Pastel Journal May 2019

YOU HAVE THE VISION
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Inspiration and Insight for

Painting Sea and Shore,
Waves and Waterfalls
THINK BIG!
A Simple How to Kickstart
a Creative Dream
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Solution for p. 38
Painting Large
JUNE 2019
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Contents JUNE 2019
ISSUE NO. 122
38
Features Columns
22 46 2 EDITOR’S NOTE
FALLING WATER A REALISTIC APPROACH 4 ART MATTERS
Cindy Crimmin explores the ebb and flow A return to painting at age 50
of painting in a series. eventually led Michael Freeman
8 5-MINUTE COACH
BY AMY LEIBROCK to pastel—the perfect medium for 10 SKILL BUILDERS
his realistic style.
18 COLOR DECODER
30 BY MICHAEL WOODSON
72 THE SPARK
THE STARK BEAUTY OF A
TREETOP ATMOSPHERE 54
David Brammeld’s moody English IMAGINING COLOR ON THE COVER: Changing Tides
Dutch animal and wildlife (detail; 11x14) by Cindy Crimmin
landscapes exude atmosphere.
BY LOUELLA MILES artist Loes Botman often talks
to her subjects to build her
38
understanding and enhance
her expression.
A PILGRIMAGE IN PASTEL BY ENID WOOD 18
Accompanied by a faithful donkey, a
pastel artist sets out on a 1,000-mile Pastel Journal (ISSN #1524-9034) is published six times a year in February, April, June, August, October and December by F+W, 10151 Carver Road,
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ArtistsNetwork.com 1
Editor’s Note
The Power
of the Pause EDITOR-IN-CHIEF Anne Hevener
O
SENIOR DESIGNER Brian Roeth
SENIOR EDITOR Beth Williams
nce upon a time, ASSOCIATE EDITOR McKenzie Graham
I thought I wanted to
GROUP PUBLISHER, VISUAL ARTS, WRITING, GENEALOGY,
be a history professor. WOODWORKING + HORTICULTURE Allison Dolan
Sometime in my second year of
EDITORIAL ADVISORY BOARD
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a friend who could tell I wasn’t Janie Hutchinson; Wolf Kahn; Isabelle V. Lim; Richard McKinley, IAPS; Rae Smith;
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2 Pastel Journal JUNE 2019

Tractor in the Sun 18 x 24
by David Kaphammer PSA,
Herman Margulies Award for Excellence
donated by Dianne B. Bernhard
OVER
$40,000
in awards
Pastel
Society of
america
FORTY-SEVENTH PSA ANNUAL EXHIBITION
Enduring Brilliance!
Grand Gallery, National Arts Club, New York, NY September 3-28, 2019
ENTRY DEADLINE: 12PM PST, MONDAY, JUNE 17, 2019
Jury of Selection: Juror of Awards

• Michael McGurk PSA-MP • Dr. Marcus B. Burke
• Debora Stewart PSA-MP Senior Curator of Drawings, and Metalwork
• Jimmy Wright PSA-MP The Hispanic Museum and Library,
The Hispanic Society of America
The 2019 prospectus is available at www.ShowSubmit.com

Art Matters
The Pastel Society UK Holds

Its 120th Annual Exhibition
Awards, public demonstrations and a beautiful exhibition made
the society’s 120th one to remember.
By McKenzie Graham
A s the 2019 Annual Exhibition

wrapped up for The Pastel
Society UK (the society’s
120th), the growing strength of
entries became clear to President
Jeannette Hayes: “Submissions are
always strong, and this year’s were
particularly so. Selection is difficult,
and hopefully we get it right.” In the
end, 281 artworks were on display,
101 submitted by nonmembers, and
18 awards were given. Hayes says
there was representation from inter-
national artists, emerging artists and
artists doing large-scale works.
The exhibition took place at the
Watts Gallery Artists’ Village in
Surrey, England—a significant loca-
tion for the society, as G.F. Watts was
both the founder of the gallery and
one of the founding members of the
Pastel Society in 1898. The current
director, Alistair Burtenshaw gave
the exhibition’s opening speech.
One of the most beloved parts of
each year’s exhibition is the society’s
Art Event Evening. “The Pastel
Society’s strength is its ability to
inspire, teach and share through
workshops, demonstrations and
the Art Event Evening,” explains
Hayes. “It’s a charity after all. We
have free demonstrations and talks
throughout the show and at the Art
Event Evening, where the public
can work with and talk to members.
Street in Ajmer, Rajasthan

(35½x28¹⁄3) by June Arnold

It’s important to have that connec- ABOVE
tion.” This year’s event included Street Kids: Manila
(181⁄10x213⁄5) by Keith
a live model dressed as a Roman
Bennett
soldier and another as a Latin
guitarist, serenading the artists. LEFT
Canary Wharf at
“Today, the Annual is current,”
Night (15¹⁄3x13) by
says Hayes of the exhibition. “It’s Richard Rees
fresh, and there’s a growing aware-
ness and appreciation of the medium.
There are limitless possibilities.”
Follow us on:
terryludwigpastelsLLC
terryludwigpastels
Art Matters
IAPS HOLDS 13TH BIENNIAL

CONVENTION
The International Association of Pastel Societies’ website describes
its biennial convention as “the biggest pastel party on the planet.”
The convention will be held from June 4-9 in Albuquerque, N.M.,
where a pantheon of well-known pastelists will teach workshops and
offer demonstrations. A trade show, known as the “candy store,” will
showcase pastel goods and new products from enthusiastic sup-
pliers. Five workshop scholarships, awarded by the Urania Christy
Tarbet Legacy Scholarship, will
be announced at the conven-
tion. For more information
on registration or the class
schedule, visit the association’s
website at iapspastel.org. PJ
FAR RIGHT
Aline Ordman’s Golden Light
(detail; 16x20) appears on the
cover of the IAPS Souvenir
Program and Pastelworld
Exhibition Catalog.
See YOU at
The Convention!
PastelWorld
Workshops
Networking
TheCandyStore
Demonstrations
MakingNewFriends
Music&Dancing
AwardsBanquet
International
AssociationOfPastel
Societies
AlbuquerqueNM
iapspastel.com
CALL FOR ENTRIES
Be One of the Artists Celebrated in the

21st Annual PASTEL 100
Field Patterns (detail; 20 x 24) by Jacob Aguiar
EARLY-BIRD DEADLINE: August 5, 2019

DEADLINE: SEPTEMBER 3, 2019
Art material prizes courtesy

of our Pastel 100 sponsors:
TOP PRIZES
1ST PRIZE
Pastel Journal Founder’s Award
in memory of Maggie Price:
$5,000 CASH
2ND PRIZE
Pastel Journal Award of Excellence:
$2,500 CASH
For complete prize information, juror biographies, or to enter online, visit:

artistsnetwork.com/pastel-journal-competition
5-Minute Coach
“Is My Painting Finished?”

Christine Swann offers this checklist of nine criteria for you to consider when
assessing the progress of a painting.
INTENTION
This is always No. 1 on the
COMPOSITION
Are focal areas not only
Feedback
list. Ask yourself: What’s planned, but also percep- Ask someone to describe your painting to you. Did he
the story? What is it that tible to the viewer? Can I or she understand your intentions? Did he or she find a
I’m saying, and is it com- further strengthen them drawing error? Even a non-artist’s opinion can be help-
ing through? How can I through edgework, more ful, so let a child or neighbor take a look. You might be
add to the story? Is my definition of an object or surprised by what they see. You might be encouraged to
voice as an artist clear? color changes? Would the make a few more adjustments before signing your name.
Did I follow through with addition of some diago-
my original goals? Did nal, vertical or horizontal
they change? Does the supports, pointing to my
painting tell me, visually, main area, bring more pol-
what they are? How can ish to the piece? Can I let
I strengthen them? some areas or details go?
COLOR HARMONY LIGHT & VALUE

Did I build color harmony? Are there places where
Could one color be my representation of the
brought into greater light doesn’t make sense?
dominance? By lowering Did my photo references
the chroma in certain lie to me? Lit areas and
areas, could I help other, shadow areas need to be
more focal areas pop for- defined and separated
ward? Which color is my by value changes. Do ACCURACY TEXTURE
accent? Is it important? the values create a clear Is the drawing accurate? Do all of my strokes look
Is it supportive? Does definition between what’s Am I afraid to rework an the same or is there a
ART CLASS: HERO IMAGES/GETTY IMAGES; MUSICAL NOTES: TONGRO IMAGES INC/GETTY IMAGES
anything feel hazy? Clear lit in the painting and area for fear of ruining it? pleasing variety of tex-
colors can help with that. what’s not? Being afraid of an area tures and strokes going in
creates fear in the paint- differing directions? Are
ing. Does any area look there both smooth and
timid? If so, do I have the rough areas? Can some
guts to wipe it out and texture be eliminated for
try again? the good of the whole? Is
there a “breathing” area
BEAUTY to allow rest amidst all
Do I have areas that the detail? PJ
are just plain beautiful?
Beauty in the marks? In
the tone transitions? In Pittsburgh artist Christine
the turn of the light? In the Swann (swannportraits.
accuracy of an expres- com) is known for award-
sion? If not, can I find it? winning portraiture. She’s
Music Can I make viewers stop
and look? If I step back,
a signature member of the
Pastel Society of America and
What’s the musical score of this piece? Does it feel like do I see an opportunity a Master Circle artist in the
Enya? George Winston? Joss Stone? Tina Turner in high to add a few meaningful, International Association of
heels? How can I make the painting “sing” more? beautiful marks? Pastel Societies.

SPONSORED BY
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your work in the pages of
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Visit www.southwestart.com for complete guidelines and to enter today!

Skill Builders
Painting in Parts
One artist finds solutions, creativity and meaning in her exploration
of the polyptych.
By Pamela Winkler
I wanted to paint big. As an architect-

turned-artist, I continue to be
fascinated by large manmade
objects: buildings, bridges, earth-
moving machines, trucks, trains.
I found the solution to these
problems in the ages-old tradition
of the polyptych, broadly defined as
a multipaneled painting. As I later
learned, the tradition arose in part
Throughout history, diptychs often
have been used to point out contrasts:
old/new; youth/age; before/after;
day/night; summer/winter; spring/
fall, etc. But the format alone, absent
My ambitions were at odds, however, as a practical response to the same any symbolism, has a power in itself.
with my chosen medium—pastel. problems I was facing. In the Middle
The heaviness of the protective glass, Ages, for example, altarpiece paint- A Monster at the Window
to say nothing of the cost, made large ings often were hinged to fold shut for The idea for my first multipanel
pastel works impractical. And then protection (in Greek, “ptych” means painting, Riotous Rooftop (above),
there was the transportation issue: “fold”) and to facilitate relocation came to me in a Santa Fe gallery five
I drive a MINI Cooper. from one place of worship to another. years ago. Looking up toward the

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The expansive
nature of an old
clerestory, I glimpsed a “monster” at ductwork system on
the window. It gave me a start before a roof was befitting
I realized it was merely an old duct- of a triptych treat-
work system on the roof. Fright gave ment in Riotous
Rooftop (14x26).
way to indignation. What a jumbled
mess! the architect in me thought.
With its listing torso and huge,
hollow arms snaking out in all direc-
tions, the contraption appeared to
have been more improvised than
planned. But my inner child loved it
for this very reason. It was playful; it
was free! I knew at once that I wanted
to paint it—to preserve, if I could, the
crazy mix of conflicting emotions it
excited in that moment. I took several
photos of the system.
The subject itself dictated the
format of the painting. This exuberant
monster couldn’t be contained within
a single frame. It wanted to sprawl, to
ramble, its expansive nature most fit-
tingly conveyed by a series of panels.
I envisioned a triptych.
Skill Builders
For the Artist, Maker & (Forever) Inspired

Artists Network is with you every step of your art journey.
Come have fun with us! Come make art with us!
ArtistsNetwork.com

Fenced In (23x63) features a variable distance instead of a fixed distance
(seen in the sketches, right) and the painting in process (right, below).
Not knowing what challenges this omitting superfluous

new format might present, I began detail. Then I took up
with a small preliminary study. The my pastels. I painted
first question I faced was where to with a jewelry maker’s
make the divisions. I wanted a strate- concentration along
gic segmentation: no panel complete the lines where the
in itself but all three pieces part of an image split, allowing
organic whole. In this, I was governed some excess to overlap
primarily by aesthetic considerations, slightly under the
yet not unaware of the marketplace. rabbets to prevent
I could already hear a customer even a sliver of raw
asking: Would you sell this piece sepa- paper from interrupt-
rately? I decided to cut right through ing the eye’s progress.
the focal point—the “monster’s” head I was now ready to paint a
and torso—and let the viewer’s eye large-scale version of Riotous Rooftop, I slightly shifted the name on the
rejoin the outer thirds to the center. but I was also ready for a break. side of the car so my cuts would go
The challenge was to ensure a I decided to put off the project through the letters instead of between
smooth visual transition. Normally, until after my return from an art them. I wanted not only to avoid a
I wouldn’t worry too much about tour of Kansas City’s galleries and breakup into what would appear to be
losing a fraction of a painting under private collections. separate words—Tex / as / So / uth—
the inside edge of the frame, or Between art sites on the tour, but also to reinforce the idea of inter-
rabbet. But with the focal point I spotted an abandoned train car on a connectedness, each section
now straddling two frames, even a side track in the industrial area. I had an integral part of the whole.
fractional loss could result in a ruin- a new subject! Riotous Rooftop would Applying the lessons I had learned
ous discontinuity. The fit had to be have to wait a little longer. from the study for Riotous Rooftop,
perfect. For reference points, I drew I did my sketching-in with the sheets
vertical lines to mark the crucial Trouble Shooting laid side by side, in pairs. The diagonal
rabbet edges and horizontal lines to This is how Fenced In (above) actually of the train car roof required some
keep the composition in alignment. became my first multipaneled work. finessing. To reconnect an image split
Working from the photo clipped Again, the first step was to divide the between frames, the eye must travel
to my easel, I sketched an outline, subject matter into three sections. the width of the frame edges, plus
Skill Builders
the exposed wall between them. A Larger than Life the viewer might look at it in a new
horizontal line presents no problem My ambition to paint big took way—might actually see it for the
because the eye easily bridges the gap, another turn with On the Grid (below). first time.
but a long diagonal line is tricky. I had I wanted to monumentalize humble This purpose also guided my choice
two options: One would require that kitchen implements, painting them of a multipaneled format. I wanted
the panels be hung a fixed distance larger than life. I happened upon to highlight the dignity of simple
apart, and the other would allow the them in an old tobacco warehouse things. Far easier to have clustered
distance between the panels to vary repurposed as an antiques mall. these objects in a single frame. They
(see the sketches on page 13). Not I didn’t know—and still don’t— belonged to the same category—
knowing how a buyer might hang the what all of them were used for. kitchen implements—and maybe
panels, I elected the variable option. I wanted to portray them as interest- even occupied the same kitchen
New challenges often bring new ing objects, apart from their utility drawer for half a century before end-
ways of seeing. I initially was attracted or price. In fact, I eliminated all but ing up together in an antiques mall.
to the train car because of its weath- two of the original tags, and these The triptych acknowledges their com-
ered state—aging, neglected, its I made unreadable. monality by displaying them against
useful life over. I saw it as a metaphor In rendering small things big, a uniform background in all three
for human life. But showing it in three I’m conscious of following a long panels—what’s more uniform than
parts transformed my vision of it. For tradition. I was often reminded of it a pegboard?—while at the same time
one thing, the triptych embodies the during my visits to the Cincinnati accenting their individuality, extend-
essential idea of a train as a linkage or Art Museum when I lived in that ing two of them into adjacent frames
concatenation of parts. For another, area. Standing before Franz Kline’s for attention-getting effect and
it seems to impart movement to the huge abstract, Horizontal Rust, I read showcasing others with positions of
subject, just as an observer might about his breakthrough into abstrac- prominence within their own frames.
experience a passing train in a series tionism: “The decisive moment came
of glimpses. Perspective contributed upon seeing his own small-scale Stone and Steel
to the effect. The train was moving representational works enlarged by I now live in Asheville, N.C., and
toward me. In the segmented roof, a projector to the point at which the my walks often take me past the
I saw both rust and the hazy reflec- subject became unrecognizable.” construction at the Asheville Art
tions of a modern skyline—past and My purpose, however, was never
present, stasis and movement, all in a to make the subject unrecognizable
single image. but to enlarge it to the point where On the Grid (21x45) relies on a triptych
to exaggerate the size of kitchen utensils.

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A c o l l e c tio n o f im pe c c a bl e d es i g n & c r a f ts ma n s h i p fr om I t al y .
Skill Builders
Museum. The classically I kept the knotted rope, dangling like

designed building is getting a a necktie, its softness a counterpoint
steel-and-glass addition. As to the hardness of the steel. And I
an architect and a strong sup- added to the frieze a detail the photo
porter of the museum’s work, hadn’t captured—its upper band and
I’ve followed each stage of light green patina.
the project with interest, my Nearly finished with the painting,
camera always handy. Among I saw that the block of white stone
the many photographs I’ve needed more than marbling and a
taken of the work in prog- patch of sun to give it life. With this in
ress, one in particular (at mind, I restored the outermost cable,
left) suggested a painting— moving it inward to cut across the face
a diptych to contrast the old of the stone, an echo of the rope. As a
and the new. final touch, I added to a steel column
As it stood, unedited, the the stenciled logo, “J & L,” in memory
photo was crowded with of my dad, who worked for 30 years
elements superfluous to the at Jones and Laughlin Steel (see Stone
contrast. The heavy equip- and Steel, above).
ment at the base of the In the process of working with
construction, the extension diptychs and triptychs, I’ve discov-
ladder, the hanging cables, ered that purposeful fragmentation
the faceless elevator tower can do more than increase the aes-
of cement block—these would play no thetic pleasures of a painting. It can
The Stone and Steel diptych (top; 25½x43)
marries together the old and the new, as seen
role in my painting. Instead, I envi- also enhance its meaning. PJ
in the original photo (above). sioned a stark contrast of stone and
steel. I cropped the photo severely, Pamela Winkler (pamelawinkler.com)
saving only the top fourth—and not graduated from Miami University in Ohio,
even all of that. I eliminated some with a bachelor’s degree in art history and a
beams and the view of an adjacent master’s degree in architecture. She worked
building in the background to create as an architect before becoming an award-
more interesting negative space. winning full-time artist in Asheville, N.C.

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Color Decoder
Code Red
Learn all about red—and how to use this fiery
color to express a mood and impact other colors.
By Michael Chesley Johnson
M y mother warned me to avoid

things colored red,” said
American sculptor Claes
Oldenburg (b. 1929). Red has a long
history as a symbolic color, and its
meanings vary by culture. In the East,
it can mean good luck, happiness and
prosperity; in the West, it can symbol-
ize love and passion, as well as anger
and malice. Red means danger, red
means love. It’s ironic that a single
color can denote such opposing con-
cepts. For the painter, red is full of
energy and heat—and a little can go
a long way.
The Beauty of Red

Red lives at one end of the visible
electromagnetic spectrum between
625 and 740 nanometers. If you look
at a rainbow or a spectrum cast by
a prism, you’ll see that red seems to
fade and eventually vanish; however,
it actually merges with the invisible
infrared. Think of heat lamps, which
emit both red and infrared, and you’ll
ANDREW W. MELLON COLLECTION/NATIONAL GALLERY OF ART
understand why we think of red as a

hot color.
For the painter, of course, red sits
between orange and violet on the
color wheel. A primary color, it can’t
In Girl With the Red Hat

(c 1665/1666; oil on panel, 9x71⁄16),
by Johannes Vermeer (Dutch,
1632–1675), the artist used cool
reds in the form shadow of the
hat to contrast with its hot reds,
making them seem even more
rich and vibrant.

ABOVE
In Sunset Mesa (8x16),
the color red is all about
creating drama. Using Blue
Earth pastels, I painted the
sunlit portion of the mesa
with mid-value warm reds;
one might think of a sunny
mesa as being quite light,
but to preserve the richness
of the red, I went a little
darker. For the distant
formations, I used cooler
reds in keeping with the
effects of aerial perspective.
In the shadowed foreground,
I used darker, even richer reds
to indicate warmth, interspers-
ing them with cool and warm
greens to create an engaging
set of contrasts to create a little
foreground interest.
LEFT
To indicate a sense of distance
in Mitten Ridge View (12x12),
I used mostly neutral reds in the
far rock formations, keeping
the richer, warmer reds for the
sunlit and shadowed portions
in the foreground. A little green
here and there adds interest.
be mixed from other pigments. Red is it has been mined as red ochre and ivory painter’s palette daubed with
often such a strong color that it needs hematite for thousands of years. In red ochre. In ancient Rome, the
to be used sparingly or with modifica- a cave in South Africa, paleoanthro- poisonous red lead was beloved by
tion. But we do love it, don’t we? pologists discovered evidence of it artisans. In a fourth-century temple
having been ground 170,000 years in the Mayan city of Palenque,
A Brief History ago, probably for body decoration. In cinnabar—an equally poisonous
Red is commonly found in the earth King Tutankhamen’s tomb in Egypt, red containing mercury—covered
as a form of iron oxide (rust), and archaeologists found a 3,000-year-old the skeleton and ceremonial items
Color Decoder
QUICK TIPS
Red is effective for modifying colors in the green family, because the two colors are complements. On the left, I’ve taken
two values of red—a dark, warm version, and a light, cool one—and have used them to modify two different values of a
yellowish-green. The first row shows how a dark warm green can be modified; the second, a light yellow-green.
On the right, I’ve taken the same two values of red and have used them to modify two different values of blue-green
(Blue Earth’s turquoise). The first row shows how a dark turquoise might be modified; the second, a light turquoise.
Using one value of red to modify the same value of green results in a smooth, optical blending of color. On the
other hand, using one value of red to modify a very different value of green results in a rougher blending.
Reds can be bright,

intense colors; pale,
cool tints; or deep,
rich almost-browns.
This set of Blue Earth
reds on a sheet of
Kitty Wallis Belgian
Mist sanded paper
shows the range from
light to dark, intense
to dull. Darker reds
are made from a
single cadmium red
pigment; lighter reds,
by adding white plus
red-orange. More
neutral reds are made
by adding chromium
oxide (a green).
of a noble woman excavated by scien- conquest of the Aztec Empire brought century painters, including Tintoretto
tists. (Fittingly, the structure is called cochineal, an even more intense red (Venetian, 1518–1594), Rembrandt
the Temple of the Red Queen.) made from a New World insect, to (Dutch, 1606–1669) and Vermeer
Cinnabar also is used to make Europe, where it became the color of (Dutch, 1632–1675); however, it’s
vermilion, a brilliant red favored choice for dyeing the robes of cardi- notoriously fugitive and not lightfast,
by the Renaissance painter, Titian nals. This dye, also called carmine, as is madder, another favorite red,
(Venetian, 1488–1576). The Spanish was used by most 16th- and 17th- which is derived from a plant.

The Three Pigments In smaller amounts, it can serve as a I used a variety of reds—from dark
Alizarin, the first synthetic red, was “spice” color. A single speck near the red-oranges to pale red-violets—
created by a French chemist in 1826, center of interest can pull the eye. to create a dramatic sense of light
and shadow in Keepers of the Creek
but it also proved fugitive. Finally, Because I’m primarily a landscape (12x18). I carefully controlled which
in the late-19th century, German painter, I find myself using reds red went where, placing warmer,
chemists created the first permanent in almost every one of my pastel deeper reds in the foreground and
mineral colors, giving us cadmium paintings. As one might expect, I use cooler, lighter reds in the back-
ground. Interspersed with these vivid
red, which has the color of naturally them in Southwestern landscapes colors are a variety of rich blues and
occurring cinnabar. Henri Matisse where great swaths of exposed rock greens to punch up the drama.
(French, 1869–1954), one of the first reveal earthy reds. I also use it in
proponents of cadmium red, tried paintings featuring vegetated land-
but failed to convince Pierre-Auguste scapes that seem to be smothered by As you put red to work in your
Renoir (French, 1841–1919) to switch green because there’s red beneath paintings, keep these ideas in mind.
to it from his beloved vermilion. that overwhelming green, especially Red can mean danger, after all—
Since the late 1800s, a variety of in shadows and darks. As I paint, but not if you know how to use
organic red pigments—“organic” I add a variety of reds to these areas. it properly. PJ
meaning that they contain carbon— Because red is the complement of
have been created in the laboratory. green, it modifies green wonderfully. Pastelist Michael Chesley Johnson
These modern pigments, such as Depending on how it’s applied, red (mchesleyjohnson.com) is the author of
naphthol red, quinacridone red and can either intensify or dull greens. Outdoor Study to Studio: Take Your Plein
pyrrole red, give us some of our most (See “Quick Tips,” on page 20). Scum- Air Painting to the Next Level and other
intense, lightfast colors. bling a little red over green will jazz books, and is also a painting instructor
up both colors, thanks to broken color who’s featured in several Artists Network
Red in Action and simultaneous contrast. But blend TV videos (artistsnetwork.com/store). He
Red, in large amounts, can be quite a little red into the green, and both teaches painting workshops throughout
dramatic, as in a stunning sunset. become dulled. the United States.
Falling Water
CINDY CRIMMIN VIEWS THE WORLD WITH FRESH EYES
AS SHE EXPLORES IT THROUGH HER LANDSCAPE PAINTING SERIES.
By Amy Leibrock

Diana’s Bath No. 1
(10x20)
“I was never as aware of how beautiful the world is until I started to paint,”
Cindy Crimmin says. “It makes life better. People who don’t paint don’t know
this.” Now a decade into her journey as a painter, the Acton, Mass., artist is
attuned to see beauty everywhere—in the colors refracted from a puddle, the
intersection of a chair against a wall, the light falling on a tree trunk. These
inspirations can turn into mild obsessions and then full-blown series, like the
paintings of falling water shared here. Once the artist turned her attention to
the subject of moving water, the potential for beauty was apparent.
TAKING A THEMED APPROACH back up again as foam; or the water at the foot of the falls,
“I get a little bit excited about too many things, so I’ve where it appears a bit transparent,” the artist says.
learned that I need to stick with something and see it In another recent series, inspired by the vegetation in
through,” Crimmin says. She’ll make herself do a four- Joaquín Sorolla’s paintings, Crimmin explored flowers and
to six-painting series on a theme before moving on to the intricate shadows they project onto walls. “By the end
something else. She’ll then circle back and paint more of the series, I was paying more attention to the negative
works on that theme, discovering in the process that shapes than I ever thought possible,” she says.
she’s gained clarity. Each exercise teaches her something
new that she brings to subsequent work.
Crimmin’s waterfall paintings are the result of her LOOKING AND TALKING
exploration of moving water. “I observed how water moves, This relentless push to learn and grow isn’t surprising once
how it falls and how, in the center of a waterfall, the water you learn that Crimmin is a lifelong educator; she has a doc-
appears foamier, thicker and whiter,” she says. “As the water torate in education and taught foreign language for years. It
falls, it spreads out, and appears bluer because I’m actu- has only been in the last three years, since her retirement,
ally looking through water droplets.” By focusing on just that she’s been able to focus more time on painting.
one waterfall element, the possibilities for painting matter Art has always been part of Crimmin’s life, though. She
expand. “I can focus on the sun shining on the splash; the enjoyed drawing as a child and majored in art history in
splash at the bottom where it hits the surface and shoots college. She took figure-drawing classes a few decades back

CLOCKWISE
FROM OPPOSITE
Roll of Thunder
(18x24)
Source Waters
(12x9)
Natural Hopscotch
(8x10)
that focused on value, and for years

she drew children’s portraits from
photos using Conté pencil and sepia
chalk. Yet without the time to build on
this drawing foundation, she wasn’t
confident about composition or color.
It was by luck that Crimmin met
pastel artist Jeanne Rosier Smith,
who introduced her to pastel. “Most
of what I know about pastel comes
from Jeanne’s teaching,” she says.
Crimmin liked pastel because it was
an approachable way for her to learn
about color. She also appreciated that
pastel went down fast—a plus for
someone short on painting time and
who admits to being impatient.
Once Crimmin started painting,
she discovered that she knew a little
more than she thought she did. Years
of “looking” at art had given her an
instinct for composition. “If you
like art, you’ve probably looked at
it a great deal, and if you’ve looked
at it a great deal, you’ve already got
some instinct about how things work
together,” the artist says. “Now you
just have to think it through. Once
you’ve put some words on it, you’ve
got better control of it.”
For Crimmin, putting words on it
means talking aloud about the process
and decision-making. Artists refer to
this as critique, but she uses a term
from her education days: metacogni-
tion. “It makes all the difference if
you can try to articulate what you’re
doing,” she says. “Even if there’s no
one there, it helps it stick in your head
and clarifies what you’re thinking.”
When teaching a small group of
students, she uses this concept by
asking the students to participate in
the critique of their work. “It helps
them be more decisive.”
WORKING
WITH WATER
When Crimmin begins a painting, she
selects its orientation based on what
she wants to showcase. In Provence
Gorge (on page 29), she wanted to emphasize the dramatic sedimentary rocks that have been worn away by rivers and
drop of the waterfall, so she chose a long vertical format. the color-flecked granite found in the region’s mountains
Crimmin organizes her compositions by making a notan and shorelines. “Breaks in rocks are particularly appealing,”
or value sketch of the large shapes and transferring the she says. “Some of them are wide and then they flatten off,
shapes onto a piece of UART 400 paper mounted on Gator and they’re really fun to play with. I use the edge of a Terry
Board. She then underpaints the entire surface using one Ludwig pastel and push it back and forth to make straight-
or two relatively warm colors, one cooler than the other. edged cracks in rocks.”
“Next, I layer local color and neutrals to make that local Crimmin manipulates the rock features to suit each
color—either shadow or light—start to build the rounded painting, adding a crevice to help guide the eye in a certain
forms,” she says. “I remind myself as I work to allow some direction or flecks of coppery red to brighten a composi-
of the underpainting to peek through.” tion. “They have purples in them when they’re in shadow,
As the painting progresses, Crimmin allows time to but they also can have oranges and ochres and hits of blue,”
“listen” to the painting, to let it suggest areas where she she says. “If they’re wet at all, there’ll be sky reflections
might eliminate or add elements that aren’t in the original on them, and they’ll reflect in the pools of water. They’re
scene. “In the case of the waterfall series, I often add extra forgiving, but they also have great personality.”
drips of bluish water or carve out additional rocks in the She works with a variety of pastel brands: Terry Ludwig,
spray by using a small brush to dust off the white pastel,” Nupastel, Sennelier, Diane Townsend and Blue Earth. The
she says. She also uses the brush to unify sections of the more she paints, the more confident she has become in
waterfall into more pleasing shapes. “The result might make finding the right color. She’s especially fond of small, flat-
it difficult to locate that exact waterfall again, but I Iike the tipped watercolor brushes, which she uses to smooth pastel
composition better than what Mother Nature gave me.” strokes, make narrow lines when using a large pastel or
brush off pastel from the underpainting. “I can use it to pick
out a line at a slightly different value from the pastel that’s
BEING BOLDER gone onto the paper,” she says. “I can create little marks just
Rocks are another of Crimmin’s favorite subject matter. As by knocking down. What will happen is that whatever’s
a New Englander, she says they feel like home to her. She’s underneath will show through. If it’s lighter, it’ll show
spent time observing the differences between layers of through lighter; if it’s darker, it’ll show through darker.”

LEFT
Sheltering Cove
(12x24) Turn the page for a
BELOW waterfall demonstration
Slip and Slide
(11x14)
Crimmin has been working on making bolder marks and suppressing

the urge to fuss with things too much. “The work loses some of its power
when I do that, so I have to remind myself not to tinker,” she says.
PAINTING WITHOUT LIMITS

Crimmin still paints portraits and is constantly drifting from one
genre to another. “Portrait work is good for forcing precise drawing and
careful color application,” she says. “Without a good drawing and skin
color that seems alive, a portrait will never feel quite right. You’ve got
to be really careful of your surface and the values that make the three-
dimensional shape.
“Landscape, on the other hand, is a great way to study composition
and color range,” she continues. “When you turn around and go back
to something like a rock, you have much more latitude in your drawing,
but you’re still working with the values to create the three-dimensional
form; you’re still watching where it undulates; you’re watching for crev-
ices; you’re changing your mark-making to get the crevice in a rock.”
Eventually, Crimmin would like to try a different medium to see
what lessons it might offer, but for now she’s happy to keep pushing
her boundaries with pastel. “It’s always interesting,” says the lifelong
learner. “I’ll get better forever.”
Amy Leibrock is a Cincinnati-based freelance writer and content manager.
Cindy Crimmin
(cindycrimmin.com), of
Acton, Mass., is a former
foreign language teacher.
She’s a signature member
of the Pastel Society of
America, the Copley Society
of Boston and the Pastel
Painters Society of Cape
Cod, and a member of the
International Association
of Pastel Societies, the
Connecticut Pastel Society
and the American Society
of Marine Artists. Her work
has appeared in numerous
shows and exhibitions.
She’s represented by The
Left Bank Gallery in Wellfleet
and Orleans, Mass., and
Francesca Anderson Fine
Arts, in Lexington, Mass.
demonstration Provence Gorge
1 2 3
Step 1: I begin with a notan each composition, but I Then, I sketch the place- to either side of the main
or simplified value sketch do need to design a scene ment of the major shapes fall of water. I intensify
and transfer it onto UART that’s interesting and will on the textured paper. the darks and lights to
400 paper mounted on keep the viewer engaged. strengthen the composition
Gator Board. This helps me At this point, I spend time Step 2: Next, I apply dry further. At this stage, these
to begin to see the com- thinking about the refer- pastel and liquify it with an areas help anchor it.
position in terms of large ence source and deciding alcohol wash. I then block
shapes, a focal point and what to keep, what to in the large areas in terms Step 3: After the darks
the directional marks that simplify and, on occasion, of light and dark. For the and lights of the rock face
will attract and keep the what to add. This think- waterfall, the darkness and vegetation around the
viewer’s attention. I want to ing and decision-making behind the falling water is falls are established, I use
ensure that the fall of water actually continues through- significant, as it describes the edge of a light blue
doesn’t direct attention off out the painting process. the rock face over which or creamy white pastel to
the page or beg the ques- Occasionally, I may adjust the water falls; provides position the primary falls of
tion of its origin. I don’t the initial decisions, but a contrast with the light water. I stand back to check
need to include the entire starting with a plan helps water; and explains the the original compositional
fall from top to bottom in me begin on sound footing. blue shades of the spray plan. I also think about the

“I get a little bit excited about too many things, so I’ve learned
that I need to stick with something and see it through.”
the ones that support the

compositional lines.
Midway through the
process, I use a small, flat
watercolor brush to knock
off small sections of darker
pastel on rocks here and
there, allowing them to
protrude slightly in the side
sprays of the falling water.
I also use shades of light
to mid-value blue to lightly
describe secondary falls.
Final: I add highlights to

the water, softening the
edges of the spray where
the falling water hits the
rocks at intervals toward
the bottom. I use an old
toothbrush to punctuate
them with small dots of
errant spray. PJ
—Cindy Crimmin
ways in which the water

falls and where, allowing it
to spill over beyond what’s
included in the photo.
As I continue to add
middle values, building the
layers of color and light in
the rocks and surrounding
vegetation, I often remind
myself to unify the larger
shapes and to keep the
smaller shapes at the focal
points crisp and bright. I
also add the ledges and
crevases to the rock faces
with the edge of a dark, soft Provence Gorge
pastel stick, accentuating (24x8)
TH E STARK B E AUT Y O F
A TREE TO P ATM OSPH ERE
SEASONS ARE
EVERYTHING TO
DAVID BRAMMELD
WHO FINDS TREES
A SUBJECT ESPECIALLY
CAPTIVATING IN
THE MIST.
By Louella Miles
T
he signature stark
outlines of David
Brammeld’s trees will
resonate with anyone
who enjoys a walk
in the countryside,
particularly in autumn
and winter when the bare limbs
and branches create a mesmerizing
architecture. The artist’s depictions
are so atmospheric that you might
catch yourself wondering if a crow will
suddenly emerge from the surface.
Brammeld wants the viewer to feel
immersed in the landscape at a partic-
ular moment in time. His work might
evoke a cold winter’s walk with muted
colors and a featureless sky, or just the
experience of getting away to the peace
and quiet of a natural environment.
The paintings are all the more
impressive given Brammeld’s method
of working, which isn’t, at first
glance, in the traditional mold. Then
again, neither is his career to date.
When he studied fine art in college,
he found himself working with clay.
“It seemed quite natural to do so,”
Lonely Tree (Maer

Hills) (231/3x33)
“THERE ’S SOMETHING SO POWERFUL ABOUT A L ARGE TREE , THE SHAPES
OF THE B R ANC HES , THE GESTURES , THE TANGLED UNDERGROW TH .”
says the artist. “My drawing and drawing. My current skills in terms with a fair degree of success. This
sculptural ideas were quite strong. of graphite, pastel and acrylic are encouraged him to enter still more
Color and painting didn’t seem mainly self-taught. Nobody taught and to develop what, in time,
important at the time.” me how to use pastels.” He finally became his specialty. Coming from
After graduating from Staffordshire became a full-time artist and art Staffordshire, an area with a rich
University, Brammeld developed a tutor in 2012. industrial heritage, which, over time,
career in graphic design, advertising disappeared and transformed into a
and publishing. He formed his own post-industrial wasteland, landscapes
business producing newspapers and BALANCING ACT —both urban and rural—had a huge
magazines. “Art took a back seat,” he Some 20 years ago, Brammeld started impact on the artist and fostered
says, “although I always had spells of entering open art competitions, and a compelling theme. “I wanted to

capture this heritage before it disap- his interest in the post-industrial
peared completely,” he says. landscape—pottery factories built
Throughout this period, Brammeld on the side of canals, rows of ter-
found himself trying to manage raced redbrick houses left derelict
three areas of activity: his day job in for years—with more organic vistas.
publishing, his art and a burgeoning “I love walking in the countryside,”
career at a local college as a teacher he says, “and seeing the distinc-
of life drawing and painting. This tive trees with beautiful shapes and
balancing act continued until the form.” While trees may not possess
demand for print media decreased, architecture as such, Brammeld
and the artist felt it was time to give feels that they do have an inherent
LEFT up his day job. Simultaneously, his structure, which forces them to find
Bright Spring Day paintings were winning more awards balance in their growth—the best
(91/2x121/2) and becoming more sought after. way to stand. “With a building, that’s
BELOW Artistically, Brammeld also an architect’s job,” he says. “With
Three Winter Trees, registered the need to moderate the natural landscape, it’s about the
Joined (33x231/3) power and beauty of nature and the
elements. Of course, nature eventually
takes back the man-made structures.”
The artist’s favorite seasons
for treescapes are autumn, winter
and spring when, he says, trees are
exposing their form, devoid of their
“coats” of leaves and foliage. “There’s
something so powerful about a large
tree, the shapes of the branches, the
gestures, the tangled undergrowth,”
he says. “It’s so fascinating being lost
in all that movement and life. I try
to capture the feeling of what it is
to be in that landscape.” The same
awe can be found, he says, in urban
landscapes, and the incongruity of
portraying a derelict building with
fascinating textures and detritus
against a clear blue, cloudless sky
with the sun beating down.
BIG IDEAS
The power and beauty of nature sing
out loud and clear from Brammeld’s
paintings, partly due to the colors he
uses and partly due to the atmo-
sphere he builds. There’s also the
fact that the paintings, at 2x3-feet,
are rather large. They pack a punch.
His paper of choice is A1 white
cartridge paper. He also has a roll of
heavyweight cartridge paper that’s
nearly 5x65-feet, so the potential to
go even bigger certainly exists. The
sole limitations are studio wall space,
storage, framing and transportation.
“The reason I use cartridge paper
RIGHT
Grey Day, Late
Autumn (33x231/3)
BELOW
Winter Skyline
(graphite, 231/3x33)
for pastels is that I don’t get on with with a camera and a small sketch-
textured or tinted papers,” he says. “If book. He’d explore until he found
a paper has a texture, that texture is something interesting, and then take
inherent in everything, so even when hundreds of photos from unusual
you want to depict smooth, you have viewpoints. Back in the studio, he’d
texture. I much prefer creating the edit and crop the images, printing
illusion of texture where it’s needed.” them out and developing them fur-
His technique has evolved over ther through sketches and studies.
time, with much experimentation to He uses the same techniques now
discover what works best. “A lot of for his natural landscapes. “I’m con-
us start out with budget materials stantly scanning the environment for
because of the expense,” he says, “but images that interest me, again, coming
then you realize you’re limited. The away with maybe hundreds of images,
art market is constantly changing which I then file,” Brammeld says.
with new products becoming avail-
able all the time. A new paper, a new
pastel or a new paint can all have an AVOIDING STASIS
effect on one’s practice.” The one constant in Brammeld’s work
The first works Brammeld started is experimentation. To begin a pastel
exhibiting (his “gritty” urban, painting, the artist sometimes will
industrial scenes) were relatively begin with a charcoal underdrawing.
large, featuring charcoal or pastel, On the other hand, sometimes he’ll
and heavily fixed between layers with lay down broad areas of color. Which
expressive mark-making. He would tactic he chooses depends on the
go out on his mountain bike, armed subject or his mood.

TOP TIPS
In pastel workshops,
I like for participants
to experiment, to
explore the differ-
ence between good
quality and budget
quality, between pas-
tels that are soft and
buttery and those
that are hard. I want
them to discover the
difference between
cartridge paper,
sandpaper and tex-
tured paper. Everyone
has his or her own
preferences. It’s
about giving students
the opportunity to
experiment and dis-
cover. I never impose
my own methods or
say, “This is the only
way to work.”
1. Experiment with
different brands of
pastel, paper and
card. Each will affect
the outcome.
2. Try and keep your
colors clean.
3. Group colors
together. I have
separate boxes for
mid-greens, light
greens and dark
greens, for example.
4. Keep a spare sheet
of the same paper or
card you’re using to
hand-test colors and
blend there first.
5. Buy budget
materials upon start-
ing, but eventually
switch to artist quality,
and test a new brand
before buying it.
6. Invest in a decent
storage system. You
may start with a small
set of pastels, but your
collection will grow—
particularly if your
subject is landscapes.
—David Brammeld
“I’m a very intuitive artist,” says it extremely difficult when I’m doing fingers. It’s very physical, but it’s
Brammeld. “I may not even plan a very detailed small branch work with the way I work. I still use fixative
painting; I just like to start and see pastel pencils.” between layers and then continue.”
what happens. This is what I mean by The artist never uses very soft Recently he’s followed a different
experimental. I don’t work to a for- pastels on paper, but his pastel route, one quite at odds with his
mula. I’ll work away up until the point selection is varied: Faber-Castell normal practice. He’s been working
when I’m not sure how to proceed, then and Daler-Rowney are favorites, but on a series of small (9½x12½-inch)
‘rest’ the picture and come back to it at he also has some artisan handmade works (see page 32). These are on
some point in the future. The hardest pastels from France, Sennelier and tinted, gritty pastel card—in contrast
thing is knowing when to stop.” Unison, although he uses those more to his usual choice of surface. “This is
Brammeld uses white cartridge sparingly. The pastels are, for the one of the most difficult things I’ve
paper for pastel, graphite, charcoal most part, applied directly. “I don’t done as an artist,” he says. “Working
and acrylic. His fingers work the typically use water with pastels,” small with pastel, on a tinted card
pastel into the paper and obliterate he says, “but I have recently done a with texture, meant I had to change
any white paper. “I enjoy the physi- series of charcoal treescapes using my entire way of working. They ended
cality of this in the same way that Derwent tinted graphite (see page 34) up being colorful, looser works with
I enjoy making sweeping gestural in which I’ve used water to create softer pastels and needed little fix-
marks. And I always stand at the washes. I have to work hard to push ing. They were successful in terms of
easel,” he says, “although this makes the graphite into the paper with my sales. With the graphite works, some

things are simpler: The small details The colors are what make
are easier to do; the broader tonal Brammeld’s work so special, and
areas are much harder to work into.” his use of their subtleties creates a
distinct and magical mood—one that
allows trees to become the leading
THE PATH TO players. PJ
EXPRESSION
The decision of which medium to Louella Miles (writers4management.com)
use for which painting is dictated by is based in London. She’s a writer, publisher
the image itself. One with more color and an “artist in any spare time.”
and texture would suggest pastel.
Another, where the focus is form,
shape and composition, means that David Brammeld
color is secondary. “I’ll look at an (davidbrammeld.com) lives
image and think ‘Wow, I really want in Staffordshire, England,
to express that in graphite, carv- where he’s inspired by “the
ing and cutting into dark tones to ever-changing urban-built
environment, and also
create texture and interest,’ ” says the natural landscape—
Brammeld. “Or, it can be the control particularly the infinite beauty
you have with a pencil—it can be so of trees.” He has a B.A. in
versatile, capable of a vast range of fine art from Staffordshire
mark-making. Conversely, it can be so University and worked in
rewarding to catch a color effect just graphic design and publishing until 2012, when he became a full-
time professional artist. Brammeld became a part-time lecturer in
right, to get a subtle blend and then life drawing and painting in 2000. He became an elected member
make some subtle marks on top of of the Royal Birmingham Society of Artists in 2009, the Royal
that. Each medium has its own unique Society of British Artists in 2014 and The Pastel Society UK in 2016.
qualities, and I never mix the two.” He exhibits his art nationally and internationally.
ABOVE
Autumn in the Park
(231/3x33)
RIGHT
The Colours of
Winter (231/3x33)
A Pilgrimage in Pastel
AN ARTIST HIKES 1,000 MILES OF THE “WAY OF SAINT JAMES,”
STOPPING EVERY FIVE MILES TO PAINT WHAT SHE SEES.
By Sharon Bamber

As I write this, my feet are killing me, my
legs don’t want to work properly, my back
is aching, my shoulders are sore, and I’m so
tired that it’s hard to keep my eyes open.
Still, I just can’t seem to stop grinning.
I’m 700 miles into a 1,000-mile hiking
and painting expedition. I’m walking the
famous Way of Saint James, alongside
my donkey, Dupon, stopping to paint en
Rather than giving
titles to the paintings
plein air every five miles along the entire journey. I’ve walked across
I make along the
way, I’m using the
France, over the Pyrenees, and—as I write—I’m almost halfway
GPS coordinates to across Northern Spain. I’ve been walking and painting non-stop for
identify the location
of each bucolic field, four exhausting and exhilarating months—with about two more
rustic farm and grove
of olive trees. months to go. I don’t want the end to come.
“SINCE THE YEAR
A.D. 950, PAINTERS,
WRITERS AND POETS
HAVE FELT THE PULL OF
THIS JOURNEY. I’D BE
WALKING AND PAINTING
WHERE ANCIENT MAN
PAINTED ON CAVE WALLS
AND WHERE SOROLLA
PAINTED SOME OF HIS
GREATEST WORKS.”
Thinking Big
This ambitious art expedition arose from a single question lead to the shrine of Saint James the Apostle in Santiago
I posed to myself in December 2017: “Where am I heading De Compostela, Spain. The Spanish part of the route is also
with my art?” I had plunged, three years ago, into life as known as the Camino de Santiago.
a full-time artist. Since then, I’d spent my time doing The route has played a key role in religious and cultural
everything that an artist has to do to make a living. I was exchanges, circulating ideas and art since the Middle Ages.
loving it. Why then, did it feel that something was missing? I learned that, in 2018, the pathway would be celebrating
I started to consider: What do I really want my creative life 20 years as a UNESCO World Heritage Listing, coinciding
to look like? with the European Year of Cultural Heritage.
After much soul-searching, I figured out that I needed to I’d found my perfect first expedition—a route of enor-
immerse myself into creative projects that could take me mous cultural significance, crying out to be painted. Since
deep into the spirit of a place—projects that would keep the year A.D. 950, painters, writers and poets have felt
me constantly in contact with nature. I determined that my the pull of this journey. I’d be walking and painting where
true interest lies in expedition- ancient man painted on cave
based projects that can result not walls and where Sorolla painted
only in beautiful art, but also some of his greatest works.
in an alternative way of com- I planned to start the jour-
municating important stories. ney from Le Puy en Velay in
And I realized I craved a lifestyle France, and walk 1,000 miles
that incorporates travel, which of the Way of Saint James to
feeds my artistic and adventurous Santiago de Compostela. I made
spirit. The idea of a slow-traveling a goal to stop for painting time
expedition artist was born. every five miles in order to cap-
The next question became: ture the whole sense of place.
Where to start? My mind As donkeys have been walking
swarmed with exciting ideas this route alongside pilgrims
jostling for attention—until one since the beginning, I decided
serendipitous moment. While I that a donkey would be a
was visiting Limoges, in France, perfect companion. I looked
The Romanesque town of
I noticed bronze scallop shells set into the pathways. I Conques in Southern France on the journey as an enormous
discovered that the shells marked the Way of Saint James, was one of the early stops on challenge but, oh, the romance
a network of ancient paths in Western Europe, all of which my painting trek. of it all!

On the Trail WHAT I PACKED
My painting gear had to be extremely
DAY 1 The cobblestone streets of Le Puy en Velay sweep up through the sturdy to survive all types of weather
old town to the cathedral, where the oldest pilgrimage route in France and the rough terrain.
begins. My plan had been to paint the cathedral, but when I turned
away to look at the streets, I saw tall, narrow buildings—their shutters • Terry Ludwig pastels (270 sticks)
alive with beautiful patterns of light and shade. By the time I’d set up to • Heilman pastel box
paint my first painting of my expedition, however, the light had changed • Manfrotto tripod
completely. So frustrating! But also strangely comforting, knowing that,
whatever was ahead • Joshua Been upright panel holder
of me, the familiar • Easel Butler
difficulties of plein • 9x12 Ampersand Pastelbords
air painting would be (200). To avoid carrying 200
accompanying me. boards, I arranged for packs to be
shipped in advance that I could
DAY 2 Today my pick up at stops along the route.
donkey, Dupon, and • Under the Weather pop-up
I shared the drinking photopod
tube of my water supply. • One set of clothes plus one extra
His choice, not mine. base-layer, 2 extra pairs of socks
and underwear
DAY 6 A typical day: • Two pairs of trail shoes
Up at 6 a.m., pack
tent, breakfast, groom • Camping equipment (minimal)
Dupon, hoofpick • Radical Wheelie V Traveller.
I traveled with a donkey Dupon, load saddle, load bags, leave at 8 a.m. (if The total weight of my supplies
as a way to ease the lucky), walk, find painting location, tie Dupon on exceeded my original estimate
transport of supplies. short tether to off-load, re-tie the long tether so he and was getting well above the
Dupon was also a good weight that I wanted Dupon to
travel companion. can graze, set up to paint, paint, talk to interested
bystanders, pose for their photos, keep painting, carry, so I purchased this hiking
“trailer.” With it, we were able to
take photos of painting, find Google location coordinates, take down art
pull 80 pounds of gear. My hus-
gear, pack, tie Dupon on short tether to re-load, groom if he has rolled, load,
band pulled it up the really tough
have a snack, then off again to the next painting location. I start in the dark mountains, but otherwise we took
and end in the dark. Exhausting, but an adventure! turns either pulling the trailer or
leading Dupon.
My setup for the trip included a palette

with 270 pastels. Knowing that I’d confront
not only diverse scenery but also a wide
range of atmospheric conditions on the
trail, I wanted to be prepared to address a
lot of color variation.
DAY 10 Today I crossed the Aubrac plateau with its stun- village. Swallows, gathered for migration, were still asleep.
ning moorland, boulders, purple heather, rock walls and The only sound was the clip-clopping of Dupon. I felt
high altitude. I’ll be on it for two or three days. I can feel the a very emotional connection to the pilgrims who have
history. Pilgrims used to be attacked by wolves and bandits passed here before me, and welled with tears—a moment
here, though thankfully not today. I found a wonderful spot promptly ruined when Dupon, looking for the best spot
where I painted a lonely farmhouse and its stone walls. to eat, decided to drag me across the cobbled bridge and
nearly knocked me into the river.
DAY 14 Dupon moves fast down-
hill. At times, too fast. I’m not a DAY 16 I had just started a
gazelle going downhill—more painting of an old convent where
of a sit-down-and-shuffle type, I’d spent the night, when a nun
but with a 400-pound donkey asked me to do a painting of
traveling behind you, it’s just not the original doors, which dated
possible to take that approach. from A.D. 1060. So, I moved
So, away we went, down and my setup and painted the doors
down and over some crazy rut- instead, which made a lot of
ted and very bouldery sections. nuns very happy.
Yes. We made it, and no twisted
ankles or loose saddlebags. The scenery on the Way of Saint
James includes mountain forests and
streams, rolling hills, and charming
DAY 15 I found a little back- old villages with cobblestone streets
street route through the old and medieval churches.

DAY 22 Mindlessly painting within reach of Dupon. He Great to see them rebuilding the wall rather than just
wandered over, had a sniff of my pastels and, quick as a throwing up a fence. I’m in awe of the miles of dry stone
flash, a few disappeared into his mouth. Not your usual walls I see and wonder at how long it must have taken
plein air problem! He soon spat them out again. The sticks people to build them.
were none the worse for wear, just a little damp.
DAY 55 The colors were very gray today—both the stone and
DAY 32 Noticed beautiful early morning light on some farm the weather. One of the joys of plein air painting is having to
buildings. Part of a stone wall along the path had collapsed, adjust to conditions and color variation on a daily basis.
giving me a perfect view. I was painting away when along A constant challenge.
came a tractor, forcing me to
After an overnight stay at a quickly pack up and move. I had DAY 59 All of the moisture in the air today was messing
convent (opposite), I made just set up again when along came with my usual painting technique. Normally I do a pastel
a painting of the building
and its ancient doors. a van with two farmers, planning underpainting, which I then wash with water. In these condi-
to rebuild the very wall that I was tions, the pastel behaves differently, and the wash is taking
I worked around an looking over. Unbelievably, they too long to dry. I plan to try the next with no underpainting.
advancing tractor and
onlooking farmers to paint said they’d wait for me to finish.
this early morning scene I love being in a country where DAY 67 I managed to get the start of my painting completely
near a collapsed stone wall. everyone loves artists! wrong. First time I’ve had to abandon a board altogether and
I’d just been inside a
start again. Just what I didn’t need in the cold. It’s freezing— I knew I wouldn’t end up with magnificent cathedral,
even with a hot water bottle stuffed up my jumper! anything as amazing as Sorolla’s but when I stepped
painting, and was prepared to be outside and saw these
DAY 90 I walked up and over the Alto de Perdon, stopping miserable and unsatisfied about it, humble, old earth homes,
I just had to paint them. A
at the top to paint the sculpture, which consisted of sil- but it turned out that the joy of the
passing pilgrim remarked
houettes of pilgrims, including a few donkeys. It’s an iconic moment stripped away any concern that it must be wonderful
Camino landmark and an emotional place to reach. about my result. to see the world through
the eyes of an artist—to
DAY 102 Angry police officers stomped over to move Dupon DAY 122 I stopped at a nearby see beauty in things that
others pass by. He said
and me along. As soon as they saw that I was painting, they monastery. In a room off to the he’d try to look at things
let us stay and even came back at the end for a look. side of the chapel there were some differently as he contin-
I’d love to have time to do the same painting twice, once wonderful paintings from the 15th ued his journey.
pushing the colors and once not. I did experiment with the century. In a small stone room I was thrilled to paint in
final few colors I’d yet to use in my palette—exciting! next to them, there was an original the footsteps of Joaquín
I stayed in an albergue Sorolla. The first that I’d ever seen Sorolla. I was able to set
(hostel) that has been open in person and a total surprise. It up at one of the same
spots that inspired the
FUNDING AN for pilgrims since A.D.
1182. I don’t think it has
made me cry.
Spanish master.
EXPEDITION changed much!
I started a Kickstarter
campaign to fund my DAY 117 Today I stood in the
expedition, and I’ll be footsteps of Joaquín Sorolla
forever grateful to my and painted the same scene
backers. If you’re consid- as his Catedral de Burgos
ering crowdfunding as a en Invierno (Cathedral of
resource for an artistic Burgos in Winter). It was
enterprise of your own, not hard to find the exact
here are some pointers: same spot, as very little has
• Your idea should be changed in over a century.
one that you believe in
with your whole being.
• Start planning at least
six months before you
launch a campaign.
• It’s vital to communi-
cate the idea clearly.
• Offer great value and
tiered rewards.
• Identify interested
groups and find the
best ways to reach
them and with the
right message.
• Form a small “master-
mind” group to help
you in your efforts.
• Be prepared to work
long hours during the
campaign to keep
up the communica-
tion with your target
market.
• Ignore all your doubts
and keep going!

MY SUPPORTERS
A Portrait of a Place (and an Artist) I wish to thank several art manufac-
After months of walking and painting, I asked myself if the expedition turers who sponsored my project in
was living up to my expectations. My answer? Well, yes, in a way. I had various ways:
told myself that it would be challenging and wonderful, but I don’t think
I really knew what that meant. I certainly do now. It’s far more than I Terry Ludwig Pastels supplied me
with all the pastels that I needed for
ever expected—more exhausting, more exhilarating, more painful, more
this expedition and supported my
fulfilling and deeply, deeply satisfying. I’m giving everything I have, and
Kickstarter campaign.
I go through the gamut of emotions nearly every day. More than once,
I’ve cried—with pain, exhaustion, worry, joy, laughter. Nearly every Ampersand Art Supply provided a
evening, I’m so tired that I think I can’t go on. Then, every morning I great price on the Pastelbords.
can’t wait to get started again. And Dupon has stolen my heart. ROAM outdoor store supplied me
As for my art, I’ve learned so much. Even though I haven’t reached the with fantastic gear at cost. I’d have
end of the road yet, I know that what I have is much more than a collec- been soaked and frozen many times
tion of paintings. It’s a body of work that, as I’d hoped, reveals the sense if not for their advice and generosity.
of this special place and tells the story of this ancient route as it is today.
What I didn’t expect was that the story of my own personal journey is Easel Butler supported me through
also there to be seen, dancing through every painting. PJ my Kickstarter campaign. An essen-
tial part of my setup, the Easel Butler
Award-winning artist Sharon Bamber ( sharonbamber.com), of British Columbia, lets me move my pastels to one side,
was born in England, but officially became a Canadian citizen in 2014. She has spent so I don’t have to strain my shoulder
much of her adult life traveling and working throughout Europe, Southeast Asia
as I work.
and Australasia. She’s a signature member of the Artists for Conservation and the Nite Hood sleep mask. I wouldn’t
Federation of Canadian Artists, and a juried member of the Society of Animal Artists. have been able to sleep without it in
some places.
A REALISTIC

APPROACH
MICHAEL FREEMAN’S
ARTISTIC PATH HAS BEEN
LONG AND WINDING,
PROVIDING HIM WITH
AMPLE EXPERIENCES
THAT HAVE LANDED HIM
IN A MEDIUM HE LOVES.
By Michael Woodson
M
ichael Freeman has had a bountiful career
in the arts, and his focus and interests
have been as wide-ranging as his art. He
began his university studies with the
hopes of becoming a painter, although after the
exposure to different disciplines during his first year
of school—painting, sculpting, printmaking, photog-
raphy and design—he shifted his artistic sensibilities
to a “practical” way of thinking and chose industrial
design as his major. He earned a bachelor of fine arts
at Elam School of Fine Arts, University of Auckland,
New Zealand, in 1979. He then earned his master’s in
fine arts at the University of Illinois in 1981.
Freeman’s return to painting came as a gift from
his wife, Julie—as, indirectly, did his shift to pastel.
“On my 50th birthday, she bought me a set of acrylics
and an easel,” he says. “I started painting again and
fell in love with the freedom of simply producing my
Bemuddled (10½x15¾)
own artwork. Because of my photorealistic style, however, Freeman also notes that his design background likely
and the fact that I only had free time on the weekends to has provided a lens through which he sees the world,
paint, and that I chose to use acrylics like watercolor, having had to pay close attention to the details that the
it could take me a year to complete a single painting.” rest of us may only consider in the periphery, the back-
While Freeman worked laboriously to finish just one ground noise of our lives. “Photorealism is a natural step
painting, Julie was working at a much faster rate in forward, and it’s a vehicle for me to express myself
pastel. “She was producing a lot of work in pursuit of as an artist,” he says. “It’s what inspires me in the work
becoming a full-time artist,” he says. Inspired by her suc- of artists I most admire, drives me in terms of my ambi-
cess with and mastery of the medium, he made the switch tions and aspirations, and satisfies, most importantly,
to pastel in 2015. “I immediately fell in love with it and my inner voice.”
haven’t done another acrylic painting since.” Because of the nature of highly realistic work, it would
be understandable for an artist to have many false starts
with any given project. That isn’t the case for Freeman,
A NATURAL STEP FORWARD who has never had to restart a painting. “That doesn’t
Freeman’s work is unapologetically photorealistic—a mean that I’m 100 percent happy with every aspect of
style he admired well before picking up pastels—and each completed painting—in fact, far from it,” he says.
is inspired by the likes of Chuck Close, Denis Peterson, “The way I work is to complete each painting as I go—
Diego Fazio, Alyssa Monks and Don Jacot, among others. working from left to right and top to bottom. In every
“I’ve always loved realism,” he says. “Detail and texture painting, there are numerous areas that I’m not totally
are definitely key elements that I’m naturally attracted to happy with; I reconcile myself with this in order to
within any potential subject.” complete the painting.”

CLOCKWISE
FROM LEFT
Roadman’s Hut
(15¼x23½)
She’s Mine!
(24¾x31½)
UFO’s
(7¾x15½)
“I always paint what I love, and I enjoy putting things in the
spotlight that others might dismiss or simply pass by without
actually seeing or experiencing their details and beauty.”
Freeman’s objective for each subsequent painting is to the opposite of what many working artists strive to
make it better and of a higher technical caliber than the achieve. With pastel, Freeman is similarly driven to erase
one before—a goal that he believes has been motivating. any notion of the medium itself. “That doesn’t mean that
“I love to challenge myself and enjoy navigating through I don’t greatly admire the technical skill and beautiful
the challenges posed by every new painting,” he says. “I’m mark-making of all styles of other pastel artists,” he
constantly surprised by areas within a painting that I ini- says. “One of the primary goals of photorealism is for the
tially thought would be relatively straightforward, only to artist to eliminate all sense of the medium being used
discover that they pose unexpected questions.” to create the painting—to be able to have total control
over the medium to the point where its very essence is
difficult to discern even up close. That’s something I feel
THE ABSENCE OF STROKES I get closer to attaining with the completion of every new
When Freeman worked in acrylic, his primary challenge painting, although the bar also seems to be raised by
was removing any sense of the brush from his work— equal measure.”

CLOCKWISE
FROM ABOVE
Union Jack
(16x25½)
Fifty Shades
of Grey
(11½x11½)
Something New
(15x27½)
the process Three’s a Crowd
I always have a camera At this stage, I’m ready
at the ready, as I never to start applying layers
know when I’m going to of soft pastel using both
encounter something that sticks and pencils. I begin
captures my imagination. at the top left and move
I love photography, so left to right, top to bot-
incorporating it into my tom, completing the piece
art is a natural fit. as I go. If I need to go
My photography back into an area, I’ll use
practice has evolved from
a mahl stick or a ruler that
being an end product to
I’ve adapted so that it’s
one that informs my paint-
positioned above the
ings. Originally, I aimed
to frame any photo in the surface of my painting.
camera and prided myself —Michael Freeman
on doing this with a high
level of skill—something
honed from the days of
35 mm film and limited
shots. Now I’m less con-
I used numerous photo
cerned about the photo
references (right) while
as the end product and painting Three’s a Crowd
more concerned with (below; 19½x18).
making sure that I capture
all of the information that
I think I might need to aid
my painting practice.
After collecting the
photographic material,
I review the photos and
select those that have
the greatest potential for
a painting. This involves
looking at cropping, light-
ing and composition.
Once I’ve selected the
final image, I transfer it
to a Pastelmat support
as a pencil line drawing;
I include as much informa-
tion as needed to produce
a photorealistic image.
I then apply a thin acrylic
wash over the drawing
to set it so there’s no risk
of losing it. I also use this
as an opportunity to
consider my approach.
I always divide the paint-
ing image into smaller
pieces—mini paintings
that will keep my inter-
est and energy level high
while working on the
entire painting. I also
consider tonal values.

Michael Freeman
(michaelfreemanartist.
com) earned his
bachelor’s degree
from Elam School of
Fine Arts, University
of Auckland, New
Zealand, in 1979,
graduating with an
industrial design
degree. He received
his master’s degree
in fine arts at the
University of Illinois
in 1981, and returned
to painting full time
in 2010 after a career
in design. He lives
in Auckland, New
Zealand, with his
wife, Julie, who is also
an artist.
Lucky For Some

(21½x21½)
With this in mind, Freeman and his wife hope to

PAINT WHAT YOU LOVE take their know-how across the world. “Julie and I are
Freeman’s work is so meticulously detailed that the planning to travel and hold pastel workshops internation-
surface has a “reach-out-and-touch-it” quality—the ally,” he says, beginning with a one-day workshop at the
texture of the hair of a cow, the metal of a child’s toy or International Association of Pastel Societies Convention,
the splintered wood of a barnyard door, for example. in Albuquerque, N.M., in June. “Following this, we have
“I always paint what I love, and I enjoy putting things in dreams of traveling and doing pastel workshops in other
the spotlight that others might dismiss or simply pass by parts of the United States, Australia, Europe and China,
without actually seeing or experiencing their details and for starters.”
beauty,” he says. Freeman has his own advice for aspiring artists:
That sentiment—painting what you love—is pivotal “Listen to your inner artistic voice,” he says. “Don’t let
to the artist, considering what he says is the best advice others discourage or negatively influence you. What you
he has ever received. “My father said to me as a teenager feel inside is what you were meant to do. No art genre is
that when deciding on a career, it’s important to choose superior to any other—they’re all amazing—so pick what
something that you love, as it’s what you will do more than speaks to you.” PJ
anything else,” the artist says. “His advice guided me to
become a designer and, even more important, is behind Michael Woodson (michaelwoodson.com) is a freelance writer and
the realization that I have the best years ahead of me to photographer in Cincinnati. He’s the editorial and marketing assistant
pursue a second career as a professional artist.” for Blue Manatee Press, an independent children’s book publisher.
IMAGINING
COLOR DUTCH ARTIST LOES BOTMAN RECENTLY CELEBRATED
HER 50TH BIRTHDAY AND HER 25TH YEAR AS AN ARTIST
BY MOUNTING AN EXHIBITION OF 300 PASTEL PAINTINGS.
By Enid Wood
W
hen asked to describe wanted to buy her pastels. “You would
what it is about pastel have to come now,” she said. Botman
that draws her to it, told the woman that she’d come on her
Loes Botman says bicycle, but the woman insisted that she
simply, “The colors.” She bring a car. Botman didn’t have a car, so
continues, “When I was about 11-years- she brought her husband, who also rode
old, I got my first box of Rembrandt a bicycle. The pair wrapped the woman’s
pastels from my mother for my birthday, pastels carefully into large parcels. When
but when I was at the Art Academy we had the woman declared that she’d walk them
to paint with oil and acrylic. I didn’t like to their car, Botman and her husband
it, but pastels weren’t common and were improvised by leaning on a parked car
almost taboo. The teachers didn’t want to and fumbling in their pockets for their
teach me how to draw with them. In the “car keys.” Fortunately, it started raining,
last year of school, when I had to prepare and the woman rushed indoors, leaving
for the exam, I made my own pastels Botman and her husband to cycle home
and made drawings 79x79-inches large.” with the precious Unison pastels in the
Botman remembers needing to stand on rain. Botman remembers unwrapping
a ladder in order to complete them. She them when she got home. “It was magical
decided to focus on pastels after her time to see those pastels.”
at the Academy ended. The artist believes that feeling grateful
The artist had very few pastels and produces positive results in our lives. When
very little money when a retired Dutch she looked at her newly acquired pastels,
artist telephoned to ask Botman if she nestled in wooden boxes that her husband
Coming Into the Night (211/3x154/5)

LEFT
Botman stands in
had made from discarded school tables, she felt rich. Just front of the wall-
then the phone rang. It was a representative from a wallpaper inspired by
paper manufacturer. “Do you have a lot of pastels?” he her own vast collec-
tion of pastel sticks,
asked. “Yes, I do,” Botman answered. The wallpaper com- partly inherited
pany sent a photographer to photograph the pastel sticks, from a generous
and later produced a roll of wallpaper, featuring the pastels, and aging artist.
a little larger than life size, without a single color repeated.
Making Time
Botman’s first child, a daughter, was born shortly after
she finished studying at the Art Academy in The Hague.
Living in the city and homesick for the countryside, where
she was raised, the artist took her baby to seek out nature
in the city gardens. She traveled with a bag of pastels on
one side of the baby carriage and a bag of paper on the RIGHT
other. While her daughter slept, Botman drew the birds Rooney (311/2x271/2)
that visited the gardens. When her son was born two BELOW
years later, she discovered that one child could amuse the Living in the Woods
other. Eventually she could go outside to draw birds and (311/2x391/2)

farm animals alongside her children, These days, a typical day for the then she’s back at her computer in the
while they played on the swings. She artist begins with breakfast at 6:30 evening after dinner. Afterward, she
engaged them by asking, “What am a.m. Afterward, she checks her email. relaxes with needlepoint.
I drawing?” After about two hours, By 8:30 she’s in her studio, a bright
her children would ask when she was attic room lit with skylights, clerestory
going to draw the eyes, knowing that windows and lamps for making art Color Conversations
she always saved the eyes for last in videos. At 3:30 p.m., she stops painting Botman teaches workshops and art
an animal portrait. to do the shopping and cooking, and lessons to groups of students as small
LEFT
Visiting the
Neighbours
(152/5x152/5)
BOTTOM LEFT
Work Is Done
(471/3x59)
chooses not to begin with thumbnail

sketches. “I’m a lazy one,” Botman
says laughing. Instead she chooses to
emphasize the importance of picking
a subject. “When I draw a goose, I
want to be a goose.” This can change
during the course of a painting,
however. “If I don’t feel like being
a goose today, maybe I want to be a
cow.” Either way, Botman ensures her
painted animals “move” around the
composition.
She occasionally stands back to
look at her work. “It may look stiff,”
says the artist. “I play with it. It’s
like a dance. I feel free to change the
colors or change the composition. I
start with my feeling for a color. If
I feel angry, it might be red; if I feel
sad, it may be blue.”
She instructs her pupils to do like-
wise: “Start with the color you want.
Take a second color with it—maybe
not your favorite, maybe not even one
you like. Choose one you hate. Make
them have a conversation with each
other.” Each participant in the class
then draws the same bird in a color
field of their choosing with charcoal.
Botman begins with charcoal,
appreciating its flexibility, with
marks that can more easily be
changed than black pastel. “Wipe it
out if you don’t like it,” she says. It’s
her mantra. If students struggle, she
paints a demonstration, injecting
tips like this one: “It’s important not
to put in the eyes too early, because
then it’s too easy to lose the range of
values and the composition.”
Botman keeps the contours loose
when drawing animals because they
may change. “Feel the length of its
tail. Where are his eyes?” Then, she
starts to fill in the colors. Her color
advice? “Always be very playful.”
as four and as large as 25, with the She travels to them by train with a Next Steps
smaller classes occurring weekly suitcase of pastels. Botman had been working on paper
and the larger ones up to four times Her teaching method doesn’t vary 20x25-inches or smaller, but her
per year. “People in the Netherlands much from her normal working galleries eventually began asking the
take a lot of workshops,” she says. process at home in her studio. She artist for larger work. She initially

Sleep Tight, Dream
Softly (152/5x22)
resisted, since she transports her

paintings by bicycle. Determined
to solve this dilemma, she began
to experiment with varnishes,
enabling her to frame paintings
as large as 59x59-inches without
glass. “My method is secret,” she
says, but the artist did confess that
her first eight attempts resulted in
ruined paintings, which ended up
in the garbage. She says the process
goes something like this: First she
prepares a wooden cradle for the
painting, into which she inserts a
plywood panel. Then she applies
many coats of gesso and pastel
primer, which she smooths with a
rotary sander. She’s careful to keep
her paintings light in value, so that
the fixative and varnish she applies
when the paintings are completed
won’t darken the colors too much.
When Botman uses Hahnemüle
paper or Sennelier La Carte, she uses
commercial frames and glass. When
she paints on large panels she has
made herself, she makes her own
frames, and frames her paintings
varnished, without glass.
Galleries aren’t the only ones
demanding more from Botman. A
friend created a picture book of the
artist’s animal paintings for her
grandchild and liked the result so
much that she showed it to a pub-
lisher, who liked it too. Now, Botman
has published a number of children’s
books in both Dutch and English.
In 2018, she published a volume in
Dutch and English for adults called
Still Lives.
When Botman chooses an animal
subject, she paints from life, talk-
ing to the animals. “I ask them to
sit in silence so I can draw them,”
she confides. She also possesses an
extraordinary visual memory. “Almost
Botman doesn’t own all of my animal paintings are memo-
a car which can make ries from childhood.” The artist is
transporting artwork willing to use photos for reference, but
tricky. In a quintes- only when she takes on commissioned
sentially Dutch move,
work, as she says there’s less freedom
she develops clever
systems for carrying to be had in the creation of those
her paintings (of all paintings. She often visits the collec-
sizes) on her bike. tor’s home and observes the colors in
which they like to live. “As I paint, I’m
In the Morning
(273/5x471/3)
thinking about the words they say and

the feelings they describe, repeat-
edly. They stay in my mind. It’s the
only thing I think about.” Many of the
commissioned paintings are portraits
of beloved family pets that have died.
Much satisfaction comes from produc-
ing paintings that bring animals to life
again for the people who loved them.
Renewal
In 2014, Botman suffered a health
crisis, undergoing major surgery.
Afterward, her painting philosophy
shifted. She says, “A painting of
geese isn’t just geese. It’s life that you
see. Without animals around me,
I wouldn’t have an existence.” She
emphasizes that this existence is
molded by her own choices, as is every-
one’s. “Everything you make is your
decision. Your life is like a picture. You
create your own world in a drawing,
just like you create your own life.” Loes Botman (loesbotman.com) completed training at the Royal Art Academy in
She reminds her students, “Be proud The Hague, Netherlands, in 1994. She’s been an artist her whole life, but recently
of your own work and of your life. celebrated her 25th jubilee as a professional artist. Her work has been shown in 200
You can always start over … in your exhibitions in the Netherlands and abroad, and has been featured in children’s books,
art books and illustrated poetry bundles. Botman regularly writes articles for French,
drawing and in your life.” PJ German and Dutch magazines. She’s in the jury of the Dutch competition, “Drawing
of the Year,” and is a member of the Austin Pastel Society. Botman will be attending
Texas-based Enid Wood is an artist, IAPS 2019, where she’ll be giving several demos. She wishes to continue as an artist for
teacher, writer and violinist. many years to come to make the world a more colorful and better place.

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Artists Marketplace
emphasis on individual attention in an encouraging and Dakota Art Pastels
Workshops relaxed atmosphere, along with daily demos, critiques and
discussions, you’ll go back to your studio with plenty of new
2019 Pastel Workshops at Dakota Pastels ‘your pastel
specialist’. Spacious working facilities in a beautiful
Pastel Journal accepts advertisements for workshops, but
does not endorse or recommend any workshops listed. Artists ideas about how to approach your painting process as well landscape!
considering participating in any workshop are encouraged to as your thought process so your paintings will begin to speak May 1-4, 2019, Michael Chesley Johnson,
conduct their own investigations. with a unique voice. 2019 workshops are scheduled in FL, TX, Outdoor Study to Studio.
NJ, NC, NM, NYC, VA. May 8-11, 2019, Tony Allain, Chasing the Light.
Jacob Aguiar April 30 - May 5, 2019, Hickory, North Carolina. May 30 - June 1, 2019, Teresa Saia, Pastel Studio.
Jacob’s workshops include studio and plein air painting June 4-12, 2019, Albuquerque, New Mexico. June 6-8, 2019, Steve Hill, Intro to Plein Air Pastel.
focused on the foundations of successful landscape painting. IAPS Convention. June 12-15, 2019, Margaret Evans,
Each day includes a demonstration, discussion, and individual Unleash the Spirit of Pastels.
September 20-22, 2019, Manahawkin, New Jersey.
time at the easel. Jacob creates a fun and challenging June 27-29, 2019, Amanda Houston, Landscapes:
October 25-27, 2019, NYC, New York. (PSA) Under the Surface.
environment in which to explore the creative process in
October 31 - November 3, 2019, Richmond, Virginia. July 8-13, 2019, Richard McKinley, Mentoring Reunion:
pastels! For more information, contact Jacob at 415/444-6937,
jacob.aguiar@gmail.com, www.jacobaguiar.com or Contact: www.lynasselta.com Push Your Creativity to New Limits.
www.facebook.com/jacob.aguiar.7 July 24-27, 2019, Susan Ogilvie, Plein Air to Studio.
Instagram as jacobaguiarpastelpainter
Marla Baggetta, PSA, IAPS MC August 7-10, 2019, Dawn Emerson, Innovations Laboratory.
Visit www.patreon.com and search for Jacob Aguiar Fine Art. Learn to loosen up and find your own voice as a artist. September 14-16, 2019, Jacob Aguiar, Plein Air Foundations.
Come learn with me virtually. I’ll have regular demos, Q&A’s, Marla’s workshops will change the way you see painting, September 19-21, 2019, Teresa Saia, Plein Air / Studio.
and mentorship programs! providing a strong base of the fundamentals while injecting October 3-5, 2019, Mira M White, Stunning Abstracts:
May 18-19, 2019, Beachwood, Ohio. a creative spark with her dynamic teaching style. Learn to Pastels/Mixed Media.
Two Day Combined Studio and Plein Air. create winning compositions, capture illusive patterns of Contact: 17873 State Route 536, Mount Vernon, WA 98273
The Art Studio. light and transform the ordinary into the extraordinary! 888/345-0067 ext 5, info@dakotapastels.com or
Contact: Susie Porges, 216/406-7494 Marla will help you take your painting to the next level. Join www.dakotapastels.com
susanporges@gmail.com nationally recognized painter, author and educator, known
June 7-9, 2019, Albuquerque, New Mexico. for her insightful, playful and encouraging guidance. Marla
Doug Dawson, PSA, Master Pastelist,
IAPS One Day Workshop and Demos. provides every student with focused individual attention. All
PSA Hall of Fame
Hotel Albuquerque. Demos, personal help about color and composition and much
levels welcome! For more information about Marla’s exciting more. Workshop loaded with useful observations, principles,
Contact: www.iapspastel.org to register for
workshops, visit www.pastelpaintinglessons.com. Consider and techniques. Open to all levels. Workshop contains the
workshop and demos.
September 14-16, 2019, Mt Vernon, Washington. signing up early, as classes are very well attended. information for a master class, but presented in a way that
Three Day Studio and Plein Air. Dakota Pastels. Contact: Marla, info@marlabaggetta.com anyone can understand. Ask someone who has taken a
Contact: Dakota Pastels, 888/345-0067 Accepting bookings for 2020 and beyond. Dawson workshop.
September 21-23, 2019, Vermont. May 3-5, 2019, Richmond, Virginia. Contact: Doug Dawson, 8622 W. 44th Place,
VPS (Vermont Pastel Society). Loosen Up + Expand, Mid-Atlantic Pastel Society. Wheat Ridge, Colorado 80033
October 18-20, 2019, Portsmouth, New Hampshire. Contact: jdreicer54@gmail.com 303/421-4584; or dougdawson8@aol.com
Three Day Studio Workshop. July 19-21, 2019, Portland, Oregon. July 15-17, 2019, Pensacola, Florida.
Pastel Society of New Hampshire. Plein Air Country + City. Quayside Art Gallery Workshop.
Contact: Joelle Feldman, joelle.feldman@gmail.com Contact: info@marlabaggetta.com Contact: Diane Goeller, 850/384-3652 or
2019, UART Dates Pending. August 9-11, 2019, Pittsburgh, Pennsylvania. Pat Page, 850/293-5414
2020, Santa Barbara, California, Springfield, Oregon, August 19-24, 2019, Lac du Flambeau, Wisconsin.
Color Confidence, Pittsburgh Pastel Artist League.
Goshen, New Jersey, Santa Fe, New Mexico, Dillman’s Art Workshops/Retreat.
Contact: linda@lindabarnicott.com Contact: Sue/Denny Robertson or
Plein Air Convention and Australia!
August 14-16, 2019, State College, Pennsylvania. Stephanie/Todd Skotterud, 715/588-3143
Lyn Asselta, PSA, IAPS EP Loosen Up + Expand, Central Pennsylvania Pastel Society. September 22-24, 2019, Freedom, New Hampshire.
Explore color, composition and mood to paint more Contact: vcb2@psu.edu McEvoy Studio/Gallery.
expressive, creative landscapes. Whether in the studio September 14-27, 2019, Florence, Italy. Demo pending 9/20 or 9/21/19.
or en plein air, students will discover ways to push their Plein Air + Studio. Contact: Barbara McEvoy, 610/762-2493
paintings to a new and more exciting level. With an Contact: idzamperla@gmail.com or www.artensity.org barbaramcevoy@me.com
Richard
McKinley
Master Pastelist &
Hall of Fame Honoree, PSA
Come Experience
the Pastel Plein
Air Art Adventure!
Please visit
mckinleystudio.com
for workshop
information.
“Color Confetti”
Tasmania, Australia
2019

Artists Marketplace
September 27-29, 2019, Montpelier, Vermont. compositional skills and on methods of completing paintings landscapes for over thirty years, and she is Pastel Faculty for
TWWood Gallery & Museum-Center for Arts/Learning. within limited time. In addition to daily demonstrations, the 2017-2019 Plein Air Conventions. Her workshops include
Contact: Cindy Griffith, cindy.griffith.vt@gmail.com students can expect individual attention with informal studio and plein air demos. Susan is a Dedicated Workshop
John Landy, jlandy32@comcast.net critiques throughout each day. Instructor for Gamblin Oils, a demonstrator for Sennelier,
Ginny Callan (Exec. Dir.), 802/262-6035 Contact: Art League Academy manager, 843/842-5738 and has a new 80 Signature set of Richeson Hand-Rolled
October 3-5, 2019, Boothbay, Maine. Academy@artleaguehhi.org or www.ArtleagueHHI.org Soft Pastels. She is an associate member of PSA, a signature
(Near Boothbay Region Art Foundation) August 25 - Sepetember 1, 2019, Southern France. member and the current president of the Central Pennsylvania
At Whitman Studio. Countryside and Villages. Plein Air painting and sketching Pastel Society, and a co-founder of the Plein Air Painters of
Contact: Jerri Whitman, 207/779-6277 for 7 days in the wonderful Lot Valley of Southern France with Central PA.
January 27-29, 2020, Bonita Springs, Florida. Alan Flattmann. Along the way, enjoy delicious French cuisine, May 3-4, 2019, North County San Diego, California.
Bonita Springs Art Center. delightful wines and the camaraderie of fellow artists. The The Green Art House, 2001 Old Hwy 395, Fallbrook, CA 92028
Contact: Donna Delseni, 239/495-8989 workshop headquarters will be at Domaine du Haut Baran, May 13-19, 2019, Belleville, Pennsylvania.
a beautiful old French Country House with fantastic scenery, Hameau Farm Studio Artist Retreat.
Jen Evenhus, PSA-MP, NPS-DP, vineyards, farms, a winding river, quaint villages and castles. Hameau Farm, 6364 SR 655, Belleville, PA 17004
IAPS-MC, PSWC The workshop will help beginners and advanced students July 26-27, 2019, Bellefonte, Pennsylvania.
“The Beauty of Imperfection” 2019 PASTEL WORKSHOPS. conquer the challenges of plein air painting and sketching. S.Nicholas Art Studios, 351 East Bishop St., Bellefonte, PA 16823
In order to find authentic beauty, we must move beyond Alan will demonstrate pastel and watercolor techniques with October 2019 (Final Dates TBD), Bellefonte, Pennsylvania.
perfection and dig deep to release the creative souls we were daily critiques and individual help in any medium. S.Nicholas Art Studios, 351 East Bishop St., Bellefonte, PA 16823
born with! Your pastel paintings will take on new energy, Contact: William or Rosalie Haas, 513/533-0511 in the USA, Contact: 814/360-2116, SNicholasArt@gmail.com or
dynamic composition and bold color using simplification and 011-33-565-24-63-24 in France, hautbaranfrance@gmail.com
exaggeration in these intense, fun 3-day workshops taught www.SNicholasArt.com
or www.hautbaran.com
by Master Pastelist, Jen Evenhus. Embrace your wild side as we October 9-11, 2019, New Orleans French Quarter. Albert Handell
work hard to be imperfect using impressionist, expressionist New Orleans Art Association, Plein Air Pastel & Watercolor Workshops and Mentoring Programs.
and abstract styles to explore shapes, negative space, color- sketching in the historic French Quarter. This workshop will May 9-12, 2019, Santa Fe, New Mexico.
schemes and mark-making through discussion, demos, help beginners and advanced artists conquer the challenges June 4-9, 2019, Albuquerque, New Mexico.
timed exercises, lots of painting, and one-on-one coaching of painting cityscapes. The New Orleans Art Association will IAPS Convention.
in an encouraging atmosphere. We’ll use markers and more provide transportation to painting sites in the French Quarter.
unconventional tools with your pastels to create unique works June 25-28, 2019, Santa Fe, New Mexico.
Contact: Brenda Delle, 504/491-0103
of art. August 7-10, 2019, Santa Fe, New Mexico.
Noartassoc@yahoo.com or www.noartassoc.org
June 2019, Atlanta, Georgia. October 6-12, 2019, Taos, New Mexico.
For more details, contact Alan Flattmann, 985/809-6332,
August 2019, Whidbey Island, Washington. October 31 - November 3, 2019, Santa Fe, New Mexico.
art@alanflattmann.com or www.alanflattmann.com
September 2019, Maine. December 5-8, 2019, Santa Fe, New Mexico.
See my website for details www.jenevenhus.com Terri Ford IAPS Eminent Pastelist, Contact: 505/983-8373, alberthandell@msn.com or
QUESTIONS? Contact 509/860-1688 PSA Master Pastelist www.alberthandell.com
evenhus@hotmail.com Terri’s instruction focuses on creating luminous paintings
with deep, dark, rich under paintings and pure pigment,
Liz Haywood-Sullivan, PSA-MP, IAPS/MC
Alan Flattmann, PSA Hall of Fame, vibrant light. 2019 Workshop Schedule. Looking to break through to the
IAPS Eminent Pastelist September 11-13, 2019, Pacific Grove, California. next level with your landscape painting? Liz’s instruction
May 7-9, 2019, Hilton Head Island, North Carolina. Join Terri for 3 days of Plein Air painting in one of the is designed to help you achieve your painting goals. Daily
Art League of Hilton Head. Landscape & Cityscape Painting most scenic locations in the world! Private Instruction by demonstrations and plenty of individualized instruction
Workshop. The workshop will cover the basics of sound appointment year round! Each session is designed to suit at your easel are hallmarks of Liz’s teaching. Plus lively
representational painting and the challenges of working your individual needs. discussions on wide-ranging topics from the latest in
from photos and painting on location. Students may choose Contact: Terri, tford@terrifordart.com or materials, to the business of being a working artist.
to work in pastel, oil or acrylic. Alan will demonstrate how he www.terrifordart.com Contact: liz@haywood-sullivan.com or
creates bold pastel paintings with a multi-layered technique www.lizhaywoodsullivan.com
on pumice and sanded papers. Oil demonstrations will Susan Nicholas Gephart May 2-5, 2019, Sonoma, California.
cover both brush and palette knife painting. Alan’s goal is to “Capture the Skies and More” with this seasoned plein air Painting Brilliant Skies and Water in Pastel.
teach a sound and fundamental approach with an emphasis painter. Susan is known for her colorful, impressionistic skies Pastel Society of the West Coast.
on painting in a well planned, organized way. There will and ability to express landscape atmosphere in both pastel Contact: www.creativeescapeworkshops.com/
be a special emphasis on ways to improve drawing and and oil. She has been teaching and painting award-winning liz-haywood-sullivan.html
Doug Dawson PSA - MASTER PASTELIST

AND HALL OF FAME
Workshops 2019
Florida
Wisconsin
New Hampshire
Vermont
Maine
Part of 2 man show with John Axton
Opening July 26
Ventana Gallery Santa Fe, New Mexico
S EE W ORKSHOP LIST
FOR DETAILS
For more information:

303-421-4584
Through the Eye 11” x 12” Pastel www.dougdawsonartist.com
Artists Marketplace
June 5-10, 2019, Albuquerque, New Mexico.
Jacob
IAPS XIII Convention.
Workshop and Demonstration Instructor.
Contact: www.iapspastel.org
August 5-7 and August 9-10, 2019, Southern California.
Water and Reflections in the Pastel Landscape.
Aguiar
Pastel Society of Southern California.
Contact: www.pastelsocal.com
September 4-6, 2019, Philadelphia, Pennsylvania.
Philadelphia Watercolor Society. 119th Anniversary
International Exhibition of Works on Paper - Workshop.
PSA, IAPS-MC Contact: www.pwcsociety.org or workshops@pwcsociety.org
October 6-13, 2019, Venice, Italy.
Painting and Sketching in Venice.
2019 Workshops: Il Chiostro Artist Workshops.
Contact: www.ilchiostro.com
Ohio - May 18-19 Amanda Houston

Amanda’s workshops focus on capturing the landscape with
IAPS - June 7-9 an emphasis on the bones of great composition and design.
Dakota Pastels - Sept. 14-16 A perfect mix of theory, technique and experimentation. Daily
demos and lots of individual instruction.
VPS - Sept. 21-23 June 27-29, 2019, Mt Vernon, Washington. Landscapes
Under the Surface, Dakota Pastels. No other place can you
New Hampshire - Oct. 18-20 experiment more with the latest of pastel surfaces and
UART - Dates Pending products than at Dakota. The class will cover the bones of
creating great landscapes while encouraging you to explore
Join me in Australia in 2020! different techniques on different pastel surfaces to create
unique effects. Amanda likes her students to try many
different surfaces and techniques to expand their creative
Come learn with me repertoire. Daily demos, experimentation and plenty of
individual instruction. A combination of studio and plein air.
virtually on Contact: Dakota Pastels, 888/345-0067
dakotapastels.com/workshops
www.patreon.com. July 17-19, 2019, Lopez Island, Washington. Plein Air in the
Just search Patreon for San Juan Islands. A plein air enthusiast’s dream. As a part
time resident I have access to lots of great places to paint on
Jacob Aguiar Fine Art. this magical island. Part workshop, Part art retreat. 3 glorious
days in the San Juan Islands.
Contact: 503/310-8099, amandahouston.com/workshops
November 8-10, 2019, Edmonds, Washington. The Language
Museum show opening at the Brinton Museum in Big Horn, WY Sept 7th, of Trees and Light, ColeArtStudio, Dive deeper into trees, sky
featuring pastels and oil paintings from the museum’s artists in residence holes and their place in creating great landscapes.
Contact: 425/697-2787, Coleartstudio.com
www.jacobaguiar.com Fall Weekly Classes in Amanda’s Studio. Starting in October.
Thurs. 12-3pm. Exercises and lots of individual instruction.
Check me out on Facebook. On Instagram as jacobaguiarpastelpainter. Contact: 503/310-8099, amandahouston.com/workshops
Huntsville Museum of Art
May 16-19, 2019, Huntsville, Alabama. Robert K. Carsten,
PSA-MP, IAPS-MC, CPS, Power of the Pastel Landscape.
September 23-27, 2019, Huntsville, Alabama.

Brian Bomeisler, Drawing on the Right Side of the Brain.

September 28-30, 2019, Huntsville, Alabama.
Brian Bomeisler, Intensive Painting/Color based on the
publication by Dr. Betty Edward, Color: A course in mastering
the art of mixing colors.
October 7-10, 2019, Huntsville, Alabama.
Pastel Society of America Master Pastelist, IAPS Master Circle Tony Couch, Watercolor Painting.
November 7-10, 2019, Huntsville, Alabama.
Qiang Huang, Painting Dramatic Oil Landscapes.
Contact: Laura E. Smith, Director of Education/Museum
Academy, 256/535-6372
lsmith@hsvmuseum.org or hsvmuseum.org
Christine Ivers, PSA-MP, IAPS/MC
Explore the world of pure pigment on handmade boards that
make painting an exhilarating experience for any pastelist!
Workshops are available for students of all levels. Enjoy
painting and learning in a relaxed atmosphere with demos
and critiques included and an emphasis on composition,
drawing and color temperature. Chris will also share over 40
years of art direction experience to teach you how to take
better reference photos to work from or to submit for digital
competition entry. Work on your own surface or Chris’s hand
made boards, which will be for sale at the workshops for
nominal fees. Find complete info about workshops at:
www.christineivers.com or call 203/235-1417.
Ongoing Classes: New Canaan, Connecticut.
Painting with the Purest Pigment: Pastel!
Silvermine Art Center.
Contact: Anne Connell, 203/966-9700
http://www.silvermineart.org/about/contact.php
June 8, 2019, Albuquerque, New Mexico.
One-Day NightScape Workshop.
Sponsored by the International Association of Pastel Societies.
July 19-20, 2019, Glen Falls, New York.
Sponsored by Adirondack Pastel Society.
Contact: adkpastelsociety@gmail.com
September 4-10, 2019, Puy L’Eveque, France.
Seven-Day DayScape & NightScape Workshop.
Sponsored by Domaíne du Haut Baran.
Contact: William or Rosalie Haas, 513/533-0511
hautbaranfrance@gmail.com or www.hautbaran.com
2019 Workshop Schedule - See Classifieds or www.lizhaywoodsullivan.com February 7-8, 2020, Tampa Bay, Florida.
Sponsored by the Pastel Society of Tampa Bay.
Contact: Sara DeLorenzo
Dunedin Fine Art Center, 727/298-3322

Artists Marketplace
Barbara Jaenicke, lifestyle? -- Paint Small! This one day workshop is full of helpful www.mckinleystudio.com and click on the Workshop link or
PSA-MP, IAPS-EP, AIS, OPA hints and tips from Rita’s 40 years of experience with pastel. email mckinleyart@gmail.com
Barbara’s workshops focus on simplifying the landscape Contact: iapspastel.org May 13-17, 2019, Dennis area, Cape Cod, Massachusetts.
into a concise, well edited visual message, with emphasis on July 15-19, 2019, Marvin, South Dakota. 5-day Pastel and Oil Mentoring workshop on Old Cape Cod.
strong composition, color palette and mark making. Some of Paint the Light in Pastel. Join Rita for the Ultimate Summer Prior workshop with Richard recommended. Sponsored by:
these workshops may have a more specific topic indicated. All Art Vacation - an all-inclusive 5-day Art Retreat at the Abbey Gallery 31 Fine Art, www.gallery31capecod.com
of the Hills Inn and Retreat Center. Immerse yourself in the Contact: Sherry Rhyno, 508/247-9469
workshops include demonstrations and lots of individual help
tranquility of this former monastery while stimulating your info@gallery31capecod.com
at the easel. All are studio workshops unless plein air is noted.
creativity with a Rita Kirkman Pastel Workshop! The 5-day June 17-21, 2019, Connecticut. New England.
May 8-10, 2019, Greenwood Village, Colorado.
workshop will give you plenty of time to exercise and improve Pastel en plein air and studio.
Pastel Society of Colorado (Pastel only).
your pastel abilities (all skill levels welcome) in the classroom, Sponsored by: Connecticut Pastel Society,
Painting the Poetic Landscape.
while leaving extra hours to explore the beautiful grounds,
Contact: Ivadell Marie, Ivadellmarie@gmail.com www.ctpastelsociety.com
paint outside, sketch and take photos, or simply relax! One
www.pastelsocietyofcolorado.org Contact: Chris Ivers, 203/235-1417, christine_ivers@yahoo.com
price includes the workshop tuition, on-site lodging and daily
July 19-21, 2019, Oregon City, Oregon. home-cooked meals. Registration will open to non-CPS members in February, 2019.
Carrie Moore Studios (Pastel & Oil). Contact: rita@ritakirkman.com or www.ritakirkman.com July 8-13, 2019, Mount Vernon, Washington.
www.carriemoorestudios.com October 25-27 and October 28-30, 2019, Montreal, Québec. 6-day Pastel Mentoring/Reunion workshop focused on
Composition Boot Camp. (Two separate workshops to choose!) Rita’s classic “Pastel in Pushing Your Creativity to New Limits. Prior workshop with
Contact: Barbara Jaenicke, barbarajaenicke@msn.com Miniature” workshops. Loosen up, be more productive, and Richard recommended. Sponsored by: Dakota Art Center
August 18-20, 2019, Olds, Alberta, Canada. learn faster by painting small! (Dakota Art Pastels). www.dakotaartcenter.com
Painting the Poetic Landscape (Oil only). Contact: Michelle Bonneville, michbonmor@gmail.com Contact: April, 888/345-0067 ext 5
Contact: Dee Poisson, dpoisson@shaw.ca November 6-8, 2019, Ann Arbor, Michigan. info@dakotaartcenter.com
September 13-15, 2019, Rochester, New York. Layering the Light. Infuse your pastel paintings with the July 29 - August 2, 2019, Montpelier, Vermont.
Pastel Society of Western New York (Pastel only). life and warmth of sunlight with Kirkman’s creative under- 5-day Pastel en plein air and studio in beautiful Vermont.
Painting the Poetic Landscape. painting technique. By completing several small paintings you Sponsored by: Vermont Pastel Society,
Contact: Suzi Zefting-Kuhn, suzizeftingkuhn@gmail.com will quickly grasp the concepts of value and temperature that www.vermontpastelsociety.com
October 7-10, 2019, Landgrove, Vermont. create a believable and beautiful impression of light! Related Contact: Joyce Kahn, 802/829-7148, tallitot@gmail.com
InnView Center for the Arts at the Landgrove Inn (Pastel & Oil). principles such as design and color will inspire discussion, as August 26-30, 2019, Leland, Michigan.
Painting Skies, Water & Trees. well as how to creatively interpret your photos. 5-day Pastel en plein air and studio along
Contact: 802/824-6673 Contact: Debra, artensityworkshops@gmail.com or Spectacular Lake Michigan.
www.artworkshopsatthelandgroveinn.com www.artensity.org Sponsored by: Old Art Building, www.oldartbuilding.com
November 15-17, 2019, Norman, Oklahoma. May 15-17, 2020, Keene, New Hampshire. Contact: Becky Ross, 231/256-2131, info@oldartbuilding.com
(Pastel & Oil). Painting the Poetic Landscape. Rita’s classic pastel workshop, at the Monadnock Area September 9-13, 2019, Salt Spring Island, B.C. Canada.
Contact: Julie Droke, jadroke@gmail.com Artist Assoc. Strengthen your skills and improve your pastel 5-day Pastel en plein air in Pacific Northwest Paradise.
For details and updates, visit www.barbarajaenicke.com technique by working small. Sponsored by: Gail Sibley and Michele Wells.
Contact: Carol, bagel@tpdi.biz
Rita Kirkman, PSA, IAPS-MP Contact: Gail Sibley, 778/440-3131, gail@howtopastel.com
Rita’s classic Pastel Workshop focuses on painting small Richard McKinley, PSA Master Pastelist September 23-25, 2019, New York City, New York.
and often to rapidly improve your skills and expand your & Hall of Fame Honoree, Pushing the Creative Limits of Pastel. Sponsored by: Pastel
knowledge. Learn to capture light and loosen up with Rita’s PSWC Pastel Laureate Society of America, www.pastelsocietyofamerica.org
innovative under-painting technique with textured primers. Learn to transform the landscape from Prosaic to Poetic Contact: PSA Office, 212/533-6931
Instruction emphasizes composition and techniques for by capturing a piece of the spontaneous dance of light psaoffice@pastelsocietyofamerica.org
a small format, value and temperature control, how to across the palette of nature. Richard’s workshops include October 4-6, 2019, Milwaukie, Oregon.
creatively interpret your photos and how to stay productive daily demonstrations, personal advice at your easel, and Underpainting and Texture for Exciting Pastel Landscapes.
with your art within a busy lifestyle. Grow your grasp of values, an abundance of artistic discussion. Having taught for over Sponsored by: Designs by Kathy Workshops.
temperature, color and composition in a relaxed and fun 45 years, Richard has a wealth of information to share, is Contact: Kathy Johnson, 503/794-3959
atmosphere! All workshops for beginner to advanced. tireless in this pursuit and his intensity, focus and energy are kreativekkj@gmail.com (email contact preferred)
Contact: rita@ritakirkman.com legendary. His Pastel Pointers book is a best seller and has November 8-10, 2019, Las Vegas, Nevada.
June 5, 2019, at IAPS, Albuquerque, New Mexico. Pastel in provided inspiration, as well as instruction, to a generation of 3-day Pastel en plein air and studio. Days painting with
Miniature. How to stay productive with your art within a busy aspiring pastelists. For updated information visit: evening entertainment planned. What happens in Vegas this
2019 WORKSHOPS: BLUE EARTH
PAINTING (DETAIL) BY TONY ALLAIN

ART SPECTRUM
JACOB AGUIAR
CARAN D’ACHE
MITCH ALBALA CRETACOLOR
TONY ALLAIN DALER-ROWNEY
MARGARET DYER DIANE TOWNSEND
FABER-CASTELL
DAWN EMERSON
GIRAULT
MARGARET EVANS
your pastel specialist GREAT AMERICAN
STEVE HILL HOLBEIN
AMANDA HOUSTON MOUNT VISION
NUPASTEL
MICHAEL C JOHNSON PANPASTEL
RICHARD M c KINLEY REMBRANDT
SUSAN OGILVIE RICHESON
SCHMINCKE
TERESA SAIA
SENNELIER
DIANA SANFORD TERRY LUDWIG
MIRA M WHITE UNISON
888.345.0067
www.dakotapastels.com
Artists Marketplace
time, will not be kept in Vegas! Sponsored by: Red Rock Pastel
Society of Nevada, www.redrockpsnv.org
Contact: Dasha Jamison, 865/235-8822
dashajamisonart@gmail.com
January 2020, San Miguel de Allende Pastel Painting
Retreat, Mexico. Escape winter on a nine-day panting
excursion to this historic location.
Contact: Michele Wells, 314/583-1299, wellsart@sbcglobal.net
June 2020, An Extended Art Adventure in France! Ten-days
that include Carcassonne, Albi, and the Lot River Valley.
Sponsored by: Domaine du Haut Baran, www.hautbaran.com
Contact: William Haas, 513/533-0511 (USA) or
011-33-565-246324 (France), hautbaranfrance@gmail.com
Please check website: www.mckinleystudio.com for updates.
Nancie King Mertz,
PSA-MP, CPP-MP, IAPS-MC, EP
Study with a Master Pastelist in 2019.
May 3-13, 2019, Florida’s Forgotten Coast.
Invitational Plein air and demos.
IAPS Faculty, workshop, demo & critiques.
June 19-22, 2019, Door County, Wisconsin.
Peninsula School of Fine Art, 4-day studio pastel workshop.
July 15-20, 2019, Cape Cod, Massachusetts.
2, 2-day Plein air pastel workshops & demos for the Pastel
Painters Society of Cape Cod.
August 16-18, 2019, Chicago, Illinois.
“Pastels are Perfect for Plein Air”,
UART sponsored workshop in Chicago’s Gold Coast.
September 21, 2019, New York City.
Demos at the National Arts Club
sponsored by the Pastel Society of America.
October 3-13, 2019, Terni, Italy. Travel with Me!
10-day plein air pastel or oil workshop in Umbria.
Sponsored by La Romita School of Art.
Signature Pastel Sets of 80 on Amazon: “Nancie King Mertz
Urban Landscape & Atmospheric Landscape”.
Pastel DVDs “Urban Painting” from Streamline Publishing.
Contact: www.NancieKingMertz.com
Nancy Nowak, IAPS-MC, PSA, AIS
Now booking National and International Workshops! Taking
Your Pastels To The Next Level/Finding Your Voice. Learn
how to create stronger, masterful pastel paintings by using
Nancy’s step-by-step methods for interpreting your reference
photos. This workshop will include an in-depth study of
composition and design, working with value studies, editing,
color temperature/harmony and creative underpainting
techniques. Discussions will also include methods of finding
your own unique artistic voice, pitfalls and how to avoid them,
and principles of successful paintings. Instruction is geared
to all levels which includes demos and plenty of personal
The Secret to Creating Prize-Winning Paintings easel time.
Creative Underpainting: Underpaintings fix the composition,
William A. Schneider establish accurate placement of lights and darks and
AISM, IAPS-MC, PSA-MP, OPAM give volume and substance to the form. By using creative
underpainting techniques, with minimal effort, learn to
establish a strong foundation to enhance, inspire, and
illuminate your pastel painting.
Structures in the Landscape: Buildings and structures in the
landscape add interest, variety, and help tell a story. Nancy
shares how to compose, simplify, and seamlessly incorporate
structures using underpainting techniques, abstract shapes,
shadow and light patterns, texture, and perspective, to
enhance your landscape paintings.
Nancy, a national award winning artist, is known for her
inspirational and passionate teaching style. For more
information about Nancy Nowak’s workshops, contact
Nancy Nowak Fine Art, nancy@nancynowak.com and
visit Nancy’s website: nancynowak.com
IAPS Convention, 1 Day workshop and Demo Presentation.
Contact: iapspastel.org
August 17-18, 2019, Suwanee, Georgia.
Expressive
Pastel For Beginners: 2 Day workshop.
Contact: nancy@nancynowak.com
Landscape
“Sunspot” Pastel 24x26 October 3-4, 2019, Blue Ridge, Georgia.
2-Day Workshop. Take Your Painting to the Next Level.
Workshops Contact: Nichole Potzauf, 706/632-2144, BlueRidgeArts.net
Revealing the Soul - Sensitive Portraits Pastel Society of America

& Figures in Pastel PSA School for Pastels
National Arts Club, 15 Gramercy Park South,
Workshops San Luis Obispo, CA
2019
6/21/19 - 6/24/19 New York, NY 10003
fogcatchers@gmail.com Contact: 212/533-6931
psaoffice@pastelsocietyofamerica.org or
Loosen Up www.pastelsocietyofamerica.org
Baton Rouge, LA Enrich your paintings and study with these masterful artists.
8/16/19 - 8/19/19 July 21-27, 2019, PSA Destination Workshop In The Hudson
(225) 266-7064 River Valley with Sally Strand PSA-MP, HFH.
NJ NC NM NYC VA September 23-25, 2019, (studio). Pushing The Creative Limits
Painting the Figure in Pastel or Oil Of Pastel with Richard McKinley PSA-MP, HFH.
Location: Society of West-Coast Artists Art Center October 19, 2019, (studio). Good Vibration: Expanding Your
Lyn Asselta
San Bruno, CA Color Expression with Gigi Horr Liverant PSA-MP.
9/14/19 - 9/15/19 October 20, 2019, (studio). Panpastels: The Pastelist’s Secret
johnbarrows@sbcglobal.net Weapon with Karen Israel PSA-MP.
October 25-27, 2019, (studio). Finding The Soul Of The
www.lynasselta.com www.SchneiderArt.com Landscape with Lyn Asselta PSA-MP.
312-246-9676 November 8-10, 2019, (studio). Captured, References Re-
Imagined with Bethany Fields PSA. PSA School for Pastels.

Artists Marketplace
Classes – ongoing year round:
Tuesdays, 5:30pm-8:30pm, Introduction to Pastel Still Life and
Marla Baggetta
Landscape with Janet A. Cook PSA.
Wednesdays, 9am-12pm, Portraiture, Landscape and Still Life
with Diana DeSantis PSA-MP, HFH.
Wednesdays, 1pm-4pm, Flowers, Faces and Fabrics
with Wennie Huang PSA.
Thursdays, 1pm-4pm, Color & Composition with Maceo PSA, IAPS MC
Mitchell PSA-MP.
Alain J. Picard, PSA, IAPS MC
Are you looking to loosen up with a bold mark-making
approach, or learn new strategies to bring fresh color to your
paintings? Whether you work in portrait, figure or landscape,
Alain is passionate about teaching you breakthrough
techniques that will elevate your work to new heights. During
his workshop demonstrations and guided instruction,
Alain shares everything he’s learned in over 20 years as a
professional artist… all in a relaxed, fun and encouraging
environment. All levels are welcome, beginner to advanced.
Watch free video lessons and find out more about Alain’s
inspiring workshops by contacting Picard Studio:
203/297-1399; alain@picardstudio.com or visit
www.picardstudio.com
Accepting bookings for workshops and demonstrations in
2019 and beyond.
May 3-4, 2019, Westerville, Ohio. The Painterly Landscape,
Two-Day Workshop, Friday and Saturday 9:30am-4:30pm.
Contact: picardstudio.com/workshops
May 18, 2019, Florence Griswold Museum, Old Lyme,
Connecticut. The Painterly Landscape, Plein-Air Workshop,
Saturday 9:30am-4:30pm.
June 7, 2019, Albuquerque, New Mexico. IAPS, Celebrating
Beauty and Diversity through Pastel, 2-Hour Portrait
Demonstration from Life. Friday 8:00am-10:00am.
Contact: iapspastel.org Workshops
July 13, 2019, Montreal, Canada. The Painterly Landscape,
Plein-Air Workshop, Saturday 9:30am-4:30pm.
August 8-10, 2019, Newtown, Connecticut. UART. Painterly VA, PA, TX, OR, FL, Italy
Techniques on UART, Three-Day Workshop,
Thursday-Saturday 9:30am-4:30pm.
Contact: www.uartpastelpaper.com
September 4-6, 2019, Breinigsville, Pennsylvania. Art Is Inn. Online Lessons + Critiques
Painterly Techniques in Landscape and Portrait, Three-Day
Workshop, Wednesday-Friday 9:30am-4:30pm.
Contact: www.artisinn.biz
September 14, 2019, Hill-Stead Museum, Farmington,
PastelPaintingLessons.com
Connecticut. The Painterly Landscape, Plein-Air Workshop,
Saturday 9:00am-4:00pm.
November 15-16, 2019, Newtown, Connecticut.
The Painterly Portrait, Two-Day Workshop,
Friday-Saturday 9:30am-4:30pm.
March 5-6, 2020, San Luis Obispo, California. California
Central Coast Pastel Society. The Painterly Landscape,
Two-Day Workshop, Thursday and Friday 9:30am-4:30pm.
Contact: KC Caldwell, fogcatchers@gmail.com
March 7, 2020, San Luis Obispo, California. California
Central Coast Pastel Society. The Painterly Landscape,
Plein-Air Workshop, Saturday 9:30am-4:30pm.
Contact: KC Caldwell, fogcatchers@gmail.com
July 16-25, 2020, Dordogne, France.
Painting Retreat in Southern France.
Contact: www.picardstudio.com/france2020
William A. Schneider,
IAPS-MC, OPA, PSA-MP
William’s classes don’t follow the typical “watch a demo then
paint” structure of most workshops. Designed for serious
artists, each workshop is a module addressing specific skills
needed to take your work to the next level. In addition to
demos each workshop provides: substantial one-on-one
instruction; a detailed outline of the class content for your
future reference and study; handouts covering the techniques
discussed; specific exercises to help you isolate (and rapidly
master) needed skills; a lunchtime slide show of masterworks
that embody the principles discussed.
The classes are fun! Students routinely write, “The best
workshop I ever attended.” In fact, one third of attendees are
typically repeat students. Ask someone who has taken one of
William’s workshops.
June 21-24, 2019, San Luis Obispo, California.
Revealing the Soul - Sensitive Portraits & Figures in Pastel.
Contact: fogcatchers@gmail.com
August 16-19, 2019, Baton Rouge, Louisiana.
Loosen Up.
Contact: 225/266-7064
September 14-15, 2019, San Bruno, California.
Painting the Figure in Pastel or Oil.
Society of West-Coast Artists Art Center.
Contact: johnbarrows@sbcglobal.net
Jeanne Rosier Smith PSA, IAPS/MC
Jeanne’s workshops on Color Confidence, Loosening Up,
Painting from Photos, and Plein Air & Studio Seascape and
Landscape provide personalized attention and a simple,
practical approach. Daily demos and critiques, attention
to painting fundamentals, and plenty of easel time, all in a
relaxed atmosphere. These workshops, open to all levels,
are designed to push your boundaries and boost your
Artists Marketplace
painting confidence. Please check Jeanne’s website for more
information on her new Patreon Online Classes.
May 11-18, 2019, Amalfi Coast, Italy.
Travel Painting Tour with Jeanne. Waitlist only.
Contact: Jeanne@jeannerosiersmith.com
IAPS Convention (must be registered for convention to sign
up for these).
June 6 demo, Painting the Coastline.
June 7 PD class, Great Teaching.
June 9 1-Day Workshop, The Motion in Your Ocean.
October 12-14, 2019, Sudbury, Massachusetts.
Fall Color Plein Air Weekend. A weekend of plein air painting
in historic New England setting, Jeanne’s studio available for
inclement weather.
Contact: jeanne@jeannerosiersmith.com
Stan Sperlak, PSA
A nationally recognized instructor, painter, author and
Workshops | DVDs | Patreon Online Classes historian for all things art, Stan will change the way you paint
and make you see things in a whole new light. At his home
www.jeannerosiersmith.com studio, he teaches painting with pastels on the beaches,
dunes, marshes, fields and small towns of the Mid Atlantic.
(The receptions and indoor portions of his classes
are held in his Amish Barn/Studio at his farm in Goshen, NJ)
He also teaches plein air workshops in Europe and Australia,
as well as additional yearly workshops across the US. He is
well known for his expressive skies, wide range of moods
and atmosphere, painterly approach and quick rendering.
Stan Sperlak is a signature member of the Pastel Society of
America who is often featured in national magazines and
books. The workshops welcome beginner to advanced artists
as everything from drawing, painting, presentation, framing
and innovative ways to work will be covered. The classes
are well attended. So consider signing up early. All begin
with an informal reception/social the day before painting
starts. Stan is a very motivational teacher and mixes nature,
history and art topics together with nightly dinners and tours.
Most classes are based on painting the landscape from life
and if weather is poor indoor options are always available.
Watch for special events, and indoor classes that are not
on calendar. Limited nearby lodging available for Goshen
workshops.
May 16-19, 2019, Goshen, New Jersey. Spring Outdoor Class.
June 20-23, 2019, 4 Days with Stan and Tony Allain in/out
sketch/paint.
July 25-26, 2019, Ligonier, Pennsylvania.
August 1-4, 2019, Goshen, New Jersey. Summer Session.
September 19-22, 2019, Goshen, New Jersey.
Autumn Workshop.
September 29 - October 8, 2019, Ireland.
Connemara & Dingle.
ENID WOOD October 11-13, 2019, New Haven, Connecticut.
November 8-11, 2019, Honolulu, Hawaii.
workshops Pastel Artists of Hawaii.
November 14-17, 2019, Goshen, New Jersey. Dawn Emerson.
Pan Pastel® Adventure Contact: Stan, 609/463-4805
sperlakpastelworkshops@gmail.com or
Pastels with a Brush www.stansperlak.com
www.enidwood.com Sally Strand, PSA Hall Of Fame,
PSA Master Pastelist, IAPS Master Circle
SALLY STRAND WORKSHOPS. Showcase the Color of Light!
S TAN S PERLAK PSA

With a focus on color and light, Sally will demonstrate how to
“key” a painting and create light using value comparison for
NANCY
composition and rendering form. Concepts of color relativity,
harmonizing color masses, the effects of light on color, and
“Truth & Beauty in Pastel” optical mixing of layered color will be explored. Sally will
SILVIA
pose questions you can use as tools to showcase beautiful
color and light. Painting from clothed models and still life,
For workshop info visit: each student receives individual attention and critiques.
Demonstrations, lectures and slide shows are designed to
www.stansperlak.com PSA, PSNM, PAPNM help you achieve light-filled paintings with vibrant color.
For more information: 949/493-6892
info@sallystrand.com or www.sallystrand.com
Mentoring – Do you need help? In response to requests from
students, Sally is offering private one-on-one mentoring for
painting and career advancement. Email her for details.
Critiques – Send Sally an image of your painting through
ProArtCritique website for a detailed written critique.
This is a valuable way to get feedback on your work.
www.proartcritique.com
IAPS Convention, 1 day Workshop.
Showcase the Color of Light!
International Association of Pastel Societies.
IAPS Convention, 1 day Workshop.
Showcase the Color of Light!
“Last Light at Ghost Ranch” International Association of Pastel Societies.
June 17-20, 2019, Langley, Washington.
June Exhibition Color of Light. Whidbey Island Fine Art Studio.
7 Arts Gallery Contact: Cary Jurriaans, 206/571-0442
info@whidbeyislandfas.com or caryjur@gmail.com
125 Lincoln Ave, Santa Fe, NM 87501 www.whidbeyislandfas.com
July 21-27, 2019, Hudson River Valley, Greenville Arms,
n@nancysilvia.com Catskill Mountains, New York. Pastel Society of America
Destination Workshops. Painting the Color of Light in the
Hudson River Valley with Sally Strand. Offered jointly by

Artists Marketplace
The Pastel Society of America and Hudson River Valley Art
Barbara
Workshops. A combination of Sally’s signature Color of Light
Workshop along with her Paint-With-Me and Mentoring
Workshop. It includes studio instruction and plein air painting
Jaenicke
at some of the same spots as the famous Hudson Valley River
painters. A private tour of the home and work of Frederick
Church will make this an exciting workshop!
Contact: Kim LaPolla, 888/665-0044
info@artworkshops.com or www.artworkshops.com PSA-MP, IAPS-EP, AIS, OPA
October 24-26, 2019, Matthews, North Carolina.
Award Winning Artist Workshops.
Contact: Shirley Harris, 4shirleyart@gmail.com or
https://awardwinningartistworkshops.com
2019 Workshops
Enid Wood, PSA, PSNM CO • OR • NY
www.enidwood.com VT • OK • CANADA
Enid is an experienced and gentle teacher, with a passion for
both pastel painting and the art of teaching.
May 11 2019, Bastrop, Texas.
Rescuing Pastel Paintings, Afternoon workshop, 1:00-4:00.
Videos & Online Lessons
Bring work in progress to the beautiful new Lost Pines Art
Center, just 30 miles east of Austin, for an afternoon workshop www.barbarajaenicke.com
on rescuing paintings, or for using the energy in an old
painting that doesn’t work to create a new painting that does.
Contact: 512/321-8055, www.lostpinesartcenter.org
July 15-16 2019, Round Top, Texas.
PanPastel® Adventure, Two-day workshop, 9:30-4:30. If
you are eager to try PanPastels®, join us for this two-day
workshop at a beautiful gallery in a historic town halfway
between Austin and Houston. All the materials you need will
be provided. Bring your sense of adventure and your own
reference photos. Students will experiment with PanPastels®
to block in the major shapes and values of a painting, and
will also learn to use them to apply texture for creative
backgrounds, to modify color temperature, and create an
entire painting, using Sofft Tools® applicator sponges. Class
participants work on subjects that have meaning for them in
this informal, supportive class.
Contact: 979/249-4119, http://stores.thegalleryatround
top.com/enid-wood-pan-pastel-workshop
Call For Entries

DEADLINE: JUNE 1, 2019
Philadelphia Watercolor Society 119th International
Exhibition Of Works On Paper, Exhibition dates:
September 7 - October 11, 2019. Total awards in excess of
$8,500. Juror of Selection - Joseph Zbukvic and Juror of
Awards - Liz Haywood-Sullivan. Download prospectus at
https://pwcs.wildapricot.org. For additional information
contact intlshow@pwcsociety.org
DEADLINE: JUNE 17, 2019
Pastel Society of America. The 47th Annual Open Juried
Exhibition: Enduring Brilliance! at the National Arts Club,
New York City, September 3-28, 2019. Soft pastels only.
More than $40,000 in awards. Online digital entries only.
Download prospectus after March 15th at
www.pastelsocietyofamerica.org or send SASE (#10)
to Pastel Society of America, 15 Gramercy Park South,
New York, NY 10003. Info 212/533-6931 or
psaoffice@pastelsocietyofamerica.org
DEADLINE: JULY 10, 2019
Pastel Society of Maine’s 19th International Open Juried
Exhibition - Pastels Only - September 10 - October 26, 2019
at The Saco Museum, Saco, ME. Juror and judge Jen Evenhus
will teach 3-day and 2-day workshops at Ferry Beach Park
Association in Saco, September 11-16. Up to $6,000 in awards,
including $1,000 Best in Show. Online prospectus and
registration: www.Pastelsocietyofmaine.org. Contact Mary
Beth Morrison at mbkmartist312@gmail.com
DEADLINE: AUGUST 2, 2019
Pastel Society of North Carolina’s PURE COLOR 2019
International Online Exhibition. $2,000 Cash Awards!
The breakout is 1st - $850; 2nd - $650; 3rd - $300; 4 honorable
mentions at $50 each. Paintings accepted in prior PURE
COLOR INTERNATION EXHIBITIONS are not eligible.
Soft Pastels Only. Enter June 1 - August 2, 2019. Show
September 1-30. Juror Deborah LaFogg, PSA.
www.onlinejuriedshowshows.com
www.pastelsocietyofnc.com
SALLY
Connecticut Pastel Society announces the 26th Annual
National Juried Exhibition, “Renaissance in Pastel,” at Slater
Museum in Norwich, CT, October 11 - December 7, 2019.
Merchandise and cash awards totaling approximately
STRAND
$10,000. Jury of selection: Judith Leeds, Jeanne Tangney and
Kurt Weiser. Awards judges: Brian Bailey, PSA-MP; IAPS-MC; Workshops
and Stan Sperlak, PSA. Soft pastels only. Online submission
opens June 1st. Download prospectus beginning April, 2019 Master Pastelist &
at www.ctpastelsociety.org or www.showsubmit.com. Hall of Fame Honoree, PSA
For questions please contact Vicki Rooney at
vrooney661@aol.com or Diane Stone at dstone322@gmail.com
NM, WA, NY, NC
The Pastel Society of the Southwest will have its 38th
National Juried Exhibition in October 2019 in Grapevine, Texas.
Judge and juror for the show will be Dawn Emerson. $1,000 for
www.sallystrand.com
Best of Show. See onlinejuriedshows.com for the prospectus.
Artists Marketplace
Little Rock, Arkansas: Arkansas Pastel Society, “Reflections
in Pastel” 8th National Competition for Soft and Oil Pastel.
November 8, 2019 - February 22, 2020. Casey Klahn, Juror.
Art sts
Over $2,600 in awards, $1,000 grand prize. Digital entries.
Prospectus at www.onlinejuriedshows.com
Pastel Society of New Hampshire Eleventh Annual National
Juried Exhibition, “It’s Pastel” October 19 - November 23, 2019
at Discover Portsmouth Center Gallery, Portsmouth, NH. Juror
of Selection: Tom Christopher PSA IAPS/MC, Juror of Awards:
Jacob Aguiar PSA. Awards: over $5,000. Members $35/Non-
members $45, up to 3 entries. Soft pastels only. Online entry
starts July 5. Submit your entries at www.showsubmit.com.
Prospectus: www.pastelsocietynh.com
The Chicago Pastel Painters’ Seventh Biennial National
Juried Open Exhibition, Pastels Chicago 2019, November 5 –
December 4, 2019, at The Art Center Highland Park,
Highland Park, Illinois. Best of Show $1,500 with approximately
$8,000 in cash and merchandise. Juror of Selections: Aline
Ordman, PSA-M, IAPS-MC. Judge of Awards: Casey Klahn,
PSA, IAPS-MC. Soft pastels only. Entries at ShowSubmit.com.
Members $35, non-members $45. Prospectus:
www.ChicagoPastelPainters.org and www.ShowSubmit.com
Call To Artists
Estate Sale
420 piece full stick Unison Colours Soft Pastel set – in 5 black
boxes. $1,150 New in box. This set is no longer available in US.
Free shipping via UPS ground. Crcd/Paypal/Zelle.
Contact: 1309bizmail@gmail.com
Master Artist Workshops

Huntsville, AL | 256.535. | hsvmuseum.org
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ArtistsNetwork.com @ArtistsNetwork
Southern France
Plein Air Pastel & Watercolor Workshop
August 25-September 1, 2019
www.alanflattmann.com

pure PASTEL
Explore today’s top

pastel artists and
their new heights
of innovation &
creativity.
PURE PASTEL
$39.99 • ISBN 9781440350900
Also available as an eBook
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Selected artwork from Pure Pastel (from top left): Deep Sheep by Rita Kirkman, Marina Reflections by Tony Allain,
The Shape of Color by Arlene Richman, Mark and Shelley by Judith B. Carducci, and Frozen by Anna Wainwright.
The Spark
The Center of Attention

By Sarah Blumenschein
A summer visit to Pike’s Place in Seattle provided

abundant options for still life subjects, especially
in the floral department. Photos I took on that
day have become the inspiration for a series of paintings.
I initially started with a small-sized format, but I plan to
move to a larger format for some work in the series once
I’ve resolved the compositions. In the painting, Dahlias $2,
I wanted the pink-and-white dahlias to be the focal point,
so I modified the scene slightly to keep the viewer’s eye
moving back to the white buckets featuring these flow-
ers. Most notably, I cropped the photo and rearranged the
sunflowers in the lower-right corner, moving them up the Once I’d decided to make the pink-and-white dahlias
right side of the painting. I also modified the background, the central idea in my painting, Dahlias $2 (12x16),
leaving the imagery more vague. PJ I diverged from the reference photo as needed, crop-
ping and rearranging elements in ways that would
Award-winning artist Sarah Blumenschein (sarahblumenschein.com), bring more attention to these flowers as the central
focus of my composition.
lives in Albuquerque, N.M., with her husband and four children.

ALBERT HANDELL
PSA MASTER PASTELIST and HALL OF FAME HONOREE
AMERICAN IMPRESSIONIST SOCIETY and
OIL PAINTERS OF AMERICA Master Artist Category
Spring Mist by Albert Handell, Oil, 20” x 24”
UPCOMING WORKSHOPS & MENTORING PROGRAMS

4 Day Oil Painting Workshops in the
Handell Studio, Santa Fe
Santa Fe, NM (Oil) - October 31 - November 3
Santa Fe, NM (Oil) - December 5-8
Highland, NC (Pastel & Oil) - April 10-13

Carmel, CA - April 18-20
Plein Air Convention, San Francisco, CA - April 24-28
(Will receive the Lifetime Achievement Award)
Santa Fe, NM - May 9-12
IAPS Convention, Albuquerque, NM - June 4-9
Santa Fe, NM (Pastel & Oil) - June 25-28
Santa Fe, NM (Pastel & Oil) - August 7-10
Taos, NM - October 6-12
Studio Visits Welcomed.

Visit Albert’s website for further details
and information.
My Window, My Home Santa Fe, by Albert Handell, To register for any program, contact the
Pastel, 12” x 9” Handell Studio via phone or email.
www.alberthandell.com • 505-983-8373 • alberthandell@msn.com

Pastel Journal May 2019

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YOU HAVE THE VISION

Down by the Sea XIII by Daggi Wallace, daggistudio.com

BLICK HAS THE SUPPLIES

Shop in stores and online for an unmatched selection of art materials.

Inspiration and Insight for

Turn Up the Heat

!B1>YTT:1C/;8;>? RICHESON SOFT

We’d love to hear your ideas and comments.

2 Pastel Journal JUNE 2019

FORTY-SEVENTH PSA ANNUAL EXHIBITION

ENTRY DEADLINE: 12PM PST, MONDAY, JUNE 17, 2019

Jury of Selection: Juror of Awards

The 2019 prospectus is available at www.ShowSubmit.com

The Pastel Society UK Holds

A s the 2019 Annual Exhibition

Street in Ajmer, Rajasthan

4 Pastel Journal JUNE 2019

IAPS HOLDS 13TH BIENNIAL

Be One of the Artists Celebrated in the

EARLY-BIRD DEADLINE: August 5, 2019

Art material prizes courtesy

For complete prize information, juror biographies, or to enter online, visit:

“Is My Painting Finished?”

COLOR HARMONY LIGHT & VALUE

8 Pastel Journal JUNE 2019

Enjoy the prestige of seeing

Daybreak by Wendy Liang

The 13 winning artists will be published in the

Visit www.southwestart.com for complete guidelines and to enter today!

I wanted to paint big. As an architect-

10 Pastel Journal JUNE 2019

For the Artist, Maker & (Forever) Inspired

12 Pastel Journal JUNE 2019

Not knowing what challenges this omitting superfluous

14 Pastel Journal JUNE 2019

exact size. ——— Italy

T he Regata Storica started in 1489, when the

Museum. The classically I kept the knotted rope, dangling like

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It’s not a Wheelchair... The Zinger folds to a mere 10 inches.

It’s not a Power Chair...

M y mother warned me to avoid

The Beauty of Red

understand why we think of red as a

In Girl With the Red Hat

18 Pastel Journal JUNE 2019

Reds can be bright,

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that focused on value, and for years

26 Pastel Journal JUNE 2019

Crimmin has been working on making bolder marks and suppressing

PAINTING WITHOUT LIMITS

Amy Leibrock is a Cincinnati-based freelance writer and content manager.

28 Pastel Journal JUNE 2019

the ones that support the

Final: I add highlights to

ways in which the water

Lonely Tree (Maer

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36 Pastel Journal JUNE 2019