58 August-September 2019 / http://www.outdoorpainter.com
Marinosaysshedoesnottakemanyworkshops,andinsteadusespast
mastersas hereducation.“I lookforwardtogoingtomuseumsandlooking
at stacksof workbytheImpressionists,”shesays.“Thebigauctionhouses
area greatresource,too;I cangeta close-upviewof paintingsandseehow
theartistsputpaintonthecanvas,howtheyopticallymixedcolor.Theyare
myteachers.”
Marinodoesn’tmerelyapplycolorssidebysidewhenbuildingupa
painting,however.Sheemploysseveraltechniques,andherchoiceof pastels
allowsthatvariety.IntandemwithTerryLudwigpastels,whicharerelatively
creamy textured pastels, she uses Diane Townsend Terrages pastels, which have
groundpumicemixedwiththepigment,makingthemgritty.Thesepastels
createmoretoothonthesurfaceevenas theyaddcolor.Shemixesin Sennelier
pastelsalongwiththesethroughouttheprocess,addingfinishingtouches with
themuchharderHenriRochepastels. “It’s like weaving,” she says.FINDINGINSPIRATION
TwothemesthatcontinuallypopupinMarino’sworkarecoastaland
marine scenes. The atmosphere is fairly thick and humid in Maryland,(CLOCKWISEFROMTOP)SanFelipedeNeriFundada, 2017,pastel,
9 x 12in.,privatecollection,pleinair• SummerEveningonSpaCreek
—Annapolis, 2018,pastel, 12 x 24in.,privatecollection,plein air•Dock
Mates, 2018, pastel, 18 x 24 in., private collection, studio