commercial art world were the men and women champions of the fine art world

You shouldn’t say, ‘I want to be an artist.’

You just are.

16

www.pswc.ws

55th at Broadway Pastel on Panel 13” x 19” When visiting New York City, twice in 2013, I was struck by the infinite amount of architectural styles throughout Manhattan. This composition was greatly enhanced by the late afternoon’s warm glow creating a magical dance between warm and cool, light and shadow. This painting was honored with a Best of Show Award in PSWC’s 2014 Membership Show. It was also selected for the IAPS’s 24th Annual Exhibition at the Vose Gallery in Boston, MA and has been accepted to the PSA’s 42nd Annual Enduring Brilliance Show at the National Arts Club in NYC.

including Sargent, Degas, Monet, Mary Cassatt, Van Gogh, Paul CĂŠzanne, Berthe Morisot, JoaquĂ­n Sorolla, William Merritt Chase and more.

I have used many types of media in all those years but the one that holds my heart in its gentle, exciting grip is pastel. Degas pastels were the first to catch my eye and when I started

using it in my illustrations, from art school to the professional level it had me at hello. It is fast and dry, has an emotional caricature of line and marks depending on the surface, melts well with liquids, blends with each other regardless of manufacturer and just feels perfect when capturing an image in the process of painting.

PSWC Newsletter | Winter 2018

17

Elkhorn Quiet Pastel on Gessoed Gatorboard 17 x 22 Images find me where ever I travel. It’s as if visions are scanned into my brain even before I see them. Such is this one, “Elkhorn Quiet”. This was accepted into the 2016 Northwest Pastel Society Show judged by nationally recognized artist/teacher Richard McKinley. This painting was given the Wakeham/Sutherland Award at the 2016 Pastel Society of the West Coast’s 30th Annual International Open Exhibit in Morro Bay. It will also be shown in the upcoming publication by North Light Books new edition of Pure Color 2.

After some thirty years as a professional graphic artist and answering to the clients needs that voice in the background finally told me, “Now is the time to listen to what the painting is asking of you.” After seeing some of my work and exchanging emails Kim Lordier suggested I join the Pastel Society of the West Coast. In 2006, the PSWC Membership Show was held in my hometown of Sacramento. In the New Member category my 18

www.pswc.ws

painting “Silent Shadows” took a first place. That opened the door to the wonderful world of pastel painting and to many new artist friends. I have met so many great artists whose work I admire. Just seeing Kim’s work or Duane Wakeham, Terri Ford, Richard McKinley, Tina Moore, Rita Romero, Daggi Wallace, Jerry Boyd, Christine Obers, Kris Buck, Vianna Szabo, Cuong Nguyen, Lorenzo Chavez and so many more that I’ve not mentioned has

Feature Artist

influenced the level of my work.

Many years ago I fell in love with Pastel because of the speed and tactile feel of its drawing capabilities, the opaque coverage, the color brilliance and serendipity experimentation that gave a perfect voice for my work. There is an intimate connection between my fingertips, my mind, my design sense and my heart in addressing the painting surface. The rapid layering of color and textures throughout the painting process responds to my painting style of representational impressionism. I also love the speed and performance of watercolor. It has been a great teacher in making me both humble and enlightened. Mistakes and accidents are part of the watercolor process and if you let them happen the results are amazing. Because of my affinity for these two mediums I sometimes employ them together in a painting

To my 20-year-old self I would say, If you are serious about becoming an artist, draw and sketch every day, see as many art exhibitions as possible, take classes or go to art school, make friends with other artists and never stop believing in what you were meant to do and thank your parents for not changing your mind. And lastly find a soul mate to join you on your journey. Thank you, Sonja.

This is one of my line drawing images I did for Trader Vic’s restaurants years ago. I’m sending it along with this story as a tribute to my Grandmother. Her little drawing of a flower sparked the imagination of a young child and sent me on a lifelong journey of learning to be creative. Today as I confront my next painting pastel is the song my soul is listening to.

Top O’ The Morning Pastel on Gessoed Gatorboard 19 x 13.75 Grafton Street in Dublin yielded many surprises along this trendy thoroughfare. Of all the street artists plying their wares this quiet man didn’t seem to be pressured to make a buck by using any tricks or artistic skills. He was just smiling and nodding his head as we went by. I asked if I could take his picture and he just nodded and gave me the victory signal.

PSWC Newsletter | Winter 2018

19

Feature Artist In the Studio- Between 2003 & 2009 I donated my time to the local live theater company painting stage sets and the like. After many hours of painted sets I was asked to paint a mural to celebrate the 50th anniversary of the theater to pay tribute to the founders. I was reluctant to set up a scaffold and paint the outside wall which was plotted out to be 10’ x 20’. At the time the son of the founders worked at Universal Studios on the TV series “The Office” as an art director. He suggested making a large 3’ x 5’ painting and have it scanned onto a disc. From there the disc was sent to San Diego to a graphic printing company to be ink jet printed directly onto four 10’ x 5’ sheets of plywood. The four 10’ x 5’ sections were shipped to the theater site and installed side-by-side creating a nice 10’ x 20’ mural. I did the painting with a combination of paste and acrylics. The easel in the

20

www.pswc.ws

photo was built to hold that large painting. It has evolved into my everyday working easel and it works very well. I bought a dust vacuum and installed it at the bottom of the easel mounting on a track that I designed and had a local sheet metal shop make to fit a set of closet door rollers. It can slide back and forth under my working surface to catch all the dust particles.

The lights hanging on the easel and the overhead track lights are all those color corrected bulbs that simulate daylight. My son-in-law built the easel as well as the pastel box sitting on an antique drafting table.

Feature Artist Awards & Acknowledgements Dug is a Distinguished Pastelist member in the internationally recognized Pastel Society of the West Coast (PSWC). Early in 2014 his painting 55th @ Broadway was awarded Best of Show at PSWC’s Membership Show. He has been selected in two successive years in Pastel Journal’s Annual Pastel 100 award show, accepted in the Pastel Society of America’s 2013 & 2014 Enduring Brilliance at the National Arts Club in NYC and selected in the International Association of Pastel Societies 2014 show at the Voce Gallery in Boston.

Also in 2014 two of his paintings were accepted into PSWC’s Pastels USA 28th Annual International Open Exhibition Show in Morro Bay with his painting Brace Yourself winning the Terri Ford award. Two of his works were accepted into the 2015 IAPS Show for their convention in Albuquerque, NM. Those two paintings were also accepted into the 2015 PSWC’s Pastels USA 29th Annual International Open Exhibition with Duck Landing winning the University Arts award.

In 2016, the painting Elkhorn Quiet was ac-

Mural in progress

cepted into Northwest Pastel Society’s 30th Annual International Open Exhibition in Tacoma, WA and into PSWC’S 30th Annual International Open Exhibit and was given the Wakeham/Sutherland Award.

The Pastel Journal Magazine’s Pastel 100 accepted Elkhorn Quiet with an Honorable Mention. The IAPS 28th Juried Show accepted Monterey Magic for their show at the prestigious Salmagundi Club in NYC. For 2017 one of my works has been accepted into the Pastel Society of America 45th Annual Exhibition: Enduring Brilliance!

PSWC Newsletter | Winter 2018

21

Feature Artist

Wendy. Pastel on Paper 32� x 26�

This image of my daughter started as a slide photo taken about forty five years ago. The lighting and design angles and her angelic pose was just too inspiring to resist. The memory of this photo kept coming back and when I found the little slide I immediately set out to make this painting, Wendy.

22

www.pswc.ws

Feature Artist

Local’s Favorite Pastel on Gessoed Gatorboard 17” x 22” In every home town there are places and hideaways that only the locals know. One such favorite is a 1-mile-long protected beach with a lagoon formed by the Carmel River where it enters the Pacific Ocean. The lagoon attracts a large number of migratory birds and the sand attracts a large number beachcombers.

PSWC Newsletter | Winter 2018

23

24

www.pswc.ws

Pablo Picasso (Spanish: 1881-1973) - Woman with Hat - 1962

Making Art Makes You Healthier Struggling to make time for creativity?

Making art is more fun than jogging and should be part of your everyday routine!

by Carmen Frank, MA Licensed Psychotherapist

You’ve taken a last stroke with your favorite be said of making visual art. brush after standing back a while to sense if the col “There is a vitality, a life force, an energy, a or is the right one for the moon hanging in your landquickening that is translated through you into acscape. You’ve had surprises as you stood in front of tion, and because there is only one of you in all of the canvas waiting for the inspired moment on how time, this expression is unique. And if you block it, to approach a tricky spot on the weathered face it will never exist through any other medium and it of the farmer standing below that moon. Whether will be lost. The world will not have it. It is not your this was one of those pieces that you struggled with business to determine how good it is nor how valuor that flowed easily, it is done. You might identify able nor how it compares with other expressions. It yourself as one of those “right-brained” types and is your business to keep it yours clearly and directly, feel you have exercised that side of your brain in to keep the channel open.” your art process. But, you might be interested to

The messages embedded in that quote and know that the whole process, whether or not you in the process of making feel good about the end art can help to heal the artresults of the work you just There is a vitality, a life force, an ist’s mind and heart. “You completed, not only worked energy, a quickening that is transare unique!” “What is inyour right brain. Research lated through you into action, and side of you is valuable and indicates that the right and because there is only one of you in of value to the world!” “Pay left brain, as well as the conall of time, this expression is unique. attention to yourself and nective tissue, in the brains -Martha Graham what moves you!” As chilof artists show more develdren, how many of us reopment than in control groups, including those who ceive that kind of mirroring, those kinds of messagviewed art, but didn’t make it. The healing powers of es? Through making art, it may be possible to have a making art are measurable physically! Matisse lived reparative experience where the artist can give herto be 84 and Picasso, 91. Yes, their creative passion self the kind of valuing experience that is needed to drove their art. But, perhaps it also contributed to develop resilience, self-worth, and self-awareness. their long lives!

So, what about the psychological, emotional, or spiritual benefits of making art? Consider the following quote by Martha Graham, the famous Modern dancer. Of course, she was referring to dance when she said this well-known description of the creative process. Clearly, though, the same may

Whether you resonate more with the physiological or the psychological benefits of making art, clearly it is worth the time and energy to open up the art box full of supplies and have a whole body healing experience!

PSWC Newsletter | Winter 2018 PSWC Newsletter | Winter 2018

25 25

Meet the Members

Alejandra Gos PSWC Member

by Sabrina Hill

Seattle, Washington is an artsy city and home to many PSWC members. One of our favorites is Alejandra Gos. Originally from Argentina, Alejandra and her husband settled in Seattle where she works as an engineer.

Before she studied computer science and math in college, and before she studied music (piano and guitar) in high school--almost from her first memory, Alejandra was an artist. Her mother was also an artist and encouraged her daughter to draw and paint, exposing her to pastels and starting a love affair with the medium. She won several art competitions in school.

Art became a passion in 2010, when dealing with depression became overwhelming. Making art helped her cope better. the more art she made, the better she felt.

Putting her organizational skills to use, she began painting every day, working on small pieces (9”x12” or 11”x14”). Classes came next, and Alejandra has studied with the likes of Richard McKinley, Mike Wise, Amanda Houston, Lyn Asselta, Desmond O’hagan, Jacob Aguiar, Barbara Benedetti-Newton, Barbara Jaenicke, Liz Haywood-Sullivan, and

26

www.pswc.ws

her mentor and friend, Marla Baggetta.

It’s often a long road to becoming a full-time artist, but Alejandra has a plan.

She paints daily, takes classes with the best in the business, and she enters shows and competitions regularly. She was accepted into every show she entered in 2017. And she has the right mind-set. It takes ten paintings to get the one that will get into a show or gallery. “You have to stretch yourself to get better,“ she says.

This process is helping her build a reputation, and she is seeing results. She has represented in two galleries in Washington state.

Like nearly every pastelist, she loves the immediacy and instant gratification of pastels. Among her favorite brands are Girault, Unison, Diane Townsend, and Terry Ludwig. She achieves depth and contrast in her work using pastels and alcohol or watercolors to under-paint before breaking out the colors. On a recent trip home to Argentina, she carried a small box of Girault pastels with her. She completed three paintings which she left with her proud mother, who immediately showed off her daughter’s talent at her English class.

Meet the Members Reach for the Sky-- Pastel

PSWC Newsletter | Winter 2018

27

The Golden Hour-- Pastel

Gos Studio Seattle, Washington

28

www.pswc.ws

Meet the Members

Talking with Alejandra, you are struck by her earnest pursuit of a career. She knows that hard work is how she will achieve her goals. She expects there will be bumps in the road, but she is determined to make this her career and she is not deterred by comments or criticism to the contrary. So, every day, she paints the beautiful scenery around her and heals the strong soul within.

Exhibitions and Awards 2017 BoldBrush Painting Competition - 3rd place. Juror: Margi Lucena.

2017 Southwest Art Magazine “Artistic Excellence”.

2017 Pastel Society of Colorado “Illuminated” show. Juror: Jacob Aguiar.

2017 Honorable Mention. Category “Landscape and interior”. Pastel 100 competition.

Gos at the Easel

2017 Artist’s Magazine 34th Annual Competition- Finalist.

2017 Pastels USA 31st Annual International Open Exhibition. Juror: Jen Evenhus, Tom Christopher, Gil Dellinger.

Looking Down The Slough-- Pastel

2017 UART 2017 Online Pastel Competition. Juror: Richard McKinley.

2017 “Little Gems” Plein Air Washington Artists. Juror: Lois Griffel.

2017 Northwest Pastel Society International Open Exhibit. Juror: Jacob Aguiar.

2017 Pastel Society of the West Coast Online Membership show. Juror: Nancy MacDonald.

2017 IAPS 30th Juried Exhibition 2017 Convention Show. Jurors: Tony Allain, Tom Christopher and Diane Rappisi.

2016 Northwest Pastel Society Small Works - Best of Show.

2016 Northwest Pastel Society International Open Exhibit. Juror: Richard McKinley.

2016 Artist’s Magazine 33rd Annual CompetitionFinalist.

2015 Peninsula Art League- Annual Open Juried Show. Juror: Dawn Emerson.

PSWC Newsletter | Winter 2018

29

Karen Horne in the Studio 30 www.pswc.ws 30 www.pswc.ws

Meet the Members

Karen Horne

Third Generation Artist and Gallery Owner

by Sabrina Hill

Karen Horne paints. Karen Horne’s mother paints, Karen Horne’s great-grandmother was a champion of painters.

She was, quite literally born to paint! And she has been doing that quite nicely in Salt Lake City, Utah where she lives with her husband, Michael Rowley.

They opened a successful art gallery and she paints there in a gorgeous studio, often sharing space with her mother, Phyllis F. Horne, a noted landscape painter.

One of six children, Karen grew up in an artistic home. Her mother studied a fashion illustration and couture design but spent much of her early adult life raising her family while taking art classes here and there. The home was a haven for creativity and beautiful art. Karen dabbled in drawing and sculpture as a child and was nurtured and encourage in an art-loving environment. Exposed to the making of art and the collecting of beautiful art, she also demonstrated strong interest in math and science, which sent her down a different path for a bit.

When she arrived at Yale University, she began to realize that pre-med students were “not my tribe.”

She took a figurative and sculpting class as well as a color course based on Joseph Albers’ Interactions of Color (Albers was Yale’s head of the design department in the 1950’s). Her dorm room walls were covered in paint chips and bits of colored paper torn from magazines that she used to study color and complete assignments. She found her artistic path and her people. She fell back into art and never left.

Water’s Edge, Pastel on Board, 16x20

After doing an MFA in painting, she took her starry-eyed artist self to New York City. She worked for five years at The Frick Collection, learning about how museums operate.

The exposure to great art was one of the best parts of the job, and it helped to shape her artistic endeavors. A stint at an Audubon and antique map gallery gave her practice experience in selling art. It also made her realize how much she was attracted to painting over prints. A grant helped her transition, and she seized on the chance to work on her painting full-time. Among her favorite subjects to paint are Urbanscapes and Restaurant-scapes like umbrella and dappled, sunlight-filled outdoor cafes.

You can see many examples on her website: www. hornefineart.com PSWC Newsletter | Winter 2018

31

Feature Artist

Collecting Herself Pastel on Sanded Board,18 x 18.5

Karen met and married, and soon the couple decided to move back to Utah. There a live figure drawing class helped hone her skills further. It was then that she moved from charcoal to NuPastels then to soft pastel. Loving the “immediate marks’ and intense color. It allowed her work to have more atmosphere. We talked about the general feeling among pastelists—the passion that artists have when speaking of pastels as a medium.

Karen says, “…I was seriously enchanted and bewitched by the pastel medium.”

Phyllis. Her husband Michael moonlights and helps manage the business. Both Karen and Phyllis show at the gallery and husband Michael is an integral part of managing the business.

My last question to our artists is the same: What advice or information would you give to your 20-year-old self. Karen says she was so idealistic about art when she graduated, but wished her training had included practical education in how to market her work. “I wish there had been a mentor who could tell me how to work with galleries or get the art to market. I wish there had been someone who could have shown me how to refine my art for the marketplace. My advice: Get a mentor and learn the business of art.”

I was seriously enchanted and bewitched by the pastel medium.

Her work in pastels and oils continues.

Most recently, Karen has been working on a series of paintings of dancers. She is also busy running her studio/gallery. Early on in the gallery’s 15 year history, she liked to invite other artists to show their work in exhibitions organized with a group theme. She has since transitioned to exhibiting a small stable of 4 Utah artists, including herself and her mother, 32

www.pswc.ws

Great advice for any artist. If you are in Salt Lake City, make plans to stop by the Horne Fine Art Galley & Studio. www.hornefineart.com

Gauze and Shadows, Pastel on Sanded Board,16x20

Stretching Backstage Pastel 14”x24” ’

PSWC Newsletter | Winter 2018

33

Meet the Members

Deborah Pepin PSWC Member

by Deborah Pepin

I had never considered myself an artist even though I did most of the artwork for our high school paper, and even at one point in time pin-striped motorcycle tanks for a local painter. I worked for my father in the family silk screen business and I think that was when I really fell in love with colors and textures, putting paint on many surfaces. Of course, that was many, many years ago and since then life happened.

Marriage, children and career took over for the next 35 or so years. In 2002 I got very sick and was diagnosed with multiple sclerosis and my professional career ended. After a couple of years, I really needed something in my life, picked up a paint brush, took a class with a local watercolor artist, and to this day sincerely believe that ART saved my life. I did not get really serious until about 2008, when I joined some local art organizations, began creating more and more, and putting my artwork out there in shows and galleries. I don’t think that artists call themselves artists, they are just that. They create.

I don’t think that there is any one thing or one person that has influenced my artwork. I just create. I love repeat patterns, and of course that shows in my doodle work. I love landscapes as I love nature. Everything in nature is beautiful to me, even a burned forest, where you can see hints of rebirth.

34

www.pswc.ws

I love all artwork, and often just go to galleries to look. I like to enjoy and see the creative process of other artists. I do take as many classes and workshops as I have time for and can afford.

As for jobs, I was in administration most of my adult life. Worked for Union Bank, Security Pacific Bank, and Pacific Bell (now AT & T). In 2016 and 2017 I was president of Alliance of California Artists, a local non-profit art organization. I am currently a member of “Friends in Art” (a local art organization of artists that get together twice a month and create) Timberline Gallery in Oakhurst California, and Cayucos Art Association.

I do not work exclusively in Pastels. In fact, I have only begun my art journey with pastels. I happened to see some pastel work by a local artist in December, 2015 and thought I would like to try that. I purchased some pastels, took a class and was hooked. I love that there is no drying time, that instant “What you see is what you get”, color and texture. I like to make my own pastel boards as I love to play with the texture of the base of a painting.

I use watercolor with ink to create my Doodle Pieces, Alcohol Inks, oils and cold wax, and acrylics. Right now, I would have to say that pastels are my favorite medium.

Meet the Members

October Sunset-- Pastel PSWC Newsletter | Winter 2018

35

Meet the Members

personally believe that if you are a good art student, and create consistently those basics, like color and value, that composition will come naturally.

Little Shack in the Grove” Pastel on homemade pastel board

When I am creating or choosing pieces for a show I choose what feels right for me. I only create for myself, and I will be the only one to know what is right for the show. I have won many local shows with my artwork but have not won anything nationally. I have not entered any of my pastel pieces because I have not felt I was ready yet. I know all the things that a judge will look for, and those things are always in the back of my mind, but I try not to get too wrapped up in that. For me it just ruins the creative process. I

Entering an art show is always nerve wracking. I have seen really good art get rejected from a show, and I don’t really think that the art was bad, it just didn’t grab the judges’ or jurors’ attention. As artists we are always very self-critical. We are always asking ourselves “Are we good enough?” There is always going to be someone out there who is better than we are. That is just a fact of life.

Be the best yourself you can be. Like I said before I only create for myself and if I get into a show, and if I win anything it’s just kudos for me. “Do what you love, and love what you do.” If you keep creating and entering shows you can only get better. For me I don’t want to be better than everyone else, I just want to be better than I was yesterday.

The thing that I would tell my 20-yearold art self is just do it.

Don’t hesitate because

End of Season Cold Wax and Oil

Season’s End Pastel

36

www.pswc.ws

Meet the Members

of fear of failure. You can’t more forward without a little failure in the background!

Editor’s note: Talking with Debbie was a delight! The downside was she says so many quotable things that I couldn’t write fast enough. She calls doodling “Yoga for the Mind.” Debbie frequently takes the 30/30/30 challenge. 30 Days/30 minutes/30 paintings. And she teaches classes in Alcohol and Ink. Check out her website for more information on Debbie and her work at www.deborahgpepinart.org

Looking Up Cold Wax and Oil

PSWC Newsletter | Winter 2018

37

Guest Blog

MAKING YOUR MARK

by Laura Pollak, Artist and Blogger Thoughts, Emotions, Techniques and Inspiration from the Easel

‘TIS THE SEASON... OF CREATIVITY

In 2012, I took a wonderful workshop with Liz Haywood Sullivan. I learned so very much because there was so much to learn. And Liz is an amazing teacher!

One of the most important concepts Liz taught me, was that there are ‘Seasons’ or cycles to creativity. I was fascinated with that concept. During discussion we spoke of the practicalities of daily life; someone’s gotta do the laundry, go grocery shopping, pay the bills, not to mention the marketing of your own art.

the kitchen. What I did do however was watch every art video I could get my hands on, or read every art book around.

When I finally did get back to the easel, I was really ready. Ideas swirling in my head, techniques I wanted to try and color combinations I wanted to use. I had a great ‘season’ of creativity! [BTW, It did coincide with the Holidays; from November 17th to February, I was in bed! A real bummer!!!]

As the next few years rolled on, I noticed my own flows of productivity and lulls where I recharged my batteries.

What Liz also mentioned was that there are For instance, November times we cannot get to our to March are my months for easels. Taking care of a sick painting. March through May family member, or even our Gathering Pastel on Archival Prepared Surface 36 x 30 is ‘Show’ season,when I decide own health. What she said if I have anything that is worthy next stuck with me... It is during the time away from of entering into shows. This includes doing the phothe easel that she rejuvenates. tography, entry forms necessary and cataloguing in

Shortly there after, I came down with pneu- my database. monia! For over 3 months I had to stay in bed be And for the last four years, I’ve been fortucause I didn’t have the strength to even go down to nate enough to have 6 Solo Shows. That means from 38

www.pswc.ws

Guest Blog

May through August is ‘Framing Season’. And yes, as crazy as it is, I do all my own framing; from chop and join, to cutting the glass, to putting the ‘package’ together! (I’d be happy to answer any questions on that since I’ve made every mistake there is in framing!!!!)

September through November are my Show months. Hanging shows and holding Receptions.

So, now that I have finally figured it out something new has been added to the mix. A gallery curator told me he really liked my work but could I perhaps add three large paintings to a show coming up in a month? I said sure no problem (then privately wondered what was I thinking when I said yes?????),

At the same time the wonderful gallery that represents me asked for 6 new pieces! YIKES!!!

The stress was immense.

Safe Haven Pastel on Archival Prepared Surface 40 x 30

For 17 days I painted between 8-10 hours a day! I had 4 paintings going at one time and tried things I’d not tried before. I learned more in these last two and a half weeks than ever before! In the end, I produced, photographed, framed, and delivered 12 paintings in just under a month! Half were small and the other half were ginormous 30 x 40!

[I’m including some of the new 30 x 40 paintings here]

Now I can add another season to my list...

Intense Work.

All of a sudden my pieces became less precious and I was willing to risk new techniques, colors, designs and most importantly I was working really BIG (at least for me!).

This latest “stage” of really focused painting was the season of real learning. I’d love to hear about your “Seasons” and cycles of Creativity! See the blog at www.laurapollak.com

Molten Genesis Pastel on Archival Pastel Paper 30 x 24

PSWC Newsletter | Winter 2018

39

Art Scholaship

PSWC Art Scholarship Program

By Russell Frank

The PSWC has established a scholarship program for young artists. The current scholarship is $1000 awarded yearly to high school graduates, junior college and up to incoming seniors at a four year college or accredited art institute. Now we need your help! We want to expand the opportunity to a larger group of applicants and we are asking PSWC members to keep your eyes open for potential applicants.

I personally have found two individuals at high school art shows that ended up winning $1,000.00 to attend college. It is the best way that you can give back to the community and help an art student with the expenses of college. The reward of finding a scholarship winner is tremendous. It is very simple, if you see the work of a student that impresses you, just talk to the student and inform them of the scholarship. Write down our website info for them (www.pswc.ws ) and tell them to click on the Scholarship tab. All information and the downloadable application are available on the site.Nearly all art students are unaware of any scholarship opportunities available to them. We have hundreds of members that can assist in our search of our next winner. Our deadline for submissions is March 31 of each year. Thank you in advance for your attention to this valuable endeavor.

One scholaship winner, Sasha Schotzko-Harris (our 2011 winner), attended college at Cal Arts in Valencia, California. Since graduating she has developed her skills in an impressive body of work and artistic work experiences which include working with the Cartoon Network and Southpark television series. She currently works for Warner Brothers doing storyboards for the cartoon movie industry. Watch for her name, she is a powerhouse of talent.

Untitled 1 & Untitled 2

by Sasha Schotzko-Harris

40

www.pswc.ws

Art Shows & Competitions

PSWC Newsletter | Winter 2018

41

PSWC House keeping Here’s a Bit of News for Members & Information on New Members

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

One of the best ways to support a healthy society is to bring in new members. There are lots of good reasons to join. If you have artist-friends who are not members, now’s the time to invite them to join. And there’s still time to join and enter the Membership Show.

Contact Rita Romero if you have questions or would like more information.

VOLUNTEERS NEEDED Members, we need your other talents, too! We have the Treasurer position opened. Currently, the PSWC president is juggling several jobs, so let’s give her some much needed assistance! This position has established guidelines and tasks and comes with lots of help. Please contact Susan Goodmundson for more information.

42 www.pswc.ws 42

www.pswc.ws

PSWC Housekeeping CONTRIBUTE TO THE MAGAZINE

New Members

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

Carol Timson Ball, Templeton, CA www.caroltimsonball.com

e: goodmundson@sbcglobal.net Acting Vice President Ways & Means/Web Liaison

www.animalscapesart.com

e: artandsoul@hughes.net

Debra Cepeda, Auburn, WA www.debcepeda,com Joanne Cotton, Pullenvale QLD Australia www.joannepowercotton-art.com

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

Cat Curtis, Fort Worth, TX

Let’s get out there are PAINT!!

President/Treasurer Susan Goodmundson

Linda Beze, Livermore, CA

PAINT OUTS & PAINT INS

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

We want to see pictures and art.

ELECTED BOARD POSITIONS

www.catcurtisart.com Donna A. Dutra, Browns Valley, CA Robin Fourie, Livermore, CA Sarah Griffith, Paso Robles, CA scgrif7.wixsite.com/sarahcgriffith Donna Gross, Aptos, CA donnatheresa.blogspot.com Debra Holland-Olson, Weaverville, CA Diane Hines, Malibu, CA www.etsy.com/shops/dianeartstudio Linda Melber, Santa Monica, CA Deborah Shea, Redwood City, CA www.deborahsheastudios.com Melissa Gayle West, Seattle, WA Ji-Young Yoon, Oakland, CA

Linda Roemisch Pastels USA Exhibits Chair Gerald Boyd e: jerry@geraldboyd.com Pastels USA 2018 Awards Chair PSWC Advisor Tina Moore e: mooregrafix@comcast. net Secretary Bonnie Griffith e: bzgriff53@gmail.com Scholarship Chair Russell Frank e: frankpastels@gmail.com Membership Chair Deborah Pepin e: pswcmembership@gmail.com.

Magazine Editor Sabrina Hill e: art@sabrinahill.com Membership Show Chair Rita Romero e: artist@romeroartstudio.com COMMITTEE APPOINTEES Eblast Coordinator/Publicity Cynthia Riordan e: clriordan@gmail.com Facebook Coordinator/Social Media Rita Romero e: artist@romeroartstudio.com VENDOR/CONSULTANT Pastels USA Publication Designer Marianne Harris e: meb@mharrisgraphics.com Web Master Diane Blakley e: dblakley@sbcglobal.net Online Juried Shows Paula Ford

Deborah Pepin: Birds of A Feather W/C Ink Doodle & Sea Glass and Shells W/C Ink Doodle PSWC Newsletter | Winter 2018 2018

43

The The Pastel Pastel Society Society of of the the West West Coast’s Coast’s Premier Premier Event Event

Southwest Art Magazine Award John Mark by Nancy MacDonald

Aaron Schuerr Award Incoming Tide by Sharon Bamber

PSWC Best of Show Award Santo by Rita Romero

The 32nd Annual International Open Exhibition

August 16, 2018 - September 16, 2018 Art Center Morro Bay 835 Main St. Morro Bay, California 93442 44

www.pswc.ws