July-August 2012 2012-2013 Program Schedule · July-August 2012 2012-2013 Program Schedule We have...

The Northwest Watercolor Society Newsletter

July-August 2012

2012-2013 Program ScheduleWe have an exciting line up of programs for our NWWS members to enjoy.

Here is the schedule of talented, inspiring teaching artists. Be sure to mark your calendars!

Continued on page 10

September 24, 2012 we feature JoeMacKechnie. Joe says “The worldprovides me with an infinite canvas.Everything I see becomes subjects formy art through the mediums ofgraphite, ink, pastel and paint. Mypurpose is to isolate, depict and capturethe essence of a subject. I seek qualitiesthat are elusive, difficult to discover andportray. Painting for me is aboutsharing my view as I witness and savorthe visual moment.” Joe is a favoriteartist and teacher in the Northwest. Weare excited to bring this demo to ourmembers. www.jlmackechnie.com

October 23, 2012 celebrates anevening with Stan Miller the judgeof NWWS Waterworks Show and ourworkshop presenter. Stan believesthat a great work of art achieves masteryof medium, clarity of execution andauthority of expression. A great work ofart changes the way one views life. Itmust be well designed (great Abstract,Impressionism and Realism can allequally achieve this). Stan is a person ofdeep emotions and is very inspiring.www. stanmiller.com

November 27, 2012 will presentCatherine Gill. Cathe interprets spaceas a design of abstracted pieces,expressing the movement anddiscovering connections in how thepieces fit together. She says“Determining symbols that createmovement, and discovering images thatwill visually and emotionally maneuverthe viewer is an integral part of thecreative process for me”. She enjoysworking on location and layeringlandscape imagery with symbols ofmovement and direction to correspondwith the depth of her personalexperience of a particular place.www.catherinegill.com

January 22, 2013 we are happy tofeature Kay Barnes. Kay has been ona quest for creative expression for mostof her life. She is not afraid to take risksto be truly creative. Kay is skilled atmentoring and coaching with her lightand friendly instruction style, bringingout the best in her students. She stepsoutside the box to experiment with newideas and new products. Kay will takeyou on a journey of exploration anddiscovery that will help you locate andnurture the artist within you.www.kaybarnes.com

February 26, 2013 is a doublefeature. From 7:00 to 8:00 pm ourtalented technical wizard andartist Linda Rasp will present aslide show of entries in the NWWSOpen Exhibition. Then from 8:00–9:00 PM Cindy Briggs and TheresaGoesling will present demos usingthe new watercolor groundmedium, each in their own specialstyle. International travel experts,Theresa Goesling and Cindy Briggs willdemonstrate the application of DanielSmith Watercolor Ground and how to

Welcome to a new year of NWWSactivities. Over the summer, your boardhas been hard at work on new projects.Molly Murrah, our vice president,Debbie Haggman, our databasemanager and Cheri Connell, ourwebmaster are in the process ofcompletely revamping our electroniccommunications, show entry systemand record keeping. This is one of theprime initiatives I wanted to put inplace. They are doing a magnificent job.Thank you, ladies.

For the past two months, I havebeen traveling in Europe filling a sketchbook. I hope to expand our contactswith art groups in other countries. If we

2 · July-August 2012

President’s Message

Northwest Watercolor Society

P.O. Box 50387Bellevue, WA 98015-0387

www.nwws.org

President:Jeff Waters

425-396-1940

Vice-President:Molly Murrah425-822-6552

Corresponding Secretary:Seiko Konya

206-854-9110

Recording Secretary:Sheila Mattick425-454-2546

Treasurer:Peggy Meyers425-869-0783

Attorney:Darek Linke

[email protected]

Newsletter Editor:Charlene Collins Freeman

[email protected]

Newsletter deadline for theSeptember-October edition

is August 10, 2012

E-mail your items [email protected]

(Subject line: NWWS or Hot Press)

Please send newmemberships/changes

of address to:Peggy MeyersP.O. Box 50387

Bellevue, WA [email protected]

Please send all bills to:Peggy MeyersP.O. Box 50387

Bellevue, WA 98015-0387

are to advertise ourselves as aninternational society, we should reachout to these organizations.

While I have been away, CricketCrockett has stayed in the executivechair for an additional month. Thankyou.

Charlene Freeman has taken overthe newsletter. This is a huge task! Shewill do a magnificent job. Thank you,Charlene.

We look forward to a challengingand exciting year as we lay thegroundwork for our 75th AnniversaryCelebration. Theresa Goesling andCindy Briggs are putting together anunbelievable celebration filled withspecial guests and events.

These are exciting times in NWWS.Get involved! Volunteer for a chairposition or if that seems like too muchfor you at the moment, offer to assist orwork on a short-term initiative. We haveplenty.

May your painting live up to yourexpectations and your heart be filledwith the simple joy of creation.

Peace,Jeffrey L. WatersPresident

July-August 2012· 3

With this issue, I begin my tenure asEditor of Hot Press. I joined theNorthwest Watercolor Society quite afew years ago but my only involvementfor the first few years was to read thenewsletter. Every issue urged me to pickup my brush, to go to more exhibits, toget more involved in the art community.Finally, in 2008, I went to my firstNWWS exhibit and was so inspired by itthat the next day I called the NWWSpresident to see if there were anyvolunteer opportunities for me to getinvolved with the organization. Therewere.

Since that time, I’ve come to knowan inspired, strong, dedicated group ofartists who persistently work to makethis organization the success it is. Ifound encouragement, advice,inspiration and friendship. I encourageyou to get involved.

And now, remarkably, I find myselfat the helm of the newsletter that foryears has stirred me to be moreinvolved with my own artwork and withother artists.

To better prepare for this role Ireviewed all the Hot Press issues postedon the NWWS website and am soimpressed by the evolution of thisnewsletter. Hot Press is a collaborationof efforts which, year after year, JeffWaters led and helped to shape. I wantto thank Jeff for trusting me to take onthe role of editor and for hismentorship.

I hope to expand the breadth ofwhat our newsletter offers to ourcommunity. I will aim to grow the visionof this publication, bringing you evenmore relevant and exciting informationabout the artists we love, techniques wewant to learn, and art opportunities wemight explore.

One of the first changes I’vedecided to make is to write interviewswith artists who intrigue me instead ofwriting editorial columns. I hope you

enjoy reading these as much as Ianticipate writing them! I also havereached out to some of our best teach -ing artists to ask for step-by-step lessonsfor each issue. We have a great line upof lessons to share with you from someof the best teaching artists in the North -west Watercolor Society. I hope youenjoy these additions to the Hot Press.

If you would like to learn moreabout me, please visit my website atwww.charlenecollinsfreeman.com. As alover of all things related to watercolor, Iam delighted at the opportunity to jointhis unique publication and to put myefforts to work on behalf of theNorthwest Watercolor Society and ourart community.

As always, I welcome your storysuggestions, your insights and opinions.

Charlene Collins Freeman

Editorial

Letters

Congratulations to ournewest NWWS

Signature Members!Lee Allen

Maud DurlandOna KingdomSusan K. MillerMolly MurrahKristin NailKaaren OreckCharles H. Rouse

Thank you Ott Lite!I purchased a floor model Ott Lite

awhile back because I was aware of thehigh quality of light it emits, especiallyneeded for painters.

After I had used the lamp forseveral months, a piece broke and thelamp was unusable. I emailed thecompany, asking what I should do. Iheard back from them very quickly.They did not ask for my sales slip, oreven when I bought the lamp. Theperson I talked to asked me to cut thecord on the lamp and e-mail her apicture of it and she would send me acomplete replacement for a warrantyfee of $9.90.

I was very impressed by this finecustomer service, and I thoughtmembers of NWWS would want toknow about my experience. It’s unusualin our contentious society to find acompany so willing to work with acustomer. I feel companies that do thatshould be honored and appreciated.

Ott Lites may be purchased atJoAnn’s Fabrics, Michaels Craft Storesand other stores in the area. You can seethe styles they offer at Ottlite.com.

Kathy Winters360-887-2160, [email protected]

The NWWF recently had its AnnualMeeting and the 2012-13 board wasapproved. Ann Breckon will continueas president and Gold GrantScholarship chairman, Charlene Burleywill stay on as treasurer, as well asSheila Mattick as secretary, with KristiGalindo Dyson and Cricket Crockett asboard members.

As president of the NWWS, JeffreyWaters will also be a member of theboard. In addition, Charlene Burley hasvolunteered to be in charge of the Artfor Kids program. This is very excitingand welcome both for the reason thatwe have not had anyone promoting thisprogram for several years and becauseCharlene Burley is such a dependableand dedicated volunteer. If you have adesire to serve the cause of arteducation through our scholarship orart-in-the-schools programs in even asmall way, please contact Ann Breckonat [email protected].

Take a look at the Foundation linkat nwws.org. Our webmaster, CheriConnell, has re-designed the page sothat we can archive images andinformation about our winners for yearsto come. Also on the site are Art forKids reimbursement forms. If youvolunteer in a school program you canapply for a repayment of up to $50 forsupplies.

We would like to thank the NWWSfor its contribution to the Foundation.A small percentage of everyone’s dues isgifted to the Foundation each year andthe funds are essential for ourscholarship program. Thank you!


Interview with an Artist Janet Flom

Janet Flom’s watercolor, She Wants to Play, was awarded First Place at the 2012 NWWS International Open Show. Even in this outstand-ing exhibit, Janet’s painting was a stand out and I when I saw it, I knew I wanted to learn more about Janet Flom. When I contacted her, Janet graciously and generously shared her thoughts, processes and experience.

I’d like to start o� with general life questions: where were you born, where did you study, where are your roots?

A suburb of Detroit, MI. I was the kid who could draw, so my 1st grade teacher pestered my parents to get me some after-school art classes. Ran afoul of a high school art teacher who pushed abstraction and didn’t cherish my very tight, pretty little pencil drawings.

My immature, bratty 15 year old self dropped out of the class and quit art altogether for the next 25 years or so. I attended the University of

Michigan, got a degree in Rus-sian and East European Studies, then a law degree and practiced as a trial attorney in Minneapolis-St. Paul until moving to my present community, 25 years ago.

Why did you start painting?

I had very young children, knew no one in my new community, and hadn’t lost enough weight to �t into my navy blue look-for-work-suit. I took an adult education class in watercolor, and got completely hooked. I never went back to law-yering. I read everything I could, borrowed videos, went to workshops whenever I could. I spent a good while chasing techniques/ style/ sub-jects of other successful painters, and got to be a decent mimic of others.

Eventually I realized how little I really knew about art (composition, theory, color, movements, art history) and so I began taking art classes at the local college, one or two at a time as I could manage. Seventeen years later I completed my art degree in this way, graduating just one year ago. During that time I made mosaics, sculptures, and of course I had my art school assignments. But I didn’t paint very much in watercolor.

Tell us a little bit about your current working style, your process and time management.

My working style is sporadic at best, and progress has been slow. My life as a watercolorist has been a zig-zag course with more than one signi�cant hiatus for years at a time, but at least the forays into other art mediums and endeavors can be said to have “informed” my painting.

�ese days I fret over not having large blocks of time to paint (not that I ever used them productively), because I recently started a part-time job (not art-related) which a�ects my schedule. Sometimes pulling o� a painting is like trying to run a marathon when you’ve only trained for

She Wants to Play30 x 22

The original photograph for She Wants to Play

The sketchbook prep work

More sketchbook prep work


Interview with an Artist Janet Floma couple of hours here and there. Trying to balance life’s demands is a challenge.

Fortunately, watercolor lends itself to my working style. I don’t have the patience or sustained interest over time to paint in layered glazes, so a direct, alla prima approach is much more suited to my short attention span and artistic goal of fresh paint quality. However, I am by nature timid and analytical, much more comfortable with an orderly progres-sion of steps. How to resolve this?

In the last few years I accepted my own traits and decided to play the hand I was dealt instead of wasting time wishing things were di�erent (such as wishing that I were more right-brained, that I were an intuitive painter, that I didn’t procrastinate, that good paintings should be easy, that I were organized, that I didn’t have to go to work that day, and so on).

Amazingly, good things happen when you least expect. �ere is a lot of downtime at my job in short bits of minutes, in which employees may read or do homework or whatever. I take

along a few photos, my sketchbook and a journal.

I stare at a photo, noodle in my sketch-book, and write down my thoughts about the image, what grabbed me as the “thing,” and how best to pursue that with composition, values, color and so on. Writing often organizes my scattered brain.

In this manner I began doing all that preparatory work I had been skipping for years in order to quickly get to paint-ing because my time was so limited.

Light bulb! Just because I understood composition, values, etc. didn’t mean I was using them e�ectively. I rarely did prep work like thumbnails or value sketches at all. I would just jump into a painting and hope for the best. So, going back to square one and actually doing this resolved several dilemmas: 1) I was now doing regular sustained “training” instead of trying to succeed as a weekend athlete;

2) Walking through steps to analyze an approach to an image satis�ed my annoyingly persistent left brain;

3) Doing this prep work allowed me to really become familiar with the shapes, edges, dynamics etc. of an image, as well as focusing my goals and thoughts about content. �is gave me a lot more con�dence about stepping o� the plank and letting the right brain take over during the actual painting process;

4) I even began to look forward to going to my job, and I would leave it pumped to get to the studio. Formerly I’d get to the studio, dawdle and waste time trying to get organized or screw up my courage to paint.

I �rmly believe that working from life or plein air painting is big medicine for a painter; it steepens the learning curve and puts one in touch with that “thing” that makes you want to paint in the immediate sense.

But reality for me is working from photographs, so the challenge is to do so without slavish replication. I used to scan a photo into Photoshop and play with it in all kinds of ways.

Another light bulb! Sure, I was manipulating the photograph, but Photoshop was doing much of the

The original photograph for The New Puppy

Recent sketchbook noodles

pretty much a straight replication

Most recent painting of The New Puppy

Recent sketchbook noodles

Drawing on watercolor paper


decision-making for me and I would still be too timid to step away from the resulting Photoshopped image.

Now I’m �nding that having gone back to basics with pencil and sketchbook, I “own” much more of the process and am more con�dent of my decisions. I’ll draw the lines and shapes over and over again, almost to the point of boredom, leading to asking “what if....” and more risk-taking. Getting an accu-rate rendering of the photograph starts to get in the way of other things which have become more interesting. I think this leads to con�dent choices, more personal expression and ultimately a better painting.

My next step is to do one or more paint-ed value/ color studies, and trying out some more of those “what ifs.” Value studies are of particular bene�t for simpli�cation (another goal of mine) and because I have trouble getting the value right the �rst time (which would then require dreaded glazing).

Having solved some problems in advance in the sketchbook and knowing this is only just a study, it’s easier to loosen up while painting and focus more on surface quality. I

am often pleasantly surprised to �nd that the study ends up a pretty good painting all by itself.

What makes a painting successful?

“Painting is a performance, like jazz. �ere’s a sense of play. A search for the right notes, right time, right feeling. It’s not an intellectual exercise. Technique has to be in the background, like breathing.” - Painter Duane Keiser

I think a successful painting is one where all of the necessary elements are present but do not demand individual attention above that main “thing” -- whatever that is -- which led the artist to make this personal expression.

How do you de�ne success?

I wouldn’t denigrate all the usual markers of success -- peer acclaim, awards, sales, getting into shows, galleries, museums, fame and fortune… But eventually it dawns on you that there has to be a better rea-son to paint, because painting can make you crazy with self-doubt and failed ambitions; you make a lot of clunkers.

�e de�nition of success is probably unique to the individual, and changes over time. Right now, these are a few of the things that I would de�ne as success:

A) Getting to that point, as in the Duane Keiser quote, where an artist can cre-ate something special beyond just showing virtuosity.

B) Gaining some understanding of my own strengths and weaknesses as an

artist, and how to use/ solve these and progress toward A) above.

C) When I am teaching and see a light bulb go o� for a student about something. I can pinpoint many “aha” moments in my painting life and am so thankful for the instructors who made that possible. Being able to communicate something useful is a great success.

From where do you draw inspiration?

It seems to me that it is best to paint what you know and love. People watching. �e human experience is universal, but it is also unique and

Table for One14 x 11

Progressions25 x 29



unpredictable. For instance, eyewitnesses to the same event may give entirely di�erent descriptions based on their own frame of refer-ence, and this may change yet again depending on the circumstances of the retelling, to whom, and when.

It’s like a limitless frontier, exploring the human experience -- and the artist/ explorer continually changes as well.

Portraits and �gures are my favorite subjects for this reason and maybe because I was an adopted child. I had

a special interest in paying atten-tion to likeness, gesture, and the similarities and di�erences between people. People watching is something I remember doing even as a very young child while bored in church.

Which artists and art movements inspire you?

Daumier, Degas, Van Gogh, Vuillard, Bonnard, Cassat, Rodin, Kollwitz, Ernst Barlach, Fechin-- the list goes on and on; against my will I became an art history junkie.

I like the idea of making an

expressive and personal visual statement about one’s own world, so Impressionism, pre- and post-, are favorites. �is puts me squarely on the realism side of the fence, but I do appreciate abstraction and non-objectivism in painting because it requires examination of whether the actual structure will carry the “idea” of the painting, without totally relying on accomplished technique or subject matter.

Modernist painting, with its emphasis on surface qualities of the paint and support, appeals to me because this is an inherent quality of watercolor.

My contemporary painting heroes are: -Charles Reid: so much to be said here, but I’ll limit it to paint quality; absolutely nobody does it better.

-Alex Powers: interplay of drawing and color and surface.

-Andy Evansen and Joseph Zbukvic: fresh, con�dent application which is both bold and sensitive.

-Burt Silverman: oil and watercolor �gure work, sensitive to surface and content.

-Ted Nuttal: compositional use of the �gure, application. How long does it take you to complete a painting?

It depends. Sometimes I’ll noodle with an image/ idea for a period of years, even complete a painting or two, until I �nally understand what it was I really wanted to do and make another run at it. Other times, I am thrilled with what happens in a 45 minute painting session with no advance planning, but in all honesty I think this is more likely to happen after a lot of general-pur-pose brush miles (and clunkers).

Charles Reid said that when you �nd yourself dinking around and don’t know what else to do, the painting is �nished. Donna Zagotta said that you know you’re done with a painting when you love it.

I usually love a painting at the begin-ning, with that �rst fresh applica-tion of paint, hate it during its ugly adolescent stage, and then get to the point where I don’t know what else to do and suspect I might be done but maybe don’t love it yet. I follow Reid’s advice, stop painting and set it aside to “simmer” and see if improves any on its own (e.g., I forget what it was that was bugging me).

If not, I go through a ridiculous nit-picky ritual, but one which works for me. I invite my left brain back into the process to take its best shot and make a written list of everything that is both-ering me about the painting. �en I write at the top of the list whatever the “thing” was the idea for this painting, and go through my list again to see which items meaningfully a�ect that main idea. I’ll make those changes in the painting, if I can; the others, I ignore.

�is ritual acts a “pause” and lets me evaluate the painting with some criti-cal distance. I suppose inviting an out-side critique could do the same thing, but in the end it has to be my decision anyway.

Red Door (Murno)15 x 22


Interview with an Artist Janet FlomIf I’ve missed the boat altogeth-er on the “thing,” this doesn’t necessarily mean that the painting is a failure, it might just be that I changed horses midstream without realizing it and need to look at things from a di�erent viewpoint. Or, I just start over again, having at least learned something.

So, do I struggle to know when a paint-ing is completed? Not usually, and not knowingly, but I certainly have killed many by overworking. �ere are many opportunities to do this during the course of a painting, long before one gets to the end stages.

My bigger struggle is usually at the beginning, in trying not to copy a photograph no matter how great it is, nor to mimic another artist’s style no matter how much I admire them.

I struggle to �nd my own voice and how to express it. I struggle to beat down timidity or to avoid falling into comfort-able habits or trite solutions. I struggle to meet deadlines and paint for shows, but this almost never works out well. So instead I struggle to paint more regularly and just accumulate those brush miles. I struggle to start and then to just keep going.

I tell myself to plan ahead, get to the point, be brief, and don’t get bogged down in subordinate detail so that I obscure the point. Get in, put it down, and get out. Don’t keep stroking and mucking about.

I like a painting to be a combination of varying amounts and placement of just those select elements which best serve the painting’s purpose (that “thing” again), which of course changes with each situation.

Lately I’ve been focusing on how to say more with doing less, to understate or even ignore certain areas of a painting.

I admire bold, con�dent application of fresh juicy paint, a painterly look that bears evidence of the process, the artist’s mark that

this was painted. I am intrigued by an interplay of a 2D line and 3D paint on a �at surface. I also admire sharp and sensitive focus in select areas. �ese are my painting goals.

Do you take time to get involved with any art organizations?

I was founding president of the Red River Watercolor Society 23 years ago, and for the last 2 years I have been director of the RRWS National Juried Exhibition.

Last year I entered NWS for the �rst time, and my piece was selected for exhibition. I was then invited to apply for signature status by submitting 3 other paintings for review by committee, and am now a signature member of the National Watercolor Society.

I am also involved with two local arts organizations, the Fargo Moorhead Visual Artists (all media) and the Red River Valley Woodcarvers.

Is your work viewable in any current or upcoming shows?

Progressions was accepted into Red River Watercolor Society’s National

Toronto Two-Step11 x 14

Juried Exhibition, June 17-Sept 16, 2012.

I have plans to submit entries to several juried and non-juried shows this year if I manage to get my act together, create good paintings, and meet deadlines.

Interview with Janet Flomby Charlene Collins Freeman

Editor, Hot Press

Janet has completed over four hundred commissioned portraits in, watercolor, oil and terra cotta; faces and �gures remain her favorite subjects.

Watercolor is her primary medium, pre-ferred for its immediacy and versatility.

A native of Detroit, Michigan, Flom �rst studied art as a child at Cranbrook Art Institute and the Bloom�eld Art Association, but set artistic ambitions aside for a Bachelor of Arts from the University of Michigan in Russian & East European Studies. She then earned a law degree from William Mitchell College of Law and practiced as a trial attorney until returning full time to an interest in art.

Recently Flom returned to the courtroom as a sketch artist.

www.janet�om.com



Editor’s Contest – TulipsIn each issue of Hot Press, we present an Editor’s Contest. We invite you topaint your interpretation of the theme of the contest and send in a jpeg ofyour painting to the editor at [email protected]. All entries will bepublished in the next issue of Hot Press, and a 1st, 2nd and 3rd place shoutout given to those works the editor feels are most compelling.

In April I spent a beautiful afternoon exploring the Skagit Valley Tulip Festival.Here are some photographs I took that day. Feel free to use these or to supplyyour own source material for this edition’s editor’s contest. I look forward toseeing your entries! - Charlene


PROGRAMS, Continued

utilize this new painting surface fortheir watercolor travel journals andmore... Get inspired for your nextpainting adventure as you watch thisdynamic duo demonstrate theirindividualapproaches towatercolor as theyshare stories fromtheir 10+ years ofartful journeysabroad. Co-Authors of MakeEvery Day APainting, bothare NWWSSignature artists and featuredinstructors at Daniel Smith, various ArtCenters and Traveling Workshops. Eachhas been juried into America’s Best ofWatercolor, numerous international andregional shows including AWS, NWS,WSO and WFWS, and Theresa in Splash13. www.MakeEveryDayAPainting.com

March 26, 2013 brings MollyLeMaster to the forefront for a longawaited demo on her pouringtechniques. “I see a painting in justabout everything! There are no secretmeanings or political or social state -ments in my work. Nature is whatinspires me most. Color has alwaysfascinated me. I am a watercolor artistbecause I love the transparency of thecolors. The medium challenges me.Mixing the color feels like magic to me.

So, while my subjects may vary greatly,detail and color are always present.”Join us as Molly inspires and guides usthrough her demo.www.lemasterstudios.com

April 23, 2013 Mark Mehaffey, thejudge of our NWWS Open Exhibitionand conductor of workshopsextraordinaire. Mark has beenpainting for over 50 years and yet thecontent of his work is constantlyevolving. He embraces this state ofchange, believing that it is throughchallenge that growth occurs. To betimid, safe, complacent or overlysatisfied does not push the boundariesof creativity. He explains “As tangentsoccur in my life, they also occur in mywork. I allow myself the freedom tofollow my tangents. I find myselfdreaming of mists, clouds, rain andwater. My brush seems to take on a lifeof its own as I express the feeling of asummer storm or fishing in theshallows. In my non-objective work, Iwork to evoke strong feelings from aviewer by manipulating the elements ofcomposition. Can line, color, shape andvalue be juxtaposed to have the sameemotional impact as a thunder storm?Art is a dialogue between artist andviewer.” www.Mehaffeygallery.com

May 28, 2013 brings the inspirationof talented artist Lola Deaton to ourmeeting. Lola finds inspiration ineveryday places and will urge you to dothe same. “A trip to the market for freshvegetables, the impulsive purchase of ashiny copper sieve, a torn shopping bagemptying it’s contents across the floor,and I had the makings not only forlunch, but for a prolonged series ofpaintings. I watched as the refractedsunlight spilled through the beveledglass of the door, washing across thebroccoli, carrots and plumtomatoes...transforming the ordinaryinto an extraordinary interplay ofsparkling, glowing textures andluminous, lengthy shadows. I’vereturned many times to use some partor another of that composition ofpatterned lights and shadows for anynumber of watercolors. I now watch forthose unforeseen, accidentalhappenings that turn commonplaceobjects and everyday errands intomoments of inspired magic. If you aresearching for inspiration, look for theunexpected, enchanted gift that dailylife presents you just when you mightleast expect it! Be warned however—lunch may be quickly forgotten as youcollect palette, paper and brushes withthe singular thought swirling throughyour mind...it is time to paint.”- LolaDeaton

Respectively submitted,Fran ClapperNWWS Program Chairperson

Charlene Freeman –New Editor for Hot Press

Hot Press has a new editor.Please send all submissions

to Charlene [email protected].


Awards$4,000 in cash and merchandise awardsis anticipated for this exhibition. Topcash awards are $1,000 for first place,$750 for second place, and $500 forthird place.

NWWS MembershipWaterworks is open to all ACTIVENWWS members. If you are not amember, we invite you to apply forAssociate Membership. Dues are $40per year (calendar year June 1, 2012through May 31, 2013) and are notprorated. Membership entitles you toreceive a member roster, online

bimonthly newsletters, and reducedexhibition entry fees for the AnnualInternational Open Exhibition. NWWShosts monthly program meetings andworkshops taught by nationallyrecognized instructors. An associatemembership form is available on theMember Benefits page under theMember Info tab on this website, or youcan join NWWS online when enteringthe exhibition. Dues must be paid byyour entry date (or with your entry ifyou are applying for first-timemembership). You may also contactthe Membership Chair, JoAnne Mills at425-271-1638 or [email protected].

Juror: Stan MillerStan Miller is anaward-winningartist (the DesserAward forPainting) andsignaturemember of theAmericanWatercolorSociety. Hereceived FirstPlace in The

Artist’s Magazine 2004 NationalCompetition. In 2006 he won the GrandPrize in the Watercolor Magic MagazineNational Competition. Pratique DesArts, a French art magazine, recentlypublished an article about Stan and hiswork.

Stan has instructed workshops for suchgroups as the Canadian Federation ofArtists and En Plein Air Masters (southof Paris, France). He was an exhibitionjuror and workshop instructor for theGeorgia Watercolor Society in Athens,Georgia and recently taught a workshopfor Casa De Los Artistas, in PuertoVallarta.

Born in Sioux Falls, SD in 1949, Stanmoved to Spokane in 1966, graduatingfrom high school in 1967. Puttinghimself through college, he took threeyears of art at Spokane Falls CommunityCollege where he received a “C” in hisfirst watercolor. After that, Stan swore tohimself that he would never take

Waterworks 2012 ProspectusAnnual Members Exhibition

October 23 – November 28, 2012Kaewyn Gallery, 10101 Main Street, Bothell, WA 98011

For general questions about the 2012 Waterworks exhibition, please contact the Exhibition Chair,Molly Murrah at 425-822-6552 or [email protected].

For questions about the entry process only, please contact the Exhibition Data Manager,Linda Rasp at 425-455-3793 or [email protected].

Continued on page 7

Important DatesJune 1 Waterworks 2012 prospectus posted online for entry

August 1 Deadline for entries

August 7 Deadline for entry payments sent by mail

September 10 Acceptance packages mailed; accepted artists’ namesposted on the website

October 12 Deadline for receipt of shipped paintings atPhoenix Art Restoration

October 20 Hand deliver paintings to Kaewyn Gallery

October 23 Exhibition opens to the public

October 25 NWWS Reception and Awards Ceremony, 6-8 pm

November 28 Exhibition closes

November 29 Pick up hand delivered paintings at Kaewyn Gallery

PLEASE NOTE: Only accepted artists will receive notifications.

Shipped paintings will be returned within two weeks.


watercolor again, but one year later hewas forced to enroll in anotherwatercolor class… and fell in love withthe medium. “I have never met astudent yet who has painted worse thanI did in that first watercolor class.”

Stan loves teaching watercolor,believing that with effort, education anddesire, anyone can achieve great thingsin the medium. “I’ve never been anatural at art and painting; it has alwayscome to me slowly and only with greatstruggle.” He firmly believes that he canteach anyone to be a powerfulwatercolorist, if they have the desire.

Stan’s favorite instructional topic isdesign. “Knowing how to design a goodpainting trumps everything else.Unfortunately, many naturally talented,professional painters design subcon -sciously, and therefore do a poor jobteaching design and composition.” Heteaches such topics as left brain, rightbrain eye movement… not normalworkshop content. “In the end, we seekunity with diversity, not only in ourpaintings, but in our world.”

Stan’s WorkshopStan will be teaching a workshop fromOctober 22-26, 2012. Tuition is $400 forNWWS members, $500 for non-members. Registration will begin in July2012. If you are interested in attendingthis workshop, more information will beavailable, along with a downloadableregistration form at www.nwws.org/dnn/Events/Workshops/tabid/64/Default.aspx.

You may also contact the WorkshopChair, Shirley Jordan, at 425-890-9289or [email protected].

Conditions and RulesPLEASE READ CAREFULLY: Failure tomeet any of the below conditions willresult in disqualification of the entryin the exhibition. Failure to meet theconditions outlined in either of thefirst two bulleted items shown willalso result in the artist becomingineligible to enter into any futureNWWS exhibitions.

• Entries must be original works ofart, entirely the work of theentrant. Digital images, prints, art

work produced in a class orworkshop, likenesses of otherartists’ work including photos, orother published source or referencematerial not attributable to theartist will not be permitted.

• Artists may not substitute anotherwork for an accepted work, norwithdraw that work once it isaccepted.

• Artists must be 18 years or older.

• Entries must have been executedwithin the last two years and notexhibited in any previous NWWSshow.

• Entries must be water mediapaintings on natural or syntheticpaper or paperboard. No stretchedcanvas or clayboard will be accepted.Computer generated work will not beaccepted. Collage or other media maybe used, but the aqueous mediummust constitute 80% or more of thework. All collage materials must beoriginal designs executed on watermedia paper.

• Entries must be framed, matted andhave a professional appearance. Thepainting must be ready for hangingwith wire and protected under glassor plexiglas. Plexiglas is required forall shipped paintings. No saw toothhangers are permitted. All paintingsmust be matted with a visible 2”minimum mat. Mats must be white oroff-white. Thin colored liners areacceptable.

• Framed size cannot be more than 44”in either dimension and displayedimage size cannot be less than 10” ineither dimension.

• Entries must be for sale and pricedwith the intent to sell. Once entered,the price of your painting cannot bechanged. A commission of 35% willbe deducted from sales. All paintingswill hang for the duration of theexhibit. Any painting sold within 30days after the closing of the exhibit asa result of having been exhibited inthe 2012 Waterworks Exhibition mustpay the 35% commission to NWWS.

• Utmost care will be taken in handlingartwork; NWWS and/or its represent -atives will not be responsible fordamage or loss from any cause.

• All accepted paintings that areshipped must be received by the

deadline of October 12, 2012. Specificinstructions for shipping artwork willbe included in acceptance packets.All paintings that are hand-deliveredmust be delivered to Kaewyn Galleryon October 20, 2012.

Procedures• Entry is limited to one image per

artist.

• Entries will be juried from digitalimages only. Your image must beuploaded using our onlineapplication system.

• Awards will be judged from theoriginal paintings.

• Please check the NWWS.org websiteon September 10 to see a list of accepted artists. Only artistswhose submissions are juried into theexhibition will receive notification,which will consist of an acceptancepackage with painting labels, claimchecks and additional instructions.

• NWWS reserves the right to refuse,upon arrival, any painting ofunacceptable quality or damaged inshipment. Paintings that do notmatch the submitted digital image ormeet the media and framing criteriawill be refused.

• Permission is assumed by NWWS toreproduce accepted artwork for theexhibition catalog and otherpromotional uses, including theNWWS website.

• All entrants will receive a compli -ment ary copy of the printedexhibition catalog. Additionalcatalogs will be available to purchasefor $5.00.

• Digital images of accepted works willbe retained for the NWWS archives.

How to Enter• A high resolution image is required.

Please supply an image cropped tothe displayed image area only (noframe, no mat).

• If using a digital camera – matchcamera orientation to paintingorientation. In image mode, set theimage resolution to a minimum of2048 x 1536.

• If painting is scanned – use imageediting software such as Photoshop ora comparable program. Scan your

Continued on page 8


painting at a 300 dpi resolution. Thelongest dimension of your final,cropped image should be 2100pixels (7” at 300 dpi).

• Image needs to be in .jpg (or .jpeg)format. Maximum file size can be upto 4 MB but no larger.

• PLEASE NOTE: Label your image filewith the TITLE OF YOUR PAINTINGONLY. Do not include spaces(i.e., SunflowersInTheRain.jpg).

If you need to resize your image anddon’t have image editing software, youcan use this FREE resizing tool online:www.photosize.com/Advanced-Resizer.html

• Make a copy of your original imageand resize the copy. (Be sure and usethe HELP link if something isn’t clearto you.) Do not download GIMP – youdo not need this program to resizeyour image.

• In the top menu under FILE, clickOPEN to upload your image into theresizer.

• Click EDIT to crop and/or rotate yourimage.

• Click RESIZE to size your image.

Dimensions are entered in pixels – put in 2100 to 2200 for the longestdimension of your painting (heightor width).

• DO NOT RESIZE YOUR IMAGE BIG -GER, the image quality will degrade ifyou do. Please leave the compressionslider at “Small File.”

• In the top menu under FILE, clickSAVE to save your image onto yourcomputer.

You are now ready to enter theshow!

Payment• Payment may be made online or by

mail. Entry fee is $30 for all NWWSmembers.

• Payment online – submit the entry feeusing a credit card/Pay Pal. Seeinstructions on our website when youenter.

• Payment by mail – mail a copy of yourconfirmation email along with a checkpayable to NWWS immediately aftercompleting your online entry. If youare applying for first-time NWWSmembership or renewing your exist -

ing membership at the same time,your membership fee ($40) can beincluded with your entry fee. Mailedpayments must be received by theNWWS Treasurer, Peggy Meyers,payable to NWWS, PO Box 50387,Bellevue, WA 98015-0387, by mid -night, August 7, 2012. Entry fees arenon-refundable.

Important NoteAccepted artists will be notified by mailand their names posted online bySeptember 10. Please DO NOT CALLfor early notification of acceptance.

For general questions about theexhibition, acceptance, deliveryprocess, etc., please contact theExhibition Chair, Molly Murrah.

For questions about the entry processonly, please contact the ExhibitionData Manager, Linda Rasp.

Exhibition ChairMolly Murrah – [email protected]

Exhibition Data ManagerLinda Rasp – 425-455-3793

Member News

Lola K Deaton, AWS, NWWS wasawarded the People’s Choice Award atthe NWWS 2012 Board of DirectorsExhibition for her watercolor TheSeventh Summer (30” x 22”).

Pamela B. Harold will have work onexhibit in the Edmonds Arts FestivalGallery in the Francis Anderson Centerduring the Edmonds Arts Festival.Included in this show are paintingscompleted after recent trips to Egyptand Greece. Frederick Place Studio,Edmonds WA. 98026 425-776-9522

NWWS signature member Bev Jozwiakwill be a featured artist in American ArtCollector July edition in conjunctionwith her one woman show in Edmonds,

Washington at the Cole Gallery. In theLouisiana Watercolor Society 42ndAnnual International Exhibition JurorDean Mitchell gave her painting StudioLife the Memorial award. She also wonan award in the Texas watercolorsociety’s 63rd Annual Exhibition for herpainting Hippie Kind of Vibe.

Kristin Campbell Nail won Best inShow at the 36th Annual Sequim ArtsShow (2012) with her piece NoApologies.


OpportunitiesKay Barnes Summer Workshops

• Treated Paper Workshop at KayBarnes Studio in Woodinville; June21, 22, 23, 2012; cost;$240.

• Sequim Saturated Paper Workshop;July 10, 11 12, 2012 at the StraitsideStudio, contact information call GailSt Peter @ 360 582 3163 or [email protected].

• Saturated Paper Workshop/Kio &Floral at Kay Barnes Studio; August9,10,11, 2012; Cost $240.

Kay also conducts private lessonsthroughout the summer on Tuesdaysand Thursdays. Kay Barnes CWSNWWS, [email protected],206.372.7611

Ann Breckon teaches weekly water-color classes at Daniel Smith Stores inBellevue and Seattle. This year’semphasis is on color and a wide varietyof topics keep things interesting. Youmay also take advantage of moreintensive workshops offered monthly.In May: Sailboats in a Misty Bay. And inJune: Mountain Grandeur. For dates,times, tuition and descriptions seeAnn’s website at http://annbreckon.com.

Charlene Collins Freeman, NWWSoffers weekly classes and monthlyworkshops in beginning watercolorsand drawing for children, teenagers andadults. Classes and workshops are heldat Artmusica, 10011 Main St., Bothell,WA. Visit Charlene’s website atwww.charlenecollinsfreeman.com oremail her at [email protected] for more information.

Theresa Goesling and Cindy Briggs,both featured in 2012 America’s Best ofWatercolorists, are teaching a workshopon the Italian Riviera, June 9-17, 2012.Plein air painting excursions to

Portofino and Cinque Terre areincluded and class size averages 6students per instructor. July 25-28, 2012paint Florence, Oregon sponsored bywww.ArtWorkshopsbytheSea.com. Seewww.MakeEveryDayAPainting.com fordetails or call 425-802-3487.

Jeannie Grisham will be teaching anintensive water-media workshop thatwill take you from pure transparentwatercolor into an exciting mixed mediaof all water soluble materials. Fromgouache, pastel, crayons, collage andacrylic you will have fun and play again.Jeannie has developed exercises ofdesign to help you with compositionproblems and steps to help create acohesive design and composition. Letyourself go in a new creative direction.A Step Beyond Watercolor Weekendworkshop on Bainbridge Island, WA,September 15-16 $225 Some materialsare included. Contact Winslow ArtCenter 206-618-3112 or JeannieGrisham 206-842-9567

Zien Studio presents aKim JohnsonWatercolor Workshopon Portrait/figure &background. August21-24, 2012, 9 until3:30 pm Tues-Friday atthe Zien Studio (596Parrish Rd, Sequim).$400 Participants willgain confidence in

painting the human and animal form inportrait, upgrade painting ability, andlearn to be more analytical of own &other’s paintings. For more info pleasevisit www.kj-art.com.

Kay Barnes is hosting an EricWiegardt’s “Secrets of Painting Loose”workshop November 13-16th – 9:00am-4:00pm at Kay Barnes Studio inWoodinville. $445 for this 4 dayworkshop! For additional informationcall Mae or Kay @ 206 372 7611 or visither website; www.kaybarnes.com forfurther information.

Bev Jozwiak and Vickie NelsonWorkshop

• Sept. 17-21, 2012, Cannon Beach,Oregon

• Cost: $450.00Live, eat and breathe art by staying atthe beautiful Tolovana Inn for thecomplete workshop experience. Toreserve a place send $100 deposit to:Bev Jozwiak (Checks payable to:BevJozwiak), 315 W. 23rd. St., Vancouver,Washington 98660. Contact VickieNelson with any questions [email protected]. Tosee more work and for a list of otherworkshops, please visit their websiteswww.bevjozwiak.com andwww.vickienelson.com.

American Artist’s fourth annual“Weekend With the Masters” Workshopand Conference. September 5-8, 2012.Rancho Bernardo Inn in San Diego -four-day weekend of drawing, painting,and learning with some of America’smost acclaimed artists. - registration atwww.AAMastersWeekend.com.

Artists have until August 1 to enter theEdmonds Arts Festival 2013 postercompetition. Artists are paid $1,500for the artwork and all rights to theartwork that they create for theEdmonds Arts Festival. The art willappear on the promotional festivalposter, on merchandise and on apparelitems. The original will be added to theposter art collection of the EdmondsArts Festival Museum. For moreinformation and for an entry form,please contact Janet Jensen [email protected].

Continued on page 10


Ted Nuttall (www.tednuttall.com) willoffer “Portraits In Watercolor” atCascade Fine Art in Bend Oregon.REGISTRATION DEADLINE JULY 13TH

Workshop: August 13-17

Cost: $585 by June 13, $635 after July 13

This is a small workshop with amaximum of 15 students, givingstudents ample one-on-one time withTed. If you’ve been considering thisworkshop, please send in yourRegistration Form as soon as possible!Contact Sue at 541-408-5524,[email protected] or www.cascadefineartworkshops.comfor more information. 3 SPACES OPEN !

Join Charlotte Wharton, CopleyMaster, PSA, for a painting adventureand workshop in Montecastello diVibio, Umbria, Italy, September 9 - 15,2012. For further information, go to:http://4CI.r.mailjet.com/utztnd4W/SVxsZ/4mIBxL/www.charlottewhartonstudio.com/Workshops/umbria.htm.

Amazing Watermedia Design WorkshopAugust 21-23, 9:30- 3:30 with LindaRothchild Ollis, NWWS(www.lrothchildollis.blogspot.com)held at Trails End Art Association(Gearhart) on the northern OregonCoast (www.trailsendart.org). Exploreflat and three dimensional texture,painting techniques using Golden FluidAcrylics, �gesso, gels, molding paste andfiber paste. Learn professionalguidelines for improving design, colorharmony and composition. A supply listwill be provided. Materials fee for

OpportunitiesGolden products is included in theworkshop cost. $190 for 3 days formembers, $255 for non-members.Contact: [email protected]�

Ann Breckon teaches weeklywatercolor classes at Daniel SmithStores in Bellevue and Seattle. Thisyear’s emphasis is on color. Lessonsinclude in-depth handouts and a widevariety of topics. All experience levelsare welcome. $30/class. To registercontact Ann at [email protected] workshops include: PaintingMt. Rainier, July 7-8 at the Winslow ArtCenter on Bainbridge Island ([email protected]); Rosesand Dewdrops, July 23-24 at theBellevue Daniel Smith $150 (call DS at425-643-1781); Copper Pots & Gingham,Aug. 12-13 at the Seattle Daniel Smith$150 (register with Ann directly at 425-644-4245).

Accepted ArtistsHave ShippingAlternative

NWWS asks that artists acceptedinto our exhibitions, who need toship their paintings to Seattle, usePhoenix Art Restoration andCustom Framing. For a nominal feethey will receive, uncrate, store,deliver, retrieve, re-crate, andarrange return shipment of yourartwork. For an additional fee,according to the size of yourpainting, they will take your rolledor flat watercolor painting, mat itand frame it, and then provide theirother services. This is indeed goodnews for those who have to shipfrom afar. Now you have a “rent aframe” option!

Go to [email protected] or websitewww.phoenixartrestoration.com.

American Watercolor Society Gold Medal ofHonor School of Painting Watercolor

WorkshopsJuly through December 2012

7/9-13, Ocean Park, WA • 9/13-19, Stillpoint, AK10/8-11, San Diego, CA • 10/22-26, Boone, NC 11/7-9, Ocean Park, WA • 12/3-7, Scottsdale, AZ

Available at www.ericwiegardt.com

Eric Wiegardt Signature Brushes

Special Savings every month at www.ericwiegardt.com Also on the Website and at Wiegardt Studio

Gallery are: Essential Design Workbook, Watercolors-Free and Easy Book, Instructional DVDs, Original

Paintings, Giclees Prints & Lithographs

Box 1114 · Ocean Park, WA 98640(360) 665-5976

[email protected]

NorthwestWatercolor Society

Samish Island FallPaint Out 2012

Would you believe it is timeto register for

Fall Paint Out?!!The registration form is now

available on thewww.nwws.org website.

Get this wonderful event onyour calendar

and send in your forms anddeposits right away!

Questions? Contact Amy Giese425-277-4321 or email

[email protected]


Step-by-Step Art Lesson Atlanta Chef by Bev Jozwiak

Painting very directly I start with the darkest value, although many watercolorists begin with lighter values and slowly work their way up to the darks, I like to dive right in. I used a mixture of Cadmium Red, Burnt Sienna, and French Ultra Marine Blue for my base �esh tone, but as I move into the lighter areas I add bits of Yellow Ochre, and Manganese Blue Hue as needed.

Even though this chef has a dark complexion the light side of his face is still the pure white untouched paper.

From the face I move into his hat and background, always working back and forth between foreground and the latter. So many time students will paint the entire �gure and then ask what to do with the background. At this point it is bound to look like an afterthought, as that is what it is.

It is a much better idea to jump right in moving from foreground to background right from the start, thinking of the painting as a whole, rather than separating it into one or the other. �at helps to avoid that cut out feeling and to instead create both soft and hard edges that weave in and out of the entire piece.

Hot pressed paper works for me because I tend to stop in mid-stream (like on his face in Step 1) and I don’t have to worry about softening those hard edges even if they are bone dry.

Although I tend to be a direct painter, sometimes glazing is called for. I ran a thin layer of manganese Blue Hue in certain areas of the chef’s face. Blues help colors to recede, so they work in places like the corners of his eye sockets. It also helped me to create a sort of 5 o’clock shadow on his chin.

Step 2Usually working from top to bottom I just continue working the entire painting. Always being aware of weaving darks and lights throughout the piece helps cre-ate better design. A colorful gray mixture (Yellow Ochre, Rose Madder Genuine and Manganese Blue Hue) is used in the area next to the less dominant chef, which I have planned to be steam from the unseen pots she is cooking with.

Step 1

Step 2

“Painting very directly, I place my watercolorson the paper with very little mixing on thepalette. I use lots of varied color in my blacks to keep them from going �at, in my whites to keep them glowing, and even in my skin tones to keep them interesting. Emotion plays an important part in every successful painting, so I choose only subjects that call to me and that give my work energy and excitement.” -- Bev Jozwiak

An accomplished watercolorist, Bev Jozwiak has generously shared this step-by-step lesson with NWWS Hot Press readers. �ank you Bev!

Step 1After �nishing the preliminary drawing, I started with the face. If the face doesn’t work in a �gurative piece, you pretty much have nothing, so it’s probably wise to start with that, since it will be your focal point.


Step 3Continuing on, I think about repetition of colors, shapes, warms and cools, and of course values. Dry Brush can be a hard look to capture on hot pressed, but I have managed to do it in the jars and shelves. Since hot pressed has no really “tooth”, I use thick paint, with a very little water.

Don’t get bogged down in detail, especially in non-important areas. Look closely at the jars, spoons, and spatulas in the background. I am not worried about what’s in those jars, or exactly how the light hits the utensils, just the essence of the object.

It is more important to repeat colors that are used in the rest of the painting, than it is to put “pickles” in the jar just because that is what was really there.

Step 4�ink about painting shapes not objects.

I worry more about the light and darks, on the shirts, than the fact that they are shirts.

I didn’t worry about getting a perfect hand, because I knew it would ultimately be covered up with steam.

Problems can be avoided by planning ahead. �e main chef’s face is in the “sweet spot”. He has the leading role, and everything else is a subordinate.

Step 3

Step 4

I have purposely used the same colors that I used in the chef hat, and will use in the shirts. It is a great gray, as you can push it towards yellow, blue, or red, depending on your needs. Just remember to keep it looking fresh, do very little mix-ing on the palette.

�e darker background color is Winsor Blue, Burnt Sienna, and some Cadmium Red.




Step 5To �nish o�, I glazed some light washes over areas in the shirts. �ere were some white areas of the main chef’s hat that needed toning down too.

At this point, it is just about �nishing o� things small details, like the tensils.

I used a Mr. Cleans Magic Eraser to create the e�ects of the steam. Dipping it in clean water and scrubbing out colors above the pots, helped create that look.

After getting away from the �nished product, I felt the apron strings needed to be less hard edged, and there was a weird shape behind the main chef’s hair that I got rid of.

Other than that, it seemed done. My paper is 140lb. Hot Pressed Fabriano Artistico. My paints are all Winsor and Newton’s �nest. �e entire painting was painted with a number 10, Cheap Joe’s Golden Fleece brush.

�is art lesson courtesy of Bev Jozwiak. Bev has teamed up with Vickie Nelson to o�er a workshop in Cannon Beach this fall.

September 17-21, 2012Tolovana InnCannon Beach Oregon$450.00 total fee

Learn to paint boldly with vivid color. Both artists will demo every day. All of your questions will be answered, to achieve the end result you want. �ere will be time to paint your passion with individual attention when needed. Learn basic color mixing including luscious greens, glowing whites and rich blacks.

Develop good composition and strong values. We will work on �gures, �owers, animals, and more. Learn to think outside the box. Live, eat and breathe art by staying at the Tolovana Inn in Cannon Beach Oregon for the total workshop experience.

To reserve a place send $100 deposit to: Bev Jozwiak, 315 W. 23rd. St., Vancouver, WA 98660

Be sure to mention the workshop when reserving your room. Please email [email protected] with any questions.

For more information please visit www.bevjozwiak.com.

Bev Jozwiak has earned her signature status in the American Watercolor Society, the National Watercolor Society, Watercolor West, and others, too numerous to mention. She is an International Award winning Artist.

Born in Vancouver, Washington, Bev still resides there with her husband of 30 plus years. She has two daughters, and two grandchildren.

Bev Jozwiak [email protected]

www.bevjozwiak.com

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Snoqualmie Arts Commissionpresents

The AnnualSnoqualmie Plein Air Paint Out

Event Date: Saturday, August , 20 .Sites: Painting will occur throughout Snoqualmie’s city parks and key locations.

Venues will be provided for instructor demonstrations.Registration: reregistrationis required using the form below. Event che in will be at 9:00 am at the

per artist. ($10 18 and under). Booths and painting sales are allowe , but artists must be working onsite throughout the day. No commission will be taken from paintings sold; no city business license will berequired on August for participating artists.

Information: [email protected]

REGISTRATION FORMDeposit of $20 must accompany registration form. Pleasemake check payable to the City of Snoqualmie.Mail form and check to: Jeff Waters, 6510 Fairway Ave SE, Snoqualmie, WA 98065Additional registration forms may be downloaded from the City of Snoqualmie website at www.cityofsnoqualmie.org.

Artist Name: Instructor (circle one): Yes No

Media:

Mailing Address:

Phone: Email:



Thank you to our patrons.

72nd Annual Open Exhibition 2012 Fine Art Studio Online www.faso.com/Jerry’s Artarama www.jerrysartarama.com/Utrecht www.utrechtart.com/Art in the Mountains www.artinthemountains.comHK Holbein www.holbeinhk.com/Richeson Art Supply www.richesonart.com/M. Graham & Co www.mgraham.com/Northwest Cellars www.northwestcellars.com/Winsor & Newton www.winsornewton.com/Salis International www.docmartins.com/iPrintFromHome.com iprintfromhome.com/Strathmore www.strathmoreartist.com/Canson Inc www.cansonstudio.comCreative Catalyst Production ccpvideos.com/Artpoints.net www.artpoints.netProfessional Artist Magazine www.artcalendar.com/adgprinting.com www.adgprinting.com/American Frame www.americanframe.com/Bellevue Art & Frame www.bellevueartandframe.com/Grumbacher www.grumbacherart.comAlyson Stanfield / Art Biz artbizcoach.com/Faber-Castell USA, Inc www.faber-castell.usRoyal & Langnickel www.royalbrush.comDakota Art www.dakotaartstore.com/Watercolor Artist Magazine www.watercolorartistmagazine.comInternational Artist www.international-artist.com/University Bookstore www.bookstore.washington.edu

Waterworks 2011Richeson Art Supply www.richesonart.com/Cheap Joes www.cheapjoes.com/Blick Art Materials www.dickblick.com/ Phoenix Art Restoration www.phoenixartrestoration.com/ Airfloat Systems, Inc www.airfloatsys.com/Artpoints.net www.artpoints.net/ Golden Artist Colors www.goldenpaints.com/Creative Catalyst Productions ccpvideos.com/Frye Art Museum fryemuseum.org/Don Andrews www.donandrews.net/Artist & Craftsman Supply www.artistcraftsman.com/Shirley Jordan www.shirleyjordan.blogspot.comScharff Brushes, Inc www.artbrush.com/F+W Media www.fwmedia.com/

community/fine-art/ Ottlite www.ottlite.com/Seattle Art Museum www.seattleartmuseum.org/Martin/ F. Weber www.weberart.com/

Friends, Wine, Cuisine

You are invited to an exclusive winedinner and fundraiser to benefit the

Leukemia & Lymphoma Society.The dinner is in honor and in memory of Elaine Wilk whowas taken away from us way too soon from Myelodys -plastic Syndrome, a form of Leukemia. Elaine was asignature member of the Northwest Watercolor Society,Associate Member of the American Watercolor Society, ThePortrait Society of America, the Eastside Association of FineArts and Co-Arts of Seattle. This event will raise funds tosupport research to find a cure for all blood cancers and tosupport patients and their families. 100% of all proceedsfrom this dinner will go directly to the Leukemia &Lymphoma Society!

Enjoy seven Tuscany inspiredcourses created by Chef Sam

Litvak, paired perfectly with hand-selected Italian wines.

$80 per person, or $150 per couple

Sunday August 12th, 5:00pm

1115 108th Ave. N.E.Bellevue, WA 98004

RSVP to: 206-778-7337 by July 31st CreditCard Required for Reserved Seating

Presented by

The Leukemia & Lymphoma SocietyTeam in Training

Toscano Inspired Cuisineand The Bellettini

In memory of Elaine Wilk with a special thanksto the Wilk Family & Friends

X

S

W E

St. Andrews Lutheran Church

Bellevue

Eastgate

Bellevue Community College

RobinswoodPark

SunsetVillage

Exit 11A Exit 11B

156TH AVE S.E

.

148T

H A

VE

S.E.145TH PL S.E.

90

28TH S.E. ST.

ST. ANDREW’S LUTHERAN CHURCH2650 148th Ave SE · Bellevue, WA 98006

A Brush with Art

Northwest Watercolor SocietyP.O. Box 50387

Bellevue, WA 98015-0387

NON-PROFIT ORG.U.S. POSTAGE

PAIDREDMOND, WAPERMIT NO. 550

July-August 2012 2012-2013 Program Schedule · July-August 2012 2012-2013 Program Schedule We have...

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