She is also a popular local art showjuror and gives workshops anddemonstrations locally andinternationally.  Dianna is a pastpresident and signature member of theNorthwest Watercolor Society, hasexhibited in over 25 solo shows in lessthan seven years,  and won more than adozen top national awards.   She is alsoa member of Women Painters ofWashington and Oil Painters ofAmerica. 

For the last ten years, Dianna hasbeen working on several series of acrylicpaintings based on strong abstractelements with sensitive use of color andform on heavily textured surfaces.

From luminous dripping washes toimpasto palette knife and painterly

Multiple award winning artist,Dianna Shyne, has been painting inwatercolor, acrylic and oil for almost 30years.  Dianna’s work has beenpublished in North Light Books as wellas The Artist Magazine and WatercolorMagic.

NorthwestWatercolor Society

presents

Waterworks 2009Annual MembershipExhibition and Sale

at Kaewyn Gallery10101 Main Street.Bothell, WA 98011425-483-7385October 23 -

November 23, 2009

Christopher Schink, Juror

NWWS Opening Reception &Awards Ceremony.

Thursday, October 29

5:30 - 7:30 pmAwards will be presented beginning

at 6:30 pm

Parking available behind the gallery

November Program - Dianna Shyne

UPCOMING MEMBERSHIP MEETINGNovember 24, Dianna Shyne • There is no meeting in December

St. Andrew’s Lutheran Church · 6:45 Social Hour • 7:15 Meeting

The Northwest Watercolor Society Newsletter

November-December 2009

brush strokes, Dianna’s paintings tapinto her Russian Impressionist trainingto evoke the passage of light and deepemotion.

To view Dianna’s paintings, go towww.diannashyne.com.

LessonsfromSamish

At theSamish paintout, we wereasked to submitan idea or tip forpainting. Hereare a few of thebest.

• Mr. Clean Magic Eraser sponge(original) will easily lift painted area

GreetingsFellowNWWSMembers,

The year isoff to a veryexciting startwith: theOverlake showbeing hung with40 paintings in

three different areas of the hospital withsome very appreciative feedback fromstaff and volunteers.

Two very dynamic and interestingtalks were given by Tom Hoffmann andJoe MacKechnie on the Andrew Wyethpaintings at SAM. Both talks gave usinsight into the conflicts and subtletiesbehind the almost hyper-realistic viewswhere every blade of grass appears tobe painted and every stitch in thesweater is visible. Wyeth wants us tofeel his emotions and memories of theplaces that mattered most to him andsometimes includes loneliness,surprise, unease and introspection. Iwould encourage members to follow theschedule of exhibitions at the Museumand contact me with ideas about thepainter, interpretations of the art, ideasfor workshops, talks and more that youcan host at the Museum.

A superb presentation at themembers evening meeting onSeptember 22nd was offered by StanMiller. Stan led us to speculate on the

different ways the right brain and theleft brain look at a picture. His advicewas to turn a painting upside down tobe aware of design issues and effectivelyturn off the left side of the brain whichis looking more at the subject matter ofthe painting. We are looking into thepossibility of organizing a workshopwith Stan sometime next year.

The Samish Island Paintout waswell-attended by 35 painters. A bigthanks to Amy Giese, Linda Hulce andPeggy Abby for organizing a terrificevent complete with great food, perfectweather, gorgeous views and wonderfulcamaraderie among the artists. A greattime was had by all. This paintoutretreat happens twice a year – springand fall – and is open to everyone.

The Waterworks Exhibition is wellunderway and will open October 23rdat the Kaewyn Gallery in Bothell andwill last until November 23rd. Well-known juror, Christopher Schink(www.christopherschink.com) will beour juror. The reception and awardswas held October 29th from 5:30-7:30.A week-long workshop accompaniedthe show and ran from October 26-30th.

Christopher Schink was ourOctober meeting presenter and DiannaShyne (www.diannashyne.com) willspeak to us at our November 24thmeeting.

Best to all and keep painting. Seeyou at the show.

Linda DunnPresident, NWWS

back to white paper. Cut the spongeinto small sections of differentshapes. Isolate area with maskingtape, dampen, let sit 10 secondsand brush lightly with slightly dampMagic Eraser.

• A segmented pill box – the typewith individual compartments foreach day - works beautifully as atravel container for watercolors.They are available in various sizesat your local drug store andinexpensive. (Editors tip: strap the

Continued on next page

President’s Message

Editorial

Northwest Watercolor Society

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

www.nwws.org

President:Linda Dunn206 459 6155

Vice-President:Lola Deaton206 325 1897

Corresponding Secretary:Genny Rees206 232 6354

Recording Secretary:Shan Koenig425 424 9356

Treasurer:Shirley Jordan425 643 3123

Newsletter Editor:Jeff Waters

425 396 1940

Newsletter deadline for theJanuary/February edition

is December 10, 2009

Email your items tojeffrey.waters@comcast.net

(Subject line: NWWS or Hot Press)or mail them toJeffrey WatersP.O. Box 50387

Bellevue, WA 98015-0387

Please send newmemberships/changes

of address to:Pat Hitchens

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

pjhitchens@mac.com

Please send all billsto Treasurer

Shirley JordonP.O. Box 50387

Bellevue, WA 98015-0387

lids down with a strip of masking tape.)

• Blow on a puddle of wet paint or ink to create a networkof fine branches. Use a straw for better control.

• Scotch Magic Tape works well to mask.

• Clean out nail polish bottle with acetone and refill withmasking fluid. Use brush attached to lid to apply.

• Purell Hand Sanitizer removes acrylic paint fromclothing.

Send me an e-mail with your favorite idea. Let’s shareour knowledge with each other.

Notice!Beginning with the Jan/Feb 2010 edition, printed copiesof the newsletter will be mailed only to members forwhom we have no e-mail address. This action was takenby the board to reduce expenses. The initial move to aweb-based newsletter saved NWWS over $7,000 lastyear. These funds were used to purchase the newprojection equipment used at our monthly meetings.

Our web master, Debbie Haggman, sends out an e-mailwhen each new edition is available on the website.Simply click on the embedded link in her e-mail to viewHot Press. You can then print your own copy if you wish.

EDITORIALContinued from page 2

Here’s the finished demo I did at the Septembermeeting.  I worked on this, when I got home, for a good houror two.  I didn’t do much but what I did do I think, helped itquite a bit.  The main thing that I did was to use Dr. Martin’sBleed Proof White (Dick Blick) at the base of the sky, wherethe sky meets the water.  I decided I wanted the horizon lineto be much stronger to help get the eye over there and toimprove the mood.  I also used the Bleed Proof White tohighlight a couple of things on the boats in the foreground,like the ropes and the far edge of the boats.

When I got home and looked at my demo, I thought itwas so bad I was considering cutting off the upper half of thepainting, just having the boats.  Now I like the whole paintinga lot more.

Not only was I trying to improve the design and balanceof the painting, I was also trying to create a mood.  Gettingthat glow coming from the sky and the back- lit sunlighthitting the boats is critical to this painting having any kind ofeffective mood.  I didn’t have the mood or the designworking when I finished it with all of you.

Pulling a painting together is the hardest part ofpainting, because it can make such a huge difference (eventhough what I changed was minimal).

Thanks again for inviting me!Stan Miller

New Signature MemberCongratulations toPhyllis Oliver, our newest signaturemember.

Stan Miller Program Demonstration fromLast September’s Meeting

The Four Stages of a Painting1. This is really going to be great!2. I can fix it.3. I can save it.4. Turn paper over and begin again.

– Christopher Schink

Pat San Souci has recently beenaccepted into several shows and has achapter devoted to her work inWatercolor Secrets edited by RachelWolf.

Carol Weiss was juried into the 2009National Watercolor Society 89thExhibition in Brea, California. andawarded signature membership. Shewas also juried into the NWWSWaterworks Exhibition in Bothell.

Christine Kopet’s painting Little Italyhas been juried into the MontanaWatercolor Society’s Open Exhibitionfor 2009.

Signature memberCindy Briggs ofBend, Oregon had her watercolor,Conca Dei Marini juried into theprestigious National Watercolor Society89th Exhibition, held in October at theCity of Brea Gallery in Brea,California. Her transparent watercolorpainting, Marconi Bay, Portofino wasjuried into the Oregon WatercolorSociety Fall Exhibition also in Octoberat the Evergreen Aviation Museum inMcMinnville, Oregon. Also inOctober, Briggs served as the juror forthe Plein Air Painters of OregonCelebration Oregon show, held atthe High Desert Gallery in Bend,Oregon. 

Jaimie Cordero had paintingsaccepted for publication in the soon-to-be released books Splash 11 and TheArtistic Touch 4. Recently, she hadpaintings accepted into the followingExhibitions: American WatercolorSociety; Rocky Mountain National;American Artists Professional LeagueGrand National exhibition in New YorkCity; San Diego Watercolor SocietyInternational where she received herSignature Membership Certificate; andthe Florida Watercolor Society JuriedAnnual, where she was presentedwith the Margaret Cornish DebaraAward. Jaimie is also one of only 40Florida women artists whoseartwork will comprise the InauguralExhibition of the new Florida Museumfor Women Artists to open in Novemberin Deland Florida.

Jim Adkins was awarded First Prize inPrints and Drawings for an etchingtitled Wild River: Nooksack, at BothellLive Arts. He also presented awatercolor show titled “Mostly Plein Air– recent watercolors and a smallportfolio of etchings”, October 2-28,2009, at Windows Art Gallery, 4131Woodland Park Avenue N, Seattle,Washington.

Linda Dunn is showing herwatercolors in a group show at theBlaubak Gallery in downtown Kirkland.The show runs through the first week ofNovember with a reception on Nov. 6thfrom 6-9.  The gallery is located at 133Lake Street South, Suite B and is in theparking lot north of Anthony’s andbehind Via Lago dress store.

Mike Kowalski ( NWWS ) has gainedsignature status with the NationalWatercolor Society. His painting WinterGarden will be exhibited in the 89thExhibition in Brea, California. Mike’swatercolor Jumble won second place inthe annual Northwest Plein AirCompetition in Hood River, Oregon.Another watercolor Sun Mountainreceived an award of excellence in theArchitecture in Perspectiveinternational competition. Mike’s poster

Member News

Mike Kowalski - Winter Garden

Mike Kowalski - Jumble

Member News, continueddesign Working Waterfront was selectedfor the poster art of the 33rd WoodenBoat Festival in Port Townsend.

Patricia Ragone will show her work atThe National Arts Club, 15 GramercyPark South, New York, NY, November 15- 21.  There will be an open reception inthe Marquis gallery at the club, from6:00 - 8:00pm on Tuesday, November16. 

Rita Skyler was awarded her secondgrant by The City Council of Oakland,California (The first one was for theDiversity in Play series in 2007.)  For thenew grant, she is working on twelvepaintings celebrating the birds ofOakland to be shown May-June 2010 atthe Oakland Cultural Arts Gallery in theCA State Building in downtown Oakland.

Sherri Bails’watercolor, Colors ofKauai, has been juried into theInaugural Signature AmericanWatercolor Exhibition to be held atFallbrook Art Center in FallbrookCalifornia, February 7 - March 28, 2010.

Suze Woolf – Gasworks Park - Modern Moai

Suze Woolf – Unemployed Working Boats

Sherri Bails – Colors of Kauai

Frank Webb was the juror. Only signaturemembers from all the watercolorsocieties in the country were invited tosubmit one or two jpegs.

Suze Woolf placed First in Painting atthe Kenmore Arts Festival with herwatercolor, Gasworks Park-ModernMoai, and second overall at the TacomaMaritime Festival with Working Boat.Along with Catherine Gill, MelindaHannigan and Robin Siegl, she willexhibit in “Purposeful Surfaces:Working artists paint the working

waterfront” at the Port of Seattleheadquarters building November 4,2009 – February 6, 2010. The receptionwill be November 10 from 5 to 7 pm.

Native Californian Joe Garcia lives and works near Julian, California,where the forest of oaks and pines shelter an abundance of birds, deer andother wildlife. It is a perfect setting for an artist who specializes in paintingthose subjects.

Joe earned a Bachelor of Fine Arts degree with an advertising/illustration emphasis from the Art Center College of Design in Los Angelesin 1970. He worked as an illustrator and graphic designer for 13 years andspent his free hours honing his watercolor painting skills and showing hispaintings in galleries and national exhibits. Joe left commercial work behindin 1983 and began painting full-time. He generally portrays his subjects in atight, yet delicate center of interest, complemented by a loose, interpretivebackground. In addition to his watercolors of wildlife he enjoys painting oilson location and in the studio. Joe’s original paintings and prints may befound in galleries and private collections throughout the United States andCanada.

Contact Joe Garcia: www.joegarcia.com, info@joegarcia.com, PO Box 2314, Julian, CA 92036, Studio ~ 760-765-2067, FAX ~ 760—765-0855

JOE GARCIA Juror for 70th Annual Open Exhibition

April 17 – July 17, 2010Washington State Convention & Trade Center

800 Convention Place · Seattle, Washington 98101

Back Off!Two issues ago I mentioned that

there are three elements I look for in agood composition.  First the paintingneeds to catch the eye at a distance (agood value and shape construction),secondly, the eye needs to be carriedthroughout the picture plane, andthirdly, the eye needs to come to an areaof dominance and to be held there aslong as possible.  I would like to addressthis third element but come at it from adifferent angle than most are familiarwith.

Most of us know that in order tobring a viewer’s eye to a point ofdominance; we need to constructsharper value contrasts, more intensecolor, warmer colors, harder edges, andmore detail.  I don’t seem to find muchweakness in understanding this as I

Visual Pleasure for Generations

Waterco lor Workshops 2009Oct. 19-23, Ocean Park, WA – Nov. 16-20, Scottsdale, AZ

Nov. 7, Touchstone Farms, Woodenville, WA Nov. 30-Dec. 3, Portland, OR

Ask about our Workshop in Tuscany, Italy in 2010

Print “G lass F loa ts” - Available On-line

DVDs Available: Secrets of Painting Loose

Painting Loose – Street Scenes

judge shows throughout the country, butthere is a flip side of the coin that coulduse more careful consideration.  

It seems to me that many artistssuffer from a case of “Wow! This looks sogood that more has certainly got to bebetter; since this strong value contrastgives my painting so much snap, and theintense colors have so much pizzazz, andoh, the detail, let’s have more! Woefully,the painting ends up with too manysimilar elements that compete forattention, resulting in an ineffective areaof dominance.  Elements of design thathave a uniformity in strength tend tocancel each other out, much in the sameway as a ballet production with no primaballerina——just everybody saying“Look at me!”  Many of ushaven’t learned to use softer valuecontrasts, grayer colors, cooler colors,softer edges, and less detail as thepicture plane moves away from the areaof dominance. 

There are two peculiarities specificto watercolor that one should keep inmind when constructing the area ofdominance. Soft edges are much easierto work with than hard edges.  A softedge can easily be tightened up into aharder one by simply overlapping a crispstroke over the underlying soft edge.This can create a beautiful painterly,loose stroke.  However, a hard edge isdifficult to make softer.  Usually one hasto resort to scrubbing with a stiff brush tosoften the edge, resulting in a tired, over-

Weigardt on Watercolormixed passage of muddy color.Therefore, I will frequently start out thepainting process on damp paper,encouraging soft edges throughout. Thisallows for much flexibility in the processas I am not caught in a corner with toomany hard edges that need softening. Iwill be careful to stay away from portionsof my area of dominance that will need arazor-sharp edge.  The softer edgesthroughout the painting will be adjustedto harder ones as the paintingprogresses. 

Towards the end of the paintingsession, I ensure a tight, hard edge, orpossibly several, in my area ofdominance and progressively constructfewer and fewer as I move to the outsideof the picture plane, where there isusually little change from the initial softedge washes.

Secondly, intense colors are easy toneutralize with successively grey washes,whereas grey washes that have dried, aredifficult, if not impossible, to intensify.Therefore, I start out my painting with alot of intense color, more than I willneed, in anticipation of graying areasaway from my area of dominance.Progressively larger passages will beneutralized as the eye moves away fromthe area of dominance. 

So, try to give your area ofdominance a more powerful statementby simply backing off on the rest of yourpainting.  

Keep your brush wet!

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

www.ericwiegardt.com

The poster created for thefirst annual SnoqualmiePlein Air Paint Out, featuringJeff Waters’ watercolor, Top ofthe Falls, was framed andpresented by the City ofSnoqualmie to Director Munof the Korean Government athis departure reception atthe Salish Lodge. DirectorMun has been in Snoqualmiefor the past eighteen months,studying the workings ofAmerican small towngovernment. Snoqualmiewas selected as the model forthe study by the KoreanGovernment.

1st Annual Snoqualmie Plein Air Paint OutCity of Snoqualmie Arts Commission

August 23, 2009

Plein Air Poster Presented to Director Mun

The Third Annual CVGShow AnnouncedBremerton is once again the site of a

major competitive art exhibition thatattracts top artists from across our state.The Collective Visions Gallery isorganizing the event which will takeplace in February 2010. All of the 2,400square feet of exhibition space in thegallery will be devoted to this event forthe entire month of February. Theexhibition juror will be noted artist andcurator, Jake Seniuk, director, PortAngeles Fine Arts Center. Prizes totalover $6,000 in cash and purchaseawards.

Artists working in 2D media, 3D mediaand photographic art may obtain anexhibition prospectus by visiting thewebsite www.collectivevisions.com.360 377 8327.

Workshops

Signature members Theresa Goesling& Cindy Briggs were the featuredwatercolor artists at Daniel Smith inSeattle & Bellevue the weekend ofOctober 17. They are offering a"Captivating Watercolors" workshop atthe Seattle Daniel Smith Store Novem -ber 8, 9 & 10. These internationalworkshop instructors will help youbreak through the perplexity ofwatercolor, experiment with dynamiccolor schemes and learn some insidersecrets to getting into juried shows. Call

800-426-7923 to register. Briggs is alsoteaching studio workshops in Bend,Oregon. See www.cindy briggs.com fordetails.

KathleenAlexander,NWWS, wasawardedsignaturemembership inWatercolor Westin Septemberwith theacceptance of herpainting LawaiPlumeria.Kathleen is alsooffering threewatercolor

workshops this fall. Workshop#1:Painting Flowers, October 23-24-25(Full), Workshop #2: Painting Flowers &Glass, November 13-14-15, Workshop#3: Painting Waterlilies & Lilyponds,December 4-5-6. The classes will beheld in Pacifica, California. For moreinformation, visit www.Kathleen-AlexanderWatercolors.com

Kathy Collins - Watercolor workshop -Saturday, November 21, 10:30-4, $95.Learn a rapid-process technique fordramatic high-contrast paintings atKaewyn Gallery, 10101 Main St.,Bothell. kathy.collins2@comcast.net or206-399-5241. Her award-winningpaintings have been featured inWatercolor Artist Magazine, The Artist’s

OpportunitiesMagazine, and Splash 10. She is asignature member of the Northwest andMontana Watercolor Societies andWomen Painters of Washington.

Ann Breckon will offer several classesthroughout the remainder of the year.For specific addresses, dates and prices,please visit www.AnnBreckon.com or e-mail annbreckon@gmail.com.425 644 4245.

Eric Wiegardt - a one-day workshop atMedicine Horse Art Studio atTouchstone Farms in Woodinville,Washington on Saturday, Nov 7, 2009.Limited space available. $110.stacie864@yahoo.com. 425 220 1848.

Workshop Listing ServiceMargaret (Peggy) Stermer-Cox haslaunched an art workshop listingservice, http://www.artist -workshops.net/. This is a new, freeonline art workshop listing service.The purpose of the site is to offer artistsa free place to post and publicizeworkshops. For the artist, they offer asearchable database to find classes thatfit your needs. Bookmark their site andwatch for your favorite workshop. Theywould like NWWS members to feel freeto post their workshops and seminars orfind one that fits their needs. email:webmaster@artistworkshops.net. POBox 1864 Ocean Shores, WA 98569.Blog: http://peggy.stermer-cox.com.360 289 0790.

The Eastside Association ofFine Arts 34th Open Exhibition

The Eastside Association of Fine Arts 34th Open Exhibition, with supportfrom the Bellevue Arts Commission, featuring an array of media, includingdrawing, painting, pastels, watercolor & collage will be offered October 19 -November 13 in the Symetra Building lobby at 777 108th NE, Bellevue, WA98004. Monday - Friday, 10am – 5pm and Saturday, 10am – 1pm. Free andopen to the public.

Editor’s ContestSlim participation in the last

contest. Please don’t beintimidated by the prospect ofhaving your painting published.Let’s see some more entries thistime or I will assume a lack ofinterest and cancel the feature.

First place: LauraScheuffele, top left. Secondplace: Charlene Burley, topright. No third place award.

Here are the photos for thecurrent contest. Loren Baker’smagnificent, lobster still life isfrom Lobsterfest at St. Clare’sEpiscopal Church in Snoqualmie,where his wife, Patty is the vicar.This annual, outdoor party hasbecome a huge event. I selectedthe photo for the light on thesubject.

I chose the rooster for thecolors.

If you select the landscape,feel free to move the elementsaround for a more pleasingcomposition.

Wet those brushes!

70th Annual Open Exhibition 2010 Prospectus

April 17 – July 17, 2010 Washington State Convention & Trade Center

800 Convention Place Seattle, Washington 98101

Important Dates February 2 Entry deadline

March 8 Acceptance/declined notifications mailed

March 22 High resolution image CD deadline

April 10 Receipt of shipped paintings deadline

April 10 Hand delivery of paintings

April 17 Exhibition opens to public

April 22 NWWS Reception and Awards Ceremony 6-8 pm

July 17 Exhibition closes

July 20 Pick up hand delivered paintings

Shipped paintings will be returned within two weeks

Awards Over $10,000 in cash and merchandise awards are anticipated for this exhibition. Top cash awards are $2,000 for first place, $1,250 for second place, and $750 for third place.

Each year, NWWS purchases one painting from those accepted into the Exhibition to add to its permanent collection which hangs in the Fred Hutchison Cancer Research Center, Seattle, WA. An award of $1,000 is paid in lieu of the stated purchase price, there is no commission deducted from this award. A painting may be awarded both the Purchase Award and an additional award. If you wish to be considered for this award, please mark the space on the online entry form.

NWWS Membership If you are not currently a member, we encourage you to join the NWWS as an associate member. Dues of $40 per year entitle you to receive a membership roster, online bimonthly newsletters, and reduced show entry and workshop entry fees. In addition to the Annual Open Exhibition, there are monthly program meetings, workshops by nationally known instructors and Waterworks, an annual members-only exhibition. A downloadable membership form is available at the NWWS website, www.nwws.org, or contact Pat Hitchens, Membership Chair at 206-282-3033 or pjhitchens@mac.com.

Juror: Joe Garcia

Native Californian Joe Garcia lives and works near Julian, California, where the forest of oaks and pines shelter an abundance of birds, deer and other wildlife. It is a perfect setting for an artist who specializes in painting those subjects. Joe earned a Bachelor of Fine Arts degree with an advertising/illustration emphasis from the Art Center College of Design in Los Angeles in 1970. He worked as an illustrator and graphic designer for thirteen years, spending his free hours

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honing his watercolor skills, all the while showing his paintings in galleries and national exhibitions. Joe left commercial work behind in 1983 and began his full-time painting career. He generally portrays his subjects in a tight, yet delicate center of interest, complemented by a loose, interpretive background. In addition to his watercolors of wildlife, he enjoys painting oils in the studio and on location. Joe has authored two books, Watercolor Bible and Mastering the Watercolor Wash. His art is featured in the books, Wildlife Art, Joan M. Pursley; The Best of Wildlife Art 2, Rachel R. Wolf; Wildlife Art, Alan Singer; The Art of the American West, Caroline Lindscott; Watercolour 10, Chinese Watercolor Society; Splash 3, Rachel R. Wolf; and Contemporary Western Artists, Peggy and Harold Samuels. Numerous magazines have published Joe's artwork, representing both articles and cover art. A most sought-after teacher of workshops and a highly-respected exhibitor in annual art shows and exhibitions across the US, Joe is well represented by six galleries across the Southwest and Western United States. His original paintings and prints are not only found in these galleries, but in private collections throughout the United States and Canada.

Workshop

Joe Garcia will be teaching a workshop from April 19 – April 23, 2010. Tuition is $400 for NWWS members, $450 for non-members. Registration will begin in December 2009. If you are interested in attending, more information is available, along with a downloadable registration form at the NWWS website: www.nwws.org. You may also contact the Workshops Chair, Alix Despard at 425-889-0757 or acdespard@aol.com

Conditions and Rules • Artists must be 18 years or older and residents of the US or Canada.

• Entries must be original works of art, entirely the work of the entrant. No work done in a class or workshop, no digital

art, copies or likenesses of other artists' work including photos, nor other published source or reference material not attributable to the artist.

• Entries must have been executed within the last two years and may not have been exhibited in any previous NWWS

show.

• Entries must be water media paintings on natural or synthetic paper or paperboard. No stretched canvas or Clayboard

will be accepted. Computer generated work will NOT be accepted. Collage or other media may be used, but the aqueous medium must constitute 80% or more of the work. All collage materials must be original designs executed on water media paper.

• Entries must be framed and have a professional appearance. The painting must be ready for hanging with wire and

protected under Plexiglas. No glass. No saw tooth hangers. Paintings must be matted using white or off-white. Thin colored liners are acceptable. Framed size cannot be more than 44” in either dimension and image size cannot be less than 10” in either dimension.

• Entries must be for sale and priced with the intent to sell. A commission of 30% will be deducted from sales. • Utmost care will be taken in handling artwork; NWWS and/or its representatives and WSCTC will not be responsible

for damage or loss from any cause. Artists should carry their own insurance.

Procedures

• Entry fee is $30 for NWWS members, $40 for non-members.

• Entry is limited to one image per artist.

• Entries will be juried from digital images only. Your image must be uploaded using our convenient online application

system.

• Awards will be judged from the original paintings.

• Artists may not substitute another work for an accepted work nor withdraw the work once it is accepted. Artists who do

withdraw may not enter future NWWS shows.

• ALL ACCEPTED work MUST be hand delivered or shipped to Phoenix Art Restoration, 17521 15th Ave NE, Shoreline,

WA 98155. [WSCTC requires that all paintings must be delivered by one agent only.] Instructions will be included with your acceptance letter. All shipped paintings require a $40 handling fee. All hand delivered paintings require a $20 handling fee. Note: As previously stated, all paintings must use Plexiglas for this exhibition.

• NWWS reserves the right to refuse, upon arrival, any piece of unacceptable quality not discernible in the digital image,

improperly framed, or damaged in shipment. Paintings that do not match the submitted digital image or meet the media and framing criteria will be refused.

• Permission is assumed by NWWS to reproduce accepted artwork for the exhibition catalog(s) and other promotional

uses, including the NWWS website.

• All entrants will receive a complimentary copy of the printed exhibition catalog. Additional printed catalogs are

available to purchase for $10. An exhibition catalog on CD will be available to purchase for $5.

• Digital images of accepted works will be retained for NWWS archives.

How to Enter

• Entries must be submitted by:

1. Uploading your entry image at our website, completing the online entry form and submitting the entry fee using a credit card/PayPal. See instructions on our website. 2. Uploading your entry image at our website, completing the online entry form and mailing a copy of your confirmation email, along with a check payable to NWWS. [Please MAIL your confirmation email copy and check IMMEDIATELY after completing your online entry.]

• Image Dimensions: Maximum image size 1024 x 768 pixels, 1000 kb total. Minimum image size 768 x 512. File format

must be .jpeg or .jpg. [See: Note of Importance below.]

• Label the image file with the name of your painting (e.g., Sunflowers in the Rain.jpg)

• Check our website for instructions on preparing your digital photograph. Images can be easily resized at

www.shrinkpictures.com.

Note of Importance

Artists with accepted artwork will be required to submit a CD with a higher resolution image that will be used for the catalog and/or advertising print work. For printing purposes, a file size of 2MB to 5MB (approximately 3400 pixels x 2400 pixels at 300ppi) will be required. Mailing instructions for the CD will be included in the acceptance notification packet.

Exhibition Chair: Exhibition Data Manager:

Lola K Deaton 206-992-5446 Joe MacKechnie 206-930-4101

lkdeaton@comcast.net joe@netos.com

Northwest Watercolor Society P.O. Box 50387, Bellevue, WA 98015-0387

www.NWWS.org

NORTHWEST WATERCOLOR SOCIETY

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

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St. Andrews Lutheran Church

Bellevue

Eastgate

Bellevue Community College

RobinswoodPark

SunsetVillage

Exit 11A Exit 11B

156TH AVE S.E

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148T

H A

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S.E.145TH PL S.E.

90

28TH S.E. ST.

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

Hot Press Ad PolicyOur rate is $10 per column inch. No exceptions.

Examples• A 1 column x 4 inch ad would measure

2.375" wide x 4" deep and would cost $40.

• A 2 column x 4 inch ad would measure4.75" wide x 4" deep and would cost $80.

FormatPdf files are preferred. Other accepted formats are tiffsand jpegs. Publisher files cannot be opened and must beconverted to pdf.

A Brush with Art

Northwest Watercolor SocietyP.O. Box 50387

Bellevue, WA 98015-0387