A First Friday showing...

For all you Portland area art lovers and friends of the arts, I wish to share with you an event on this First Friday of March. It will be a warmer than usual kind of night, no doubt, to be out so I'm inviting you to come out to enjoy an intimate showing of work at Gideon St. Studios for the evening.

Here are the details:

Friday March 6th, 2015
5:00-8:30 pm

Gideon Street Studios
1212 SE Gideon Street
Portland, OR
Mapquest:  http://mapq.st/1BFWv5P

Hope to see you there!


Mark-making &More Glass Jars, 9x8

"Glass Jars, 9x8" Pastel on sanded paper

Don't you just love texture in paintings? It makes a 2 dimensional image move forward with depth that you just couldn't get with a drawing. Oil painters have the advantage of impasto application, but what about pastelists? Since it's a soft pigment it just can't make a thick and juicy mark! But pastels offer a wonderfully expressive mark-making quality that oil painters just can't match. Mark-making can produce incredible results so unique that each artist's style begins to shine through.  I was first attracted to pastels because of the mark-making I saw in other accomplished artists such as Sally Strand and Sandra Bushell.

Last week in my pastel class, we worked on mark-making again (glass ball jars seem to work for this exercise) and in my demo (above) I used this linear technique. This vertical mark-making is actually quite exciting to look at!

detail shows the many layers of vertical marks made to create shape.

Depth and shade were rendered with a thick and thin mark with ink using both crosshatching and swirly marks. 
Reminiscent of the unique designs of our fingerprints.

Perhaps my interest with mark-making began when I was a kid.  Back then, I was fascinated with the dollar bill and how it was illustrated. Hours would be spent looking through a magnifying glass at George Washington, while trying to figure out how to make a drawing with lines just like those on the bill. Little did I know I'd be doing something similar in pastel as an adult.

The variety of mark-making is endless and is up to you and your imagination. So next time you hit a big slump with your work and are feeling like your work is getting boring, try making some marks. Try using thick and thin pressure with your pastels to garner wide or thin marks. Use color variations that can be optically mixed, or even different shapes like swirls, dots, or swipes of color to render beautiful work.


Swift Crossing, 20x16"

"Swift Crossing" with detail, 20x16" Pastel

Back when I went on my adventure to New York City last September, I walked what felt like 20 miles on the streets with my camera at the ready. There was activity and color that would last me a lifetime of painting inspiration, but the deciding factor must offer a decent composition. Here, "Swift Crossing" has that typical "U" shaped composition so characteristic of any street scene lined with buildings. I like to think some compositions are much like the alphabet, offering up the "S" curve, "L", "V" or "T" to name a few. It was the people crossing the street in what reminded me of the "Beatles" album cover "Abbey Road" that attracted me the most of this scene. I worked with the color a lot, having first used filters on Instagram to see where I could push the colors and mood. I ended up with a more intense and darker look than the original image, I think it works. Thoughts?


Lessons From the Easel

It's been 2 months since I last posted and I am soooo sorry for not keeping up with you, my dear blogging friends. It seems that there are just not enough hours in the day to keep my schedule flowing smoothly.  I have so much to share with you but I just can't carve the time out for writing out my thoughts as frequently as I'd first set out. I have decided that I absolutely must make time for organizing my business matters now so I can blog and be more productive at the easel.  I am making a small dent, but the list goes on. Ugh. I just wanna paint!

Well, I have been painting! Here are some demos from my weekly pastel class that I have been teaching at the Oregon Society of Artists. The class has been loads of fun. The students come away learning plenty, making it very rewarding for all of us. The weekly classes run 7 weeks in a series, and we are in the midst of the last series before the plein air season starts back up in earnest. Here are a few demos I painted to illustrate the versatility of pastel. Some demos are very quick, while others take a tad longer.

Limited strokes...

Timed 5 minute paintings...

Underpainting demo...

There is so much to teach when it comes to pastel because it is so incredibly versatile. I do hope to make my workshops available to regions beyond Portland. Perhaps a workshop in a sunny state or another country might be in my future? Where would you like to attend a pastel workshop?  Well, anyway, enough about workshopping.

I have also been hunkering down for the last 5 months in my studio painting large with oils for a March show in Palm Springs, CA. at Brian Marki Gallery. The show was inspired from a plein air journey to the Coachella Valley last April, (read Blog post here) and now I have a place to share them. The group show "Portland Paints the Desert" will feature Portland area artists Anton Pavlenko, Thomas Kitts, Michael Orwick, Scott Gellatly, and myself.  Honestly, I haven't painted this large since 1988, so it was a stretch for me, especially since oil painting is not my forte', but I did it and am really proud that I stretched a bit. "Desert Wash" was the largest piece I have ever painted, well, if you aren't counting mural work.

Well, there you have 2 months in a nutshell...plus then some. I'm hoping the next time I post that it will be sooner than later so you can follow along in some measure on this artistic journey.


"Desert's Last Breath" 40x30" Oil on gallery wrapped canvas

"Skirts" 40x30" Oil on gallery wrapped canvas

"Desert Wash" 36x38" 40x30" Oil on gallery wrapped canvas


Mark Making

"Just for Jelly" crop

Been teaching a 7-week pastel series at Oregon Society of Artists and it sure has been a LOT of fun! I'm mid-way through the second series of classes and have one more that begins in late January. This one demo, above, was on mark-making to demonstrate that all sorts of marks can be employed to get interesting broken color as well as providing emotion like no paint brush could. I used a dizzy-like swirly mark on Wallis Belgian Mist sanded paper with Ludwig pastels.

"Swirly Jars" 12x9" sold

The last class on pastels begins Jan 27 and runs through March 10, 2015.  Classes held at Oregon Society of Artists on Tuesdays at 9:00am - 12:00.  Only room for 9 students. Interested?  Get your answers HERE.


How to be a Cover Girl, well sort of...

I would've never expected it, but my piece "Stopping Point" was selected for the December 2014 cover story for the Pastel Journal.  I can now honestly say I am a Cover Girl, but not the kind that renders up images of a 13 year old with Photoshopped lips, but I digress.

"How did that happen?" one would ask.

Well, it all began a few years back, I think it was back in 2010, when I met a journalist named Angie Young at a plein air event showcase.  Our discussion revolved around the challenges of being an artist with a young family, like how can one have an art career and still be a Mom? We continued our conversation for some time and then I hired her to write a story of these very challenges with the intention of getting coverage in an artist magazine. The story took a circuitous route, but we finally agreed on the direction of the story. I paid the writer, after discovering that there was a procedure process from which we did not follow, and I thought the submission would be filed. I submitted the story anyway, along with several images to support the story to The Pastel Journal. Then I waited.....

Then on a summer day, I think it was July or August of this year, I received an email from the Editor of the Pastel Journal, Anne Hevener, that she had some of my images on file and was wanting to know if I'd like to be interviewed for an article on my work.  Are you kidding me?  "Why YES I would" I replied.  So I was contacted by journalist Michelle Taute and we set a date for a phone interview. She dove right into the story with some great questions about my fascination with urban scenes and my "how" of pastel painting.  She wrote the article as if she lived inside my mind, clearly writing my thought process without any hesitation. 

The article was polished with accompanying imagery and then I was able to review it for accuracy and content. Then sometime in September, Anne Hevener informed me that one of my images was being considered for the cover and I had to be hush hush about it.  Woah! How cool would that be?  I asked,  "What are the deciding factors for a cover image?" Apparently the Art Director , Marketing and other important decision makers have the challenging job of selecting the cover image based on interest, sales potential and color. I'm sure there is a lot more involved with this editorial decision than one could imagine. Anyway, it seems to be a pretty tough job, much like a jury for a national competition.  

HOW Do you get into a magazine?

So you may be asking "How do I get noticed by an editor or staff writer for an article on my work?" Well, I'm not an expert here but I can offer some ideas that may work, some of which I employed over the years.  First of all you have to ask yourself "Why do you want coverage"  Do you create something interesting that is unconventional and can be interesting and new to the readers? Or do you wish to be "famous" just so that Mom and Dad have bragging rights over coffee and donuts?  What is your motive?  Magazines find artists and subject matter in a number of ways. Participation in National shows comes to mind, perhaps your online social media can assist in name recognition, but did you know that most magazines have a process of inquiry?  Publications typically post the guidelines inside the cover page. Sometimes a magazine may support a National arts organization, giving the magazine first opportunity to see who the rising stars are.  You can find most of your magazine inquiry information on the net these days. Here is one magazine submission process clearly posted for The Artist's Magazine.   Or check out Empty Easel on the topic HERE

So there you have it!  What month will you be? 



7-week Pastel series at OSA

Demo of alcohol wash underpainting

The Oregon Society of Artists has asked me to teach pastel on an ongoing basis so I have put together a 7-week series that runs continually until April of 2015. I'm in the final stretch of my first 7-week series and it sure has been a wonderful class. I'm finding that teaching is incredibly rewarding. I think it may become a little bit addicting. So, the next class series will begin Nov 25th and end on Jan 6th.  There is still room for 2 more students, so if you have been looking for a weekly pastel class, this may be your time.  Check out the info HERE.

Above is one of my demonstrations using an alcohol underpainting. It always makes for a lose wash that gives interesting variations and twists for me. We have studied mark-making, values, color theory, and we still have a few classes left to work out a solvent underpainting as well as a few quick timed pieces to get the juices going.  


Opening Nov 1st ~ The Verdant Valley

I'm having a show.

A visual journey of pastel and oil.

Plein air and studio pieces

of the Willamette's verdant valley.




Never thought I'd say it, but...

I knew the summer months were going to be a fast-paced rush into the Fall, and they sure were, and boy am I glad it's slowin' down!  I can't believe I would ever say "I'm looking forward to the Fall", being a summer-time sun-loving kind of spirit, but the Fall comes with studio painting time and perhaps more of a routine. What has happened in the past 3 months? A LOT! So I think I'll keep this post pretty short albeit image heavy. So here goes....

June 7-Sept 7th, Oregon Historical Museum's "Clink, a Taste of Oregon Wine" show and exhibit. The show just ended but it was a great exhibit with wine tastings and stories of the history of Oregon's production of grapes and it's wine industry.
"Sentinel's Domaine"  24x24" Pastel  $2,200

June 25-July 10th, Yamhill Lavender Plein Air Festival:  Lovely lavender inspired great summer outings with palette and paint.

"Lavender Lodge" 12x12" Oil
Honorable Mention, Yamhill Lavender Plien Air

July 20-27th, Door County Plein Air Invitational: Beautiful scenery and weather, great artists, bowling, and a live auction. I am hoping for a repeat next year!
"Hardy's Garage" 11x14" Oil  Sold

"Farmer's Field" 11x14" Oil  Sold

"Morning Birches" 8x10" Pastel  Sold

"Clark Park Dock" 10x8" Pastel  Sold

On the easel "To His Koy Mistress"  16x12" Pastel

August 7-9th, Portland Art Museum Plein Air Invitational-Paris in the Parks: Two solid days of painting finished up with 1 solid day of showing. Met some interesting people in all levels of society within the parks.
No citations...yet

"Street Notes" 14x11" Oil

"Walking Amongst Towers" 14x11" (cropped)

"Sunrise on the Hawthorne" 11x14" Oil

August 17th, Arts Council of Lake Oswego Garden Party Paint out: What a treat to paint to live music with people who are involved in the fine art industry. I like how the champagne glasses twinkle.

"Garden Party" 8x10" Oil  (cropped)  Sold

August 24th, Villa Catalana Paint Out:  A painting day with 20 other plein air artists on a Spanish style estate, all decked out with a lotus pond and winery.
"Contemplation Pond" 16x12" Oil

Then about a month ago, I got notice that "The Blue Line" received the President's Award at the Pastel Society of America's 42nd Annual.  So I went to NYC last weekend with my husband to take in some sights and to receive the award. What an honor. Then while I was writing this post, I got news that this piece was selected to hang in the Butler Institute of American Art in Ohio. After it returns home, it will have traveled a total of 6,630 miles. Pretty ironic for a painting of a street car.

"The Blue Line" 24x24" Pastel  $2,600

Pictured here with PSA President Jimmy Wright

Then the good news keeps on getting better! Just a few days ago I got notice that his piece below, "Stopping Point" was awarded "Best Pastel" in the Bold Brush August show. Artist's Happy Dance!  It will be hanging in the Beaverton Art's Mix, or "BAM!" this coming Sept 30-Oct 12th.

"Stopping Point" 20x16" Pastel  

So with all this activity one could clearly understand why my blog postings have nearly stopped. I still hope to establish a better pace of posting now that the Fall begets a regular schedule. My routine has already started to settle down just a bit as I prepare for a weekly Pastel Class Series hosted by the Oregon Society of Artists.  These classes will be a reflection of my intensive workshops, but at a much slower pace so the students can take their time with each concept. So there you have it. My crazy, fast paced summer is finally coming to an end.

Well, that's all for now.


Thoughts on Plein Air Events and re-cap of LGPA.

About a month ago, I headed down to sunny California to participate in The Los Gatos Plein Air and am finally journaling about my experience of the event. WARNING...this is a LOOONG post!

While I am also wishing to share with you a bit about the process of participation, I will be using the Los Gatos Plein Air as my model and what to expect, and perhaps offer up a few pointers for those who are curious on how they work. Los Gatos Plein Air is still my personal favorite plein air event. I say this because it is so much of a reunion of friends, family, and collectors who come out to say "Hi" as well as the familiar landscape from my childhood that evokes a sense of belonging. I have painted for dozens of plein air events over the past 7-8 years that have given me many great experiences, and exposure from which to write a novel, but this one I return to year after year. It is run by the incredible Los Gatos Morning Rotary Club.

Each event has it's own personality unique to the area and culture of the region. First of all, there are the simply organized, non-juried, fun community events that are run on a shoestring budget by a small grass-roots volunteer group. These events offer up a loose and relaxed pace, with the opportunity to paint alongside all levels of artists.  I would consider them the hidden gems of plein air. These community events often offer the opportunity to hang the work in a park, a group center or even perhaps in an old stable for a weekend. It's that simple.

The juried shows offer a varying level of participation. From my experience, the level of artist is equal to the level of sales and award purses, if available. For example, if an event that has beautiful scenery to paint from, but low sales and awards, the event could potentially die out or attract less experienced participants. These events are still worth it simply for the joy of painting as I often consider this level of event to be sort of a painting getaway with like minded artists. Potentially, the artist's expenses may not likely to be covered with no, or low sales, which is why I'd nearly consider it a painting getaway. An artist has to weigh in the expenses of gas, car rental, food, housing, and perhaps the shipment of gear, commissions and the cost of a flight can make participation a gamble if there are low sales. This has happened to me and it's a ego crusher I tell ya. Unless you have sales, well then, I'd say it's definitely a great event much like Los Gatos Plein Air.

Then there is the level of plein air events where some 150+ eager volunteers are all serving for a higher cause, offering large prize purses along with high volume of sales that attract the attention of a higher end competitive artist, which in turn attracts the higher end collector. It is a win-win situation, making for more competitive entries than there are spots available.

Finally, there is the level of plein air event where the artist is "invited" to participate. There is no jurying process, there is no application fee, there is simply a "yes" or "no" approval by the artist. My guess is the event organizers search these artists either by plein air participation, publicity and marketing, national exposure or gallery representation. I'd consider an invitation to be a huge honor and privilege because the artists are sought after professionals and the event is marketing to their distinguished collector base. Usually these events are much like the level described above with all the support along with the artist recognition.

So back to Los Gatos....   I flew into San Jose, CA. a few days ahead of the event to allow myself time to acclimate and scout out my areas from which to paint. This often saves on painting time and frustration of where to park, paint and pee. Yes, the 3P's are a must in this industry, but I digress...  Juried events usually start off with a canvas stamping on the back of your panels. Some events don't even care to stamp a canvas, while other events use the dated stamping process to prove that the piece was actually painted during that particular event. It also serves as proof that you are a juried artist in the event. Los Gatos provides host families for those artists who have come from a great distance. This is such a welcomed relief on many levels because it reduces costs for the artist, as well as offers up an opportunity to know a resident and learn a bit about the area. All of my past hosts have been wonderfully supportive and exceptionally helpful and generous with their homes.

Day 1 
(2 paintings)

Los Gatos stamps all the artists canvasses from 8:00 am till 12:00 noon at the Los Gatos Art Museum. After a brief hello to the organizers and getting any last minute information and goodie bag, all the artists are unleashed to create their works for the next 4 days. I hooked up with Portlanders Kat Sowa, Anton Pavlenko, Yer Za Vue, and Yong Hongzhong to paint for the day. We started out in the southeast bay area, where Calero Resevoir and farmland scenes are abundant. We painted by a pioneer barn, the Coleman Barn, but mine turned out to be a dud! I mean it was a stinker, which sometimes happens right out of the gate.

The Coleman Pioneer Barn

I figure 3 out of 10 paintings will make the cut, so I recommend stamping more panels than frames available. Pictured below is the second stop of the day, located above the Santa Clara valley, hidden under some California Oaks that offered protective shade.

Here is my painting spot with the view of the Santa Clara Valley, looking eastwardly.

The finished piece, sorry for the bad photo.  
"View from Red Clay Way" 8x10" Pastel  (Sold)

That evening the LGPA had an Artist Reception and Mandatory Orientation at the Los Gatos Museum. Most events offer an orientation to get up to date guidelines and changes, suggested painting locations, judging, hanging, and everything you would need to know about the event as a participant. Usually this information is provided prior an event through email communication, but it is always a great way to gather and answer any questions before the meat of the event sets in. It also provides a great opportunity to meet the organizers, reconnect with artist friends as well as meet a few benefactors.  After the orientation, artists may chose to go out and enjoy a meal together or head out to paint some more. Either way, the hours of work are exhaustive. Getting up early to paint a sunrise and staying up long after hours to catch a moonrise into a nocturne are when the best light is available. Lack of sleep is the norm, as well as everybody else is running on adrenaline to keep ahead of the clock. I have often suggested there should be a reality show for these events with all it's drama. Now, wouldn't that be interesting?

Day 2
(3 paintings)

One of my pre-scouted locations, I had decided to paint the view of the valley as seen through a vineyard. So, I headed up to Mountain Winery with my friend and artist participant Tonya Zenin. We had the direct sun on us as well as being up higher in the atmosphere which means plenty of sunscreen. I recommend the spray on sunscreen as you won't have to wipe off that greasy film from your hands as well as application is a snap. Tonya and I painted the very same scene, but with completely different interpretations...as well as a few really great laughs about artistic life.

"Mountain Vineyard View" 11x14" Pastel  (Sold)
Honorable Mention

After this painting, Tonya and I went and ate some lunch and then we went back out to do an urban scene in downtown Los Gatos.  

Painting "Vintages" store front.

I have found that painting on the hard cement can injure your back and hips. One simple solution is to purchase a foam fatigue mat at Home Depot and tape the edges all together to make a double mat. It really does help to keep your back and hips from injury. I fashioned a tape "handle" to make it easy to carry to your painting location. I don't have one here in this picture, but I swear by it while painting urban scenes back home.

Partially done "Dressmakers Form" and in the direct hot afternoon sunlight made for a challenging scene. I loved the vintage dress form, but the shadows on it were bouncing all around. I chose to eliminate the shadows altogether, but I was not completely satisfied with my results.

After a quick snack, Tonya and I wanted to catch some late afternoon lighting, and I had wanted to return to a site where I had painted once before. I loved how the afternoon light warmed up the oaks on the distant hill as well as a lot of dramatic shadows and light.

Painting up on Larga Vista Road right off of Blossom Hill.

"Blossom Hill" 14x11" Pastel  (sold)

Day 3
(3 paintings)

Fatigue is setting in, I'm getting into a groove, and I have had some success with my work. Hooray! Today was an urban day for me, and so I set out to one of my favorite spots, Los Gatos Coffee Roasting Company. I have painted this scene before and return to it every time with a different interpretation. This time around, I had asked one of the customers if he was planning on sitting for at least 20 minutes, and so he agreed to, but honestly, the caffeine either was doing a great job on me, or he was just wiggly and not a great subject to paint. Regardless, he continued to remain there long after I was done so I was able to gesture him into the painting. I wanted to get the feeling of activity in this piece as this coffee shop is a busy stop for many Los Gatan's.

"Starting the Day" 16x12" Pastel  (sold)

After this piece, I carried my gear over towards the house of John and Sue McSorley, the hosts of the Artist Luncheon. They live in the downtown area, close in and are one of my favorite folks to visit with. Every year, they and the Los Gatos Morning Rotary Club host this event in their yard, providing a fuel stop, rest stop, hydration from the sun's heat and much needed shade. It is a great opportunity to gather with the other artists to compare notes, share painting locations as well as time to mingle.

"Tassles" 10x8" Pastel  (sold)

My next piece was painted mid-day, so I was happy to work a dress shop called Tassles that offered little shadow transitions. However, I was again in direct sunlight and getting hot and sun exposed so I had to take a few breaks to hydrate and apply sunscreen frequently. What I enjoy most about painting urban scenes is the general public seems to be, well, interesting. Many are curious, some could just care less, while there is the occasional walkie talkie. Beware of urban painting if you would much rather have silence. On the other hand, it provides a great way to share your love for art as well as it offers the general public a view into an artists creativity.  I have painted this shop once before and have come to enjoy the shop owner, Coco. She has been a sweet familiar face to see every time I paint the town. 

Late in the day, I returned back to my host's home to begin the process of framing pastels. It is a daunting chore. It also gave me some quiet time to be indoors to cool down from the sun and re-group. While participating in these events, it's always good practice to schedule in some down time. Something I do little of, but when I do, it's possibly the most rewarding. A smart, heathy snack, a nap, and a tall glass of water works wonders. 

That evening a few hosts and their artists had been invited to a bar-be-que by one of the Rotarians. These people know how to entertain! Plenty of conversation, food, and drink was offered. After we had all filled up and visited for some time, a few artists had decided to go paint a nocturne in downtown Los Gatos. 
"Haute Bride" 10x8" Pastel

We set up around 10:00 pm and worked our night magic on the streets. It's interesting to see the change of street activity from dawn to dusk and deep into the night, but Los Gatos is a pretty safe place. While out painting en plein air, always evaluate your surroundings. Safety is a must for a painter who may become engrossed into the painting process, especially when there are pedestrians who are not "always there" or missing a few screws. We were up until 1:30 am painting. Some of my high school friends even came out to watch me paint so there was plenty reason to be out late. I returned back to my hosts house just as they were returning from a wedding, and I hopped into the shower and was in bed by 2:30 am.

Day 4
(framing day)

When the schedule of events is published to the participating artists, I always plan on a day of framing or at least divide it out as I go along. When I do frame throughout the span of the event, I usually plan it during the mid-day while the light is the least attractive. It gives me time to settle down, focus, as well as get the most difficult part of my job done. Framing pastels is not an easy chore and this is why you will see very few pastels in plein air competitions. I have made it easy on myself by pre-assembling the glass, spacers and wiring long before I leave my home. Depending on the distance of the event, I may have to ship my frames and gear at great expense ahead of time, and other times the frames come along with me in my car. For long distance events, I use Optium Acrylic Museum grade glasing because of it's anti-reflection, weight, scratch resistant and anti static qualities. It also has a price three times the average cost of glasing. I love the stuff because I don't have to worry about a broken, chipped piece of glass to replace on location and the weight and handling is not a worry.  I ended up framing 7 pieces plus we were allowed to bring one studio piece from home. I had 8 total for sale and it was looking like a solid body of work. Framing all my work in like-style frames gives the appreciating public the feeling of consistency, or a story line...like it was created by the one artist.

Around 5:00, each artist turned in one favorite piece at the VIP Gala. After that, it was celebration time!

The Friday night VIP Gala had plenty of room to move about and the work was displayed with integrity. One display panel per painting with it's own light to illuminate each work made for nearly 50% of the pieces sold. There was adequate, delicious food and the general flow of the Gala was welcoming and roomy. Everyone had a wonderful time. Less tickets were available for purchase, but at a higher price that perhaps this created room for more serious collector attendance.  Each artist selected their favorite piece out of the 32 pieces submitted for the prestigious "Artist's Choice" award. Sorry I do not have the information on the piece, but it was my favorite one for sure!

Attendees Tonya Zenin (artist), John McSorely, Tina and Clay Goodman.

At the VIP Gala with Portland artists Yong Hongzhong, Kat Sowa, Anton Pavlenko, Yer Za Vue, Me, and then welcomed photobomber Timothy Tien on the far right.

Day 4
Saturday in the Park
(Sale day, judging)

Up bright and early, we had to deliver and hang our body of work in the park. Each artist has to fill in all the paperwork:  Inventory number, title, size, medium, contact info, artist name and price. I like to do this logistical work ahead of time while I am framing because turning in the work is often a chaotic and confusing time, so mistakes can happen. The Saturday sale was smooth and very well attended, and the weather cooperated too!  In years past, we have had torrential rain, baking 105 degree heat, and more baking heat. This year the weather was definitely Californian!

My piece "Mountain Vineyard View" (above) gained Judge Paul Kratter's attention, awarding it an Honorable Mention as well as my friend Tonya's Vineyard piece too!  

Happy with Paul's decision! It's never ever an expected outcome,
but sometimes ya just gotta take the punches with the petals. 

In Summary

What I most love about painting in this event is the generosity of the Los Gatos Morning Rotary Club members. I also must give credit to the community that supports the event, the scenery, the returning collectors and friends who drop by while I am there and of course, the weather. So many great memories are made while painting for plein air events, weather they are non-juried community gatherings or high end juried competitions. Most importantly, I thank you for your endurance reading this far and I'm hoping that you enjoyed my report and small offerings of advice on participating in plein air. Next week I'm off to paint in Door County Plein Air, for an invitational plein air event. I have never been there, but I expect it will be another great adventure!

It's been quite the journey.

~ Brenda