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February 2011 Editorial

May 2011 Editorial

August 2011 Editorial



Barbara Benedetti Newton,
"Hometown Marshland"

Barbara Benedetti Newton, born 1943 in Puyallup, Washington, attended public school in Auburn, cosmetology school in Renton, and Burnley School of Professional Art (now renamed Art Institute of Seattle) where she studied with William Cumming among others.

In 1965, Newton began her professional art career as a fashion illustrator for a major Seattle department store. Married the same year to artist William Iles, they relocated to San Francisco where Barbara continued to work as a freelance fashion illustrator. After returning to the Seattle area, they purchased a filbert farm with 1902 farmhouse on Vashon Island.

For Barbara, a 20-year hiatus from art followed. Her creative energy was used to raise their son and daughter, grow cut flowers for resale, develop a flock of wool breed sheep and work at nearby K2 Ski Corporation. She began work in the K2 factory then quickly moved on to Master Scheduler of Production and later, Buyer.

In 1990, after several life-changing events and with the support of her second and final husband, Jay Newton, Barbara left K2 after 16 years to return full time to art. The humble colored pencil became her path back and her introduction to color. Working exclusively in colored pencil for more than a dozen years, Newton became one of the masters of the medium and co-authored Colored Pencil Solution Book, published in 2000. A valued instructor at Frye Art Museum in Seattle and at Sitka Center for Art and Ecology in Oregon for more than a dozen years, Newton retired from teaching in 2006.Her work has been included in American Artist, International Artist, and The Artist’s Magazine, as well as numerous other publications.

In 2002 Newton began exploring other mediums and has been working primarily in soft pastel since then. Making the transition from a precise, time-consuming, transparent medium to spontaneous, fast-paced, opaque soft pastel has been a journey of discovery. With a change of medium, Newton also departed from her trademark light-filled still life subjects to impressionistic landscape scenes.

She is a Charter Member, Signature Member, past president and 10 Year Merit Member of Colored Pencil Society of America; Signature Member of the Northwest Pastel Society; a juried member of Women Painters of Washington and a member of the Eastside Association of Fine Arts, Pastel Society of the West Coast and the Pastel Society of America.

Newton is represented by American Art Company, Tacoma, WA; Jeffrey Moose Gallery, Seattle, WA; State of the Arts Gallery, Olympia, WA; and The Attic Gallery, Portland, OR.

 


Editorial


by Barbara Benedetti Newton
February, 2011

Here it is, February already, and I’ve been doing everything except painting. I’ve been more interested in cleaning and re-organizing my studio.
Part of my studio cleanup was a ruthless culling of art books I no longer use. I listed 36 used books for sale online in my own “store” at Amazon. It’s easy to become a seller so if you have extra books, consider it. Go to the Amazon site for information.
I also gathered together the 4-ply mat board “window” remnants from the mats I’ve cut for framing pastels. I sorted them by size, then cut them into the square format I like to paint on. They range from 11 x 11 to 14 x 14 inches.
To turn the mats into pastel painting surfaces, I laid a dozen of these mat squares out on newspaper and applied a homemade pastel ground mixture to them with a foam roller. The recipe I used was 1 cup water + 1 cup acrylic gesso + 11 heaping tablespoons of marble dust mixed up in a blender.
Making Ground
If you try this, apply one or more coats on both sides of the 4-ply mat boards. Let each piece dry completely between coats and don’t be alarmed when the boards first curl up and then, as they dry, reverse and become concave. When you coat the opposite side, they will do the same thing and then flatten out. I like my boards really flat so when the last coat was nearly dry, I stacked the mat boards with glassine or other slippery paper between each, and laid a piece of heavy glass on top of the stack. The next day they were dry and perfectly flat.
For the final coat, I added some Venetian Red gesso to the mixture to make a raspberry color.
grounds
At this point, I had a cleaner studio and a good supply of prepared surfaces but still no real desire to paint. I needed a jump-start for a new year of painting so I went on a photo shoot to the wetlands of my hometown.
Back in my studio, I transferred the reference photos from my camera to my computer and viewed the images on my display. I had a few inspiring shots, but most photos showed muted dead grasses and bare-limbed bushes. As is sometimes true with photo shoots, the resulting photographs aren’t as motivating as actually being there.
Still looking for my jump-start, I set up a little painting station in front of my computer display. I used a 16 x 20 inch pad of Lanaquarelle, 140 lb cold press watercolor paper, my travel palette of watercolors and a couple small brushes.
Bright Idea
I spent a couple hours viewing reference photos on my display and creating 2-inch square thumbnail paintings of what I saw until I had a 16 x 20 inch sheet  -  a total of 35 little images.
Next, I took a photo of the whole sheet and in Photoshop, turned the image into a grayscale and printed it.
Grey Thumbnails
I posted my bright idea for a jump-start on my art journal blog, www.bbnewtonartjournal.blogspot.com, and immediately got several nice replies. Contact with fellow artists turned out to be just what I needed to start painting again. I began to paint using the sheet of thumbnailsfor reference without looking at the corresponding photos. I can’t imagine a series of 35 paintings but I am working on number 3 and my bright idea has brought me some new Internet friends.