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Spring 2013

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2/19

PUBLISHED BY JENSU DESIGN

PUBLISHER: Susan Blackman

All material printed in this magazine, writ-

ten or depicted, is protected by copyright

of this magazine and/or the artist, and

cannot be reproduced in any form without

express written permission from the pub-

lisher. All views expressed are those of the

author and not necessarily those of Cana-

dian Brushstroke Magazine. Brushstroke

makes no recommendations as to the

purchase or sale of any product or service.

All letters or contributions to Canadian

Brushstroke Magazine are subject to edit-

ing with no limits or liability.

JENSU DESIGNBox 5483,

Leduc, Alberta

Canada T9E 6L7

CANADIAN BRUSHSTROKE

MAGAZINEBox 3449,

Leduc, Alberta

Canada T9E 6M2

Phone: 780-986-0789

Fax: 780-986-8393

E-mail: [email protected]

Phone: 780-986-0789

Fax: 780-986-8393

www.brushstrokemagazine.com

E-mail: [email protected]

Publishers Corner

2 Canadian Brushstroke Magazine Jan-Mar 2013

I am looking forward to seeing the winners of the Cana-dian Brushstrokes Magazine Landscapes competition inthe next issue. Once again we had many incredible andquality entries and it makes the jurying extremely difcult.Wow - Canada has some fabulous artists and are we everproud to get to publish their works in this magazine.

The Society of Canadian Artists will host its 45th NationalJuried Exhibition in Montreal - the deadline for entry isJune 24, so if youre interested, get your entries in quickly!

Im so excited that I got to attend a live demo done byrenowned artist Sherrie McGraw in Texas last month.In the Crossing Borders section of the next issue of Cana-dian Brushstroke Magazine, we will publish a story includ-ing many images of the progress of the portrait Sherriedid of Canadas own Neil Patterson - a master painter inthe Oil Painters of America.Neil has an extremely interesting face, a medium-lengthwhite beard, and almost always is seen in his signature

black clothig and black cowboy hat. Its not surprising thathe is often chosen as a subject for portraits.I asked Neil how many times hes been painted by othermaster painters and he couldnt remember exactly, butguessed it had been close to 20 times.Dont miss the sensitive and masterful way that SherrieMcGraw painted him - in the next magazine.

societyofcanadianartists.com
mailto:info%40jensu.ca?subject=mailto:info%40jensu.ca?subject=http://www.brushstrokemagazine.com/http://www.brushstrokemagazine.com/mailto:info%40brushstrokemagazine.com?subject=http://societyofcanadianartists.com/http://societyofcanadianartists.com/mailto:info%40brushstrokemagazine.com?subject=http://www.brushstrokemagazine.com/mailto:info%40jensu.ca?subject=


3/19

website: www.projectheroes.cafollowourblogat:

www.projectheroestm.blogspot.com

PROJECT HEROES will see every fallen Canadian soldierfrom the Afghanistan war commemorated in a 14 x 18 framedwork of ne art, with the intent to exhibit the paintings in everyprovince in Canada, along with other commemorative paint-ings, military paraphernalia, personal items from the soldiers,including written material such as letters they wrote home, andvideo clips, etc.

Artists Susan Abma, Shairl Honey, and Cindy Revell havebeen touched by the bravery of the soldiers who died servingour country in Afghanistan. As painters, they will have theextraordinary honour of recording history and preserving thememory of these exceptional men and women.

With your help, they will be creating a massive, historic, militaryoil portrait collection. The fallen soldiers from Afghanistancould possibly live in their paintings for many hundreds ofyears.

For more information on this project, go to:

www.projectheroes.ca

ATTENTION GALLERIES:

**Venues in major Canadian centres that are equipped for and largeenough to host this exhibition are invited to contactProject Heroes at 780-986-0789 or email [email protected] venues will be considered, but the venues chosen will be thosebest suited to the project.

TM

The paintings shown above are - Top: Sgt. Greg Krse, Centre: Cpl James Hawar Arnal,

Bottom: Master Cpl. Ramon Arnt. The fallen soliers portraits will be reveale on a rotating basis.

The entire collection will not be isplae together ntil after the rst exhibition starting Nov. 2014.

Canadian Brushstroke Magazine Jan-Mar 2013 3

By Susan Abma

By Cindy Revell

By Shairl Honey
http://www.projectheroes.ca/http://www.projectheroestm.blogspot.com/http://www.projectheroes.ca/mailto:info%40projectheroes.ca?subject=from%20Canadian%20Brushstroke%20Magazinemailto:info%40projectheroes.ca?subject=from%20Canadian%20Brushstroke%20Magazinehttp://www.projectheroes.ca/http://www.projectheroestm.blogspot.com/http://www.projectheroes.ca/


4/19


wEst (Yuon, Alberta, B.C.)

Expressive Representational' artistusesBOLD COLORwith confidence

Robyn Lae, of Penticton, BC, ishappiest using her whole body inher painting dance.

About 25 years ago, Robyn Lae saw a large water-color painting of a sail boat by artist Brent Heightonin a Vancouver gallery. That inspired her to tae

some lessons at the Fraser Valley Community College inSurrey, BC.

Lae was busy with small children at the time so she didntpaint again for more than a year.

When I piced up the brushes again, something cliced,and I realised how much I love to paint. My rst ehibitionwas with the Fraser Valley Watercolour Society in 1991 andI won the Peoples Choice Award. That, of course, mademe very ecited about what I was doing. Four years later I

had my rst solo show at Tumbleweed Gallery in Penticton,BC.About 15 years ago, Lae completed a Fine Arts Degree

through the University of Victoria and started painting withoils and acrylics.

My husband and I recently moved to Penticton. My studiothere is a large, old galvanized steel shed in the bac yardof our property. It used to be a sheet metal worshop, andafter many days of scrubbing to remove soot and grease,and painting the walls, my husband and I converted theshed into two separate studios. We replaced the old woodfurnace with a gas one for winter heat.

NARAMATA BENCH, Acrylic on Canvas, 40 60


5/19Canadian Brushstroke Magazine Jan-Mar 2013 5Canadian Brushstroke Magazine Jan-Mar 2013 5

I love my studio space. It has high ceilings, large wood

plan oors that are full of character, and a large south-facing window. The walls are painted white to reect thenatural light. Its a bit of a jungle in there as I have lots ofplants to eep the air clean and bring the outdoors in. Theonly thing missing is running water, which I hope to add atsome point.

Laes large stand-up easel is at the north end of thestudio and overhead there are industrial full spectrumlights that she can raise or lower. The original wor-bench, made out of 2 12 wood plans, holds her

palette and paints.

I eep my palette set bac about eight feet from my easeso Im constantly waling bac and forth. This allows me tostand bac and loo at my wor each time I load my brush.The studio is a very comfortable space to wor in and Ienjoy going out there rst thing in the morning, often beforebreafast.

I love to paint outside and have a mobile summerstudio,a 1986 Westfalia van equipped with a portable ea-sel and paint supplies, so Im always prepared whenever Isee something I want to paint.

abovE: EVENING LIGHT, BURROWING OWL VINEYARDS, Acrylic on Canvas, 40 60bElow: VASEAUx LAkE, Acrylic on Canvas, 20 60


6/19


Lae says there is no set agenda as to whether she paintwith oils or acrylics, but it has more to do with time limita-tions. She loves the buttery quality of oil paint, and thefaster drying quality of acrylics.

She uses a variety of brands of paint. I lie to use kromaacrylics (made in Vancouver) straight from the tube,because they have a great consistency and dont need tobe mied with medium, although in the later stages of mypainting I mi them with Golden Etra Heavy Gel mediumto get the quality of brushwor I want. I also use Steven-sons acrylics I love their Phthalo Cerulean Blue. Forreds I prefer Golden paints. Their Cadmium Reds and

Alizarin Crimson have much more punch.My palette is quite simple: Titanium white, Cadmium Yel-

low Light and Medium, Cadmium Orange, Cadmium RedLight and Medium, Alizarin Crimson, Quinacridone Red,Dioazine Violet, Ultramarine Blue, Phthalo Blue, PhthaloCerulean and Phthalo Green. I prefer to mi my own blac,

miing different variations of Alizarin Crimson and PhthaloGreen, and yellow.

Lae uses the same palette of colors for oils, but usesmostly Gamblin brand oil paints.

I use bristle brushes to lay out my oil paintings when Imscrubbing on paint. For most of my painting, Opus Legatoat brushes and lberts are my standard brushes. I ndthey are great for creating ne lines and loading up withpaint. They hold their shape well for a long time and worwell with both oils and acrylics. For some of the larger can-vases, I use big house painting brushes.

She usually tones the white canvases rst with red, yellowor orange, thinned with medium to create a unifying under-painting. Then she does a small pencil setch to wor outthe value patterns and when the canvas is dry, she usesthat to roughly lay out her composition with a paintbrush,dividing the canvas into big shapes of color.

I lie to have fun and be loose at this stage of my wor.

VIEW TO RATTLESNAkE ISLAND, Acrylic on Canvas, 24 30


7/19


She builds up the layers gradually,always woring the whole of the can-vas. Once I am happy with where thepainting is going, I mi etra heavy gelmedium into my paint to create someteture. I wor on several canvasesat once, so I can put them aside toobserve them and mae necessary

adjustments.The artist says her style perhapsshould be called epressive repre-sentational. She says that as shematures as an artist, she is alwayspushing her levels of creativity andthat with the eperience of painting athousand miles of canvas comes thecondence to be bolder, painting morewhat she feels than what she sees.

I am putting more paint on my can-vas. There have been subtle changestoo, such as using more greyed colors

in my paintings to balance out the purecolor I love to use. I love to paint big,and am happiest when I can use mywhole body to move the brush. It feelslie dancing.

She says her love of the outdoorsand perhaps developing a greaterworld view has inuenced her worover the years and she now paintslarge sweeping landscapes as well asmore intimate ones. I really want tobring the joy of life into my wor andgive the viewer a glimpse of how I see

the world.Lae too a worshop with a Mie

Svob years ago and she says he wasthe greatest inspiration. He gave methe condence to be bold with color inmy paintings. As long as your rangeof value wors in the composition, youare free to use whatever color youdesire. Im also inuenced by Rus-

sian Impressionist Sergei Bongart andSpanish artist Joaquin Sorolla.

Lae says that her advice to anyonewanting to pursue a career in paintingwould be to nd an artist whose woryou love and spend time painting withthem every day if you can, and whenyou reach the level where you are theprofessional, mentor a young artist.It not only helps them, but eeps youlearning as well. I still paint with a young

woman who Ive painted with for over 10years and we both get a lot out of it.

People often as Lae why shedoesnt maret her own art and maemore money. I want to spend mytime painting, not selling, and mygalleries wor hard for me selling mypaintings, so I am happy to pay theircommission.

To view more of the artists wor,please go to www.robynlae.com.

ROBYN LAkEs wor can currently be found inHambleton Gallery, kelowna, BC; The Lloyd Gallery,Penticton, BC; and Gibsons Fine Art, Calgary, AB.

LAkE MCARTHUR MORNING, Oil on Linen, 30 30
http://www.robynlake.com/http://www.robynlake.com/


8/19


An art club founded almost 130 years ago is holdingan event in June that has been held every springfor almost 100 years.The Womens Art Association of Canada (WAAC) will

hold its garden party themed Ol! Summer in EspaniaJune 19th in the bac garden of the 1874 historic housethat is a hub for arts and cultural activities in the Yorville

area of Toronto.The WAAC formal sculpture garden has been photo-

graphed and will be on display at the Canada Bloomsshow in Toronto as it received a $50,000 grant to remaethe garden, from a former president Lorrie Dunnington-Grubb, co-founder of Sheridan Nurseries.A long history of prominent Canadian men and women

artists is connected with the WAAC Emily Carr stayedthere while visiting Toronto and held a one-person ehibi-tion there in 1935. Four members of the Group of Seven(Lawren Harris, JEH MacDonald, AJ Casson and AYJacson) were honorary members, taught and ehibitedthere and as well as Bertram Brooer, Canadas rst ab-

stract artist. Sculptress Frances Loring was a president.The building has 10 private studios rented by female

artists. The 126 year old archives are frequently used byvisiting historians and graduate students.

The WAAC, the countrys longest standing arts orga-nization for women, was founded in 1886 rst as theWomens Art Club by Canadian artist Mary Ella Dig-nam(1857-1938) who served as president for 30 yearsand who built the WAAC into an organization of 12branches across Canada and one thousand members; today the branches that still operate are the Toronto,Hamilton and the Peterborough branch.

Historic art club celebratescentury-old annual event in June

In 1907 the association was incorporated by Bill 30passed in the House of Commons, Ottawa incorporat-ing it as the Womens Art Association of Canada with amandate to create a general interest in art and encour-agement in womens wor in the arts and the encour-agement and development of art handicrafts.

The WAAC has been under the patronage of the wife of

the Governor General since Lady Aberdeen became itsrst patron in 1887.

It became a federally incorporated organization in1924 and received charitable (non-prot) status in 1967.Membership for the association, but potential membersrequire two sponsors. There are currently 187 members.Nowadays the association has female and male mem-bers. The men are eligible for all events and privileges ofmembership. They support the associations mandateto support the arts and also women in the arts. Althoughmen and women can be members, the 127-yr.-old his-torical name remains.

The WAAC awards 13 scholarships of $1500 each an-

nually to students at si post-secondary schools: Univer-sity of Toronto Faculty of Music; National Ballet School;Ontario College of Art and Design; The Royal Conserva-tory of Music; Sheridan College ; and the George BrownTheatre School. Former scholarship winners includekaren kain, Fran Augustyn and Measha Brueggergos-man.

Scholarship funds are raised through bi-monthly lun-cheon lectures, art ehibitions, and special fund-raisingevents such as the annual Garden Party.

Find out more about the Womens Art Association ofCanada at www.womensartofcanada.ca.
http://www.womensartofcanada.ca/http://www.womensartofcanada.ca/


9/19


Still Life/Floral

CALLFOR

ENTRIES

CALLFOR

ENTRIES

Still Life/Floral

Competition No. 18Subject Still Life/Floral

Medium Two dimensional drawing

or painting medium

Entry Fee $20 each * (You can enter as many works as you would like)

Entry Deadline Aug. 30, 2013

*Winners and nalists will be featuredin the Sept/Oct 2013 issue of

Canadian Brushstroke Magazine

RULES - HOW TO ENTERDIGITAL FILES ONLYEnter with high res digital le only -on CD only. Do not send digitalimages via email to our ofces - theywill be automatically disqualied. Youmust print off the entry form on nextpage, complete it, and send it alongwith your CD and method of payment.If you have more entries thanthe space allotted, please printanother form and ll it out completely.

All CDs must be labeled with theartists name, the number of entrieson the CD, each of their titles andthis issues Competition Number. Allles on the CD must be labeled asfollows: lastname/rstname/Entry No.Example: John Smiths Entry No. 2would be labeled smithjohn2.ELIGIBILITYThis competition is open to any artistwith residency in Canada. All work

must be original, not copied from anyother artists work, photographerswork or published work of any kind,and must have been completed inthe last two years. The work can nothave won previous awards or anydistinction of any kind. No works createdunder supervision are eligible.We reserve the right to refuse anyentry, or ask for source material atour discretion.

We want to show off

Canadas artists,

and our competitions

help us do that!

Be sure to enter your

artwork in our

competitions

not only do you have a

chance to

WIN

$1000

CDNplus an award certicate,

but we also get achance to see your work

and we just may

feature YOU

in an upcoming issue of

Canadian Brushstroke

Magazine.


10/19


I enclose my cheque or money order for the total fee of $20Canadian PER ENTRY

OR, please charge the total sum to my VISA: _____________________________________

EXPIRY DATE:_______________________Signature________________________________

RULES - HOW TO ENTER (contd)ENTRY FEE/DEADLINEThe DEADLINE for CanadianBrushstroke Magazine to RECEIVEentries is AUG 30/13. You cannotcourier material to our box number, sobe sure to send it in plenty of time(Address is on submission formbelow). The fee per entry is $20 CDN,which can be paid by VISA, cheque ormoney order. The fee MUST be includedwith the CD and entry form submission.The entry fee is not refundable.COMPETITION JUDGESThe competition entries will be chosen

by Canadian Brushstroke Magazine,and/or qualied judges of our choosing.PERMISSION TO PUBLISHSigning and submission of the entryform, digital les and payment willconstitute permission for CanadianBrushstroke Magazine to publishyour artwork(s), your name and informa-tion in our magazine, which isreleased on the internet, and copiesarchived on our website on the internetfor as long as the publisherwishes to keep the archived editionson the site. Submission of the entry

also constitutes the entrants acceptanceof all competition rules. Thewinner and nalists will be notied bye-mail, and their work will be publishedin the specied edition of the magazine.The judges decisions are nal.Grand Prize winners may not enter thecompetition for a full two years afterwinning. Finalists may re-enter.Canadian Brushstroke Magazinedoes not accept any liability forcolor variations that may occur as aresult of different computer screens.The artists will be properly credited.

EN

T

R

Y

F

OR

M

Entry 1 Entry 2 Entry 3

Title:

Medium:

Size: (HxW)

Title:

Medium:

Size: (HxW)

Title:

Medium:

Size: (HxW)

I solemnly declare that all the works listed on this entryform are my own original artworks and I own the copyrightto the work and to all source material used in creating thisartwork. I understand the entry, including the form and CD,will not be returned, and I understand the entry fee is non-refundable. I have thoroughly read and agree to all competitionrules, and I understand I am granting the rights to

publish my name, the artworks listed and information in anupcoming issue of Canadian Brushstroke Magazine andthat the issue will be archived for an undetermined amountof time on Canadian Brushstroke Magazines website:www.brushstrokemagazine.com.**If you wish to receive conrmation that we have receivedyour entry, enclose a self-addressed STAMPED postcard.

Please mail this form and the properly labeled CD (see Rules - How to Enter) with properly labeled les to:Canadian Brushstroke Magazine, Box 3449, Leduc, AB, T9E 6M2

Name (PRINT CLEARLY) Phone Number (include area code)

Street Address Email

City/Province

Postal Code

SIGNATURE

*Please BE SURE to include a paragraph about yourself AND another abouteach painting for us to use in the event we publish your painting(s).

Website


11/19


wEst

A good sketch is the key to a better painting,

recommends Hlne Girard, of Gatineau, QC.

Aviation artist Hlne Girard, of Gatineau, QC, saysshe is inspired to paint by the beauty of our Cana-dian north, where she resided (in the NorthWestTerritories) for more than 20 years.

From my rst brushstroe in 1995, I have developed adistinctive style to fulll my dream of bringing images ofthe amazing landscapes we nd in the north. Aviation ismy passion. I am very fortunate to have had over 90 com-missioned wors to do in the past few years. From privatepilots and small companies to bigger corporations.

Girard paints in her home. I wish someday to have a stu-dio but for the meantime I am quite content with woring onmy big easel and setting up all my painting material on theitchen table. I have, over the years, produced some greatpaintings with restricted painting area and nd that it is nota problem to have no proper set up.

Quebec painter

fnds passion

in aviationand acrylics

CHANGE OF CREW, Acrylic on Canvas, 18 24


12/19


When I visit family for a long period I often bring mypainting material and am able to wor pretty much any-where they let me set up. All I need is a table, my easeland some good lighting.

She paints in acrylic on stretched canvas, to which sheapplies a few coats of gesso to smooth it out. I want tobring what is reality in light, color, and form. Capture the

moment, what it is, what it loos lie. I pretty much alwayspainted the same way but my style has developed overthe years. My palette and the way I display light haschanged and for the better. I will continue to learn fromone painting to another for the rest of my life. As we growolder, we see and interpret things differently and so itmust reect on the art wor.

Girard believes in less is morewhen it comes to her colors My palettehas gone smaller and smaller over theyears and in the same time, my paint-ings have become more and morecolorful. I attribute this phenomena to

eperience in miing the right colorsand nowing how they behave to-gether.

Ultramarine Blue, Phthalo Blue, BurnSienna, Yellow Ochre, a couple of dif-ferent inds of magenta and TitaniumWhite are on her usual palette. Oc-casionally she uses a specic red shemight need, or Cadmium Yellow. I alsolie to use Prussian Blue when I needa change - Stevenson and Liquite orwhat ever brand is available - no realpreference.

abovE:LES BLEUS DE L'ARCTIQUE, Acrylic on Canvas 14 36''bElow: NORTHERN LIGHTS, Acrylic on Canvas 24 36


13/19


HLNE GIRARDs wor has won awards. She has had many solo andgroup shows, and has been featured in magazines and on television.

Girard does not spend bigmoney on epensive brushes.I believe in a few ats androunds, big and small that arenot too epensive and will lastme a few paintings. I will thenhave them for other uses andtechniques. For details my alltime favorite is a liner or script

liner, which holds a lot of paintand is perfect for lines and smalldetails.

Depending on the subjectmatter, Girard usually doesa detailed setch of the maincharacter, or focal point ofthe painting. To represent anairplane eactly the way it is,I need the setch to be veryprecise. The landscape will bedone roughly to give an idea ofthe composition.

This is something that Girardrecommends very highly. Agood setch or ideas of whereyour elements will t is pri-mordial before the rst brush-stroe. There is less trouble tobe encountered if you now inadvance where you are go-ing - planning colors, shapes,perspective ... the composition.

To view more of Girards avia-tion and other wors, pleasevisit www.arthelenegirard.com.

top RiGht: LITTLE DRLAkE, Acrylic on Canvas,20 30''lowER: RFLECTIONDUNE SAISON, Acrylic onCanvas, 30 40
http://www.arthelenegirard.com/http://www.arthelenegirard.com/


14/19


classifedsclassifeds

FALLEN HEROESSign up for the Project Heroes news-

letter - get updates on the progress of

the upcoming exhibition of the portraitsof fallen Canadian soldiers. (See ad on

Page 3). Email your nameand info, in-

cluding email address, to info@projec-

theroes.ca. Web: www.projectheroes.ca.

ARTIST PROJECTS

TO BOOK yOuR CLASSIFIEd...

To boo your classied ad, send your adinformation to:[email protected].

Categories can include but are not lim-ited to: Artist Projects, Artist Studios, ArtSupplies, Call for Entries, Gallery List-ing, Gallery Shows, Mareting/PromotionServices, Worshops/Retreats, For Sale,Wanted, etc.

Classieds are $25 for 25 words and .25for each additional word. To include animage will be $25 etra. You will be con-tacted to conrm and to arrange payment.

MARKETING/PROMOTION

ART WEBSITESHave a professional art website set up

for you and save money. No monthlypayments. Easily change photos and

information yourself. Visit www.artists-

websites.net for details.

AGARoll up your sleeves and explore art-mak-

ing with fun drop-in classes at the AGA.

http://www.youraga.ca/education/adults/

open-studio-adult-drop-in-workshops.

WORKSHOPS/RETREATS

PAINT IN FRANCEPainting at Le Vieux Couvent in SW

France. All-inclusive workshops with

recognized teachers, daily plein air

excursions, dedicated studio, fabulous

dining. Join us and create a memory

in watercolour, mixed media, pastel and

Yupo, at www.levieuxcouvent.com.

[email protected]

societyofcanadianartists.com

Follow in the footsteps of master painters

by painting at some of the most beauti-

ful mountain lakes in Canada - Lake

O'Hara, Moraine Lake and Bow Lake.

Small group, lots of instruction. July

19-22 or July 22-25, 2013. See www.

jerrymarkham.com/summer-plein-air-

workshop.html

PAINT IN ROCKIES
http://../Library/Caches/Adobe%20InDesign/Version%206.0/en_US/InDesign%20ClipboardScrap.pdfhttp://../Library/Caches/Adobe%20InDesign/Version%206.0/en_US/InDesign%20ClipboardScrap.pdfhttp://../Library/Caches/Adobe%20InDesign/Version%206.0/en_US/InDesign%20ClipboardScrap.pdfhttp://../Library/Caches/Adobe%20InDesign/Version%206.0/en_US/InDesign%20ClipboardScrap.pdfhttp://../Library/Caches/Adobe%20InDesign/Version%206.0/en_US/InDesign%20ClipboardScrap.pdfhttp://[email protected]/http://[email protected]/http://../Library/Caches/Adobe%20InDesign/Version%206.0/en_US/InDesign%20ClipboardScrap.pdfhttp://../Library/Caches/Adobe%20InDesign/Version%206.0/en_US/InDesign%20ClipboardScrap.pdfmailto:deltaart%40telusplanet.net%20?subject=Contact%20from%20Canadian%20Brushstroke%20Magazinehttp://www.deltaart.ca/http://societyofcanadianartists.com/http://www.jerrymarkham.com/summer-plein-air-workshop.htmlhttp://www.jerrymarkham.com/summer-plein-air-workshop.htmlhttp://www.jerrymarkham.com/summer-plein-air-workshop.htmlhttp://www.jerrymarkham.com/summer-plein-air-workshop.htmlhttp://www.jerrymarkham.com/summer-plein-air-workshop.htmlhttp://www.jerrymarkham.com/summer-plein-air-workshop.htmlhttp://www.jerrymarkham.com/summer-plein-air-workshop.htmlhttp://societyofcanadianartists.com/http://www.deltaart.ca/mailto:deltaart%40telusplanet.net%20?subject=Contact%20from%20Canadian%20Brushstroke%20Magazinehttp://../Library/Caches/Adobe%20InDesign/Version%206.0/en_US/InDesign%20ClipboardScrap.pdfhttp://../Library/Caches/Adobe%20InDesign/Version%206.0/en_US/InDesign%20ClipboardScrap.pdfhttp://../Library/Caches/Adobe%20InDesign/Version%206.0/en_US/InDesign%20ClipboardScrap.pdfhttp://[email protected]/http://../Library/Caches/Adobe%20InDesign/Version%206.0/en_US/InDesign%20ClipboardScrap.pdfhttp://../Library/Caches/Adobe%20InDesign/Version%206.0/en_US/InDesign%20ClipboardScrap.pdfhttp://../Library/Caches/Adobe%20InDesign/Version%206.0/en_US/InDesign%20ClipboardScrap.pdf


15/19


plEnty oF tREad, CARD VERSE: Yepeven after all those miles youve still got plenty otread left on you!

Susan Abma

We offer a wide variety of artwork from original works by well-known artists to

limited edition prints, giclees and poster prints.

Our customers are provided with a selection for all tastes and budgets for seasoned and new collectors.

BLACk GOLD GALLERY & FRAME4724 - 50th Ave

Leduc, AB

www.blacgoldgallery.com

780.986.6393

blacgoldgallery
http://www.blackgoldgallery.com/http://www.blackgoldgallery.com/


16/19


maRkham on maRkEtinG

hg a Effee c a

Every website, newsletter and mareting piece shouldhave a call to action.

what is a call to action?

A Call To Action prompts the user to tae an immediateaction what you want them to do after reading/viewingyour content.

a FEw ExamplEs oF a call to action:

Contact you by phone or ll out an email form Purchase with a Buy Now button or to inquire aboutan art piece

Subscribe to your newsletter Follow you on Faceboo, Twitter, or other socialmedia

Share your photo, web page, newsletter, post with afriend

Provide feedbac Enter a contest or promotion Donate etc.

why is it impoRtant?

Having a call to action provides direction to users, and it isa way for you to measure the success of your website andmareting methods.

If you dont provide a call to action, people may not thinof taing an action or they may consider doing somethingabout it later and then forget about it altogether.

how to cREatE an EFFEctivE call to action

1. Create Interest. First they will need to decide they wantwhat you are offering. To create that need/want, utilizethings lie quality images in your website, and tell a storyof your wor to create a connection between what you aredoing and the people visiting your site.

2. Communicate the benets what the user will get if theytae an action. For eample, By signing up for my newslet-

ter you will be the rst to hear about new artwor releasedand receive eclusive content. Or you may want to offeretra incentive such as a free gift, entry into a draw, orsomething lie that.

3. Provide a specic action for each page/item. Each pagshould direct the user whether it be to point them to an

other page in your website, contact you, or another actionMany people dont include lins or calls to action withintheir content because they thin people will go bac up tothe main menu to nd the net thing. Wrong. Most oftenpeople will leave a website if they arent encouraged witha net step, so provide actions that lead people towardsyour ultimate goal.

4. Use a variety of calls to action. You dont need to havethe same action on each page. Instead, choose the actiothat maes sense for that page and the type of content.Try different ones to see what wors the best for you.

5. Have distinct actions that mae sense. For eample,on pages where you show your artwor it maes senseto have a buy now button or a lin contact you to inquireabout an item, as well as a Share button so they can tetheir friends about your wor.

6. Dont offer too many calls to action. It will confuse oroverwhelm people, which may lead to no action. What isthe main action you want users to tae?

7. Be clear about what you would lie people to do. Usingclear action words helps this (contact, buy, subscribe, sigup, follow, share, etc).

8. Place it where it will be seen. This includes eepingclutter around it at bay so it stands out, and using a different color and shape (ie button or image rather than tetso its noticeable and draws attention.

9. Mae it simple, short and easy If you as for too mucinformation or have too many steps to reach the end goapeople will leave.

10. Need to add a sense of urgency? You could include aend date, or a special offer for the rst number of peoplto tae the action, etc.

11. Whatever you tell people mae sure you follow

through with that promise. If people thin they are tainga certain action and it taes them somewhere else or thedont receive what they were promised, they will leavefrustrated or angry. You want happy customers.

Leah Marham is a writer, mareter, and helpsmanage her husbands art career. She providesmareting and business services for artiststhrough www.artistswebsites.net and also hasa blog at www.anartistslife.net where she writesabout their artistic journeys in the hopes of

encouraging and inspiring others to live theirpurpose.


17/19


Susan Abma

We offer a wide variety of artwork from original works by well-known artists to

limited edition prints, giclees and poster prints.

Our customers are provided with a selection for all tastes and budgets for seasoned and new collectors.

BLACk GOLD GALLERY & FRAME4724 - 50th Ave

Leduc, AB

www.blacgoldgallery.com

780.986.6393

blacgoldgallery
http://www.blackgoldgallery.com/http://www.blackgoldgallery.com/


18/19

Jasper

Artists

Guild

Moving

Jasper Artists Guild(JAG) is on themove after 10successful years in theRocy Mountain townsheritage re hall. Until

Thansgiving, the Jasper,AB, artist co-operativegallery will be in tempo-rary quarters in the ClocTower Mall on Jaspersmain street.

JAGs old ehibitionspace was nown as theBrush Fire Gallery, the

18 Canadian Brushstroe Magazine Jan-Mar 2013

name inspired by its location. Last year, the municipality ofJasper ased JAG to move from the much-loved but draftyre hall building on Patricia Street because of its deteriorat-ing condition.

Plans were that the gallery, renaming itself Jasper ArtGallery, would move into the new Jasper Cultural Centre byMay 1, 2013.

Construction difculties have delayed completion of thecentre at least until October, which coincides with theend of the season for JAG. A temporary space has beenleased and will be transformed by JAG volunteer labor.

JAGs membership of around 40 artists grows year byyear through a juried selection process. The artists describethemselves as both emerging and professional. Associatemembers also help support the guild through volunteeringand membership fees.

Spearheading the formation of JAG was art teacher Mi-

chael Flisa. In March 2001 during a painting worshop inthe basement of a local home he convinced his si studentsto donate $25 each to cover the costs of founding a society.Jasper Artists Guild was born and a mission statement andgoals were written.

At rst JAG rented studio space in building 54 of the StanWright Industrial Par, but recovering the cost from interest-ed artists proved too difcult, so the idea was abandoned,recalls founding member Claude Boococ.

For the rst two years, members referred fondly to thesociety as the Janitorial Artists Guild, as many vacant localvenues were repaired and scrubbed to hold various ehibits.

After sharing space with the Jasper-Yellowhead Museumin 2002, JAG ased the Municipality of Jasper to allow theold re hall to be used as an art gallery.

Granted a temporary lease in 2003, JAG members cre-

ated the Brush Fire Gallery in the 80-year-old building,installing lighting, display tures and hanging panels toshowcase the talents of members.

The old building was drafty, leay and prone to birds andbees ying through the open bay doors. But its prime loca-tion and funy loos attracted many tourists and locals andoften the building housed/hosted special attractions andmusical evenings.

Volunteerism has been the ey to JAGs success over theyears. JAG-ers are eecutive members, curators, galleryattendants, signage and web designers, mareting agents,maintenance and janitorial personnel, worshop and seriesco-coordinators, event planners, grant and proposal writers

nance and personnel managers.In 2006, JAG won a Mayors Award for its important role

in promoting culture in Jasper, and a pee through JAGscomment boos gives a great perspective on what peoplehave been saying about the organization. This gallery iswhat we loo for when we visit a town. Well done. Greatspot. Good to see the local artists wor, wrote Carol andGord of Toronto.

JAG hopes to once again host gala openings showcasingart, live music, drama and culinary events when the newpremises are occupied.

Written by Paul Alex Bennet

PAINTING BY JACQUES MARTEL


19/19
http://www.artistswebsites.net/

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