Fine out what Pastel 100 Jurors
have to say about what makes a painting
rise to the top of the competition
By Anne Hevener
Every year, we're delighted to invite five distinguished pastel artists to serve as category jurors in the annual Pastel 100 Competition. Each brings their own experience and expertise to the task, as well as their own set of creative criteria. While the artists doing the jurying may change from year to year, there’s one aspect of the experience that’s common to all. Every year, our jurors tell us how challenging it is to select only five pastels in their category for awards.
So, how did these five artist-jurors approach the challenge? And are there lessons to be found in their choices that might provide some helpful takeaways for those eager to catch a juror’s eye? Read on for specific insights and advice.
First Impressions
Our Pastel 100 jurors considered a variety of fundamental criteria to begin the jurying process—draftsmanship, composition, the handling of color and value, and a general mastery of pastel application, for example—as well as some factors that are unique to each category. To this mix of criteria, however, are considerations that are, by nature, more subjective. Jurors mentioned the importance of originality, courage, complexity and clarity of vision, among other qualities.
For Portrait & Figure juror Ilene Gienger-Stanfield, the process begins with a “first impression.” If her initial response to an entry is favorable, she pauses to determine what it is that’s drawing her in, asking: “Is it a strong design? Proficiency in application? A promotion of feeling?”
Our Animal & Wildlife Juror Julie Freeman notes that, when she evaluates artwork, the pieces that stand out often possess something special in terms of color or design. She explains that her assessment revolves around five key points—composition, color, contrast, concept and care—but that’s not the end of the story. “I spend a great deal of time looking,” she says, “not just to appreciate the technique, drawing and compositional skills, but also to form a deeper connection. I’m looking for something that resonates with me.” Sometimes that resonance may spring from the unexpected. “I’m often intrigued by work that pushes boundaries—whether through an unconventional perspective, a strong narrative or a distinctive color palette,” she says.
Diana Sanford, who juried the Abstract & Non-Objective category, thinks of art as part craftsmanship, part magic. “Because of the high level of craftsmanship in the entries, I found myself responding more to the magic—the artist’s unique voice and my experience of a piece,” she says. Sanford also noted that she sought to select a group of winners that showcased the wide variety and range of approaches she saw in the category—“from deliberate, pre-conceived and carefully constructed
work to process pieces intuitively derived and expressively presented,” she says.
Making A Connection
When competition is tough, what can an artist do to improve their chances? Landscape & Interior Juror Brenda Boylan suggests that, before ever picking up a pencil or pastel, artists begin by figuring out what it is that draws them to a subject. The question to ask, she says, is: “What is the emotional connection it strikes within? And how can I give it a voice?”
While every category features variety of subject and style, there can be one style or approach that’s more prevalent. Gienger-Stanfield’s suggestion for standing out in the Portrait & Figure category specifically, for instance, is to consider entering multifigural works. “There’s more room in the multifigure arena,” she says. “There’s also more room for a looser style of pastel application.”
In the Animal & Wildlife category, Freeman advises artists to put greater thought into the whole picture as. they build a composition and to create backgrounds that connect meaningfully with the focal subject. “That extra layer of thought and connection can make a piece even more impactful,” she says. In addition, Freeman encourages artists to create work that springs from their own passions. “As an artist, that connection will shine through in the way your marks are laid down, in the attention to detail,” she says.
Putting care into the preparation and planning also makes a difference. Thinking through the colors and values, and working out how to achieve depth, are all things that Freeman believes can elevate a painting. “The more deliberate and thoughtful the process,” she says. the more the artwork resonates with both the creator and the viewer.”
Moving Forward
Having your artistic talent recognized and earning an award in a competition are worthy goals. But it’s important to keep in mind that the greatest benefit to participating in juried competition is the motivation it provides to work
toward a goal, to stretch your creative muscles, and—hopefully—to produce work that goes above and beyond what you might have thought possible. That’s what we delight in celebrating each and every year in the Pastel 100. Congratulations to every award winner, every honorable mention winner and everyone who created and entered their best.
PJ
Honored Jurors:
JULIE FREEMAN ANIMAL & WILDLIFE
Julie Freeman is a self-taught artist from New Zealand with a passion for realism. She’s
a Master Pastelist with the Pastel Artists of New Zealand and the Pastel Society of
Australia; a Signature Member of the Pastel Society of America (PSA); and a Master
Circle artist in the International Association of Pastel Societies (IAPS). Freeman uses
both soft pastel and pastel pencil to paint a variety of subject matter, including the
natural flora of New Zealand, as well as coastal and nautical themes, but her favorite
subject is—and will always be—animals and wildlife.
www.juliefreeeman.co.nz
DIANA SANFORD ABSTRACT & NON-OBJECTIVE
A Signature Member of the PSA and the Northwest Pastel Society, Diana Sanford has
earned honors in four Pastel 100 competitions over the years, including the Pastel Silver
Award, in 2011, and the Pastel Bronze, in 2016. She has a degree in painting and a Master’s
degree in clinical psychology. Sanford maintained a practice in psychotherapy for 32
years, while also maintaining an art practice, painting in both oil and pastel. Combining
her interests in neurobiology and art has led to Sanford’s unique workshop, JAM Session!,
which focuses on the process and experience of painting.
www.dianasanford.com
BRENDA BOYLAN LANDSCAPE & INTERIOR
Brenda Boylan is a West Coast native and graduate of California Polytechnic State
in Applied Art and Design. She began her creative career as a sportswear graphic designer for NIKE. Unfulfilled by this path, she launched into fine-art painting and never looked back. Boylan’s color-filled pastels have earned her Master Pastelist status
with the PSA, Master Circle membership with IAPS, and Signature Membership in the
American Impressionist Society and the Northwest Pastel Society. Her artwork has
been featured in a variety of fine art publications.
www.brendaboylan.com
ILENE GIENGER-STANFIELD PORTRAIT & FIGURE
An award-winning painter, Ilene Gienger-Stanfield is well-known for her figurative com-
positions and use of rich passages of color. Most recently she was awarded Best of Show
in the Northwest Pastel Society’s 37th International Open Show. She has earned Signature
status in the PSA, American Impressionist Society, Oil Painters of America and Northwest
Pastel Society, and Master Signature membership in Women Artists of the West. Her work
is currently represented by JGO Gallery, in Bainbridge Island, Wash.; McBride Gallery, in
Annapolis, Md.; and Favell Museum, in Klamath Falls, Ore.
www.ilenegienger.com
DANIEL J. KEYS STILL LIFE & FLORAL
Daniel J. Keys started painting at the age of 11 and was largely self-trained until eventually enjoying the mentorship of the late Richard Schmid. After working in oils for many years and earning numerous awards, including the Portrait Society of America’s Draper Grand Prize Award, in 2018, Keys took up pastel painting and now alternates between the two media. He established himself quickly in the world of pastel with a one-man show and awards in juried exhibitions with IAPS and the PSA. His work has appeared in numerous art publications and is part of prominent collections throughout North America, Europe and Russia.
www.danieljkeys.com
Anne Hevener is the Editor-in-Chief of Pastel Journal, Watercolor Artist and Artists Magazine
