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by Sue Kuuskmae
If anyone is contemplating a trip to Turkey, and would like to see our write up and pictures, they can take a look at our group web site. The address is: www.walkersandtalkers.com
This trip was done through Grand Circle Overseas Adventure Travel, and we had a great time. If any of you take a trip on Grand Circle, you should give them my name when you sign up; and you will get a reduction in price on your trip.
by Sue Kuuskmae
There will be an art show/sale at Villa del Sol d’Oro in Sierra Madre on Saturday, November 29, 2008, from 12:00 to 6:00. This beautiful Italian-style estate located at 200 N. Michillinda Avenue is rarely open to the public, so come on out to see both the art work and the house. This charity art show is sponsored by ARA Project and will benefit impoverished children in Armenia.
BAGSC members Cristina Baltayian and Suzanne Kuuskmae will be among the exhibitors.
I attended the ASBA Juror training session at the conference in Pasadena and wanted to share the information I obtained with the members of BAGSC. This article presents an overview of the main points presented in the training session.
The Jurors
Artwork submitted for ASBA exhibits is juried by juror teams. The teams are chosen by the exhibition organizer in consultation with personnel at the venue and other members of the Exhibitions Committee. The jurors for each team are chosen based on their stature in their respective fields, so that their decisions engender respect. The ASBA recommends a team of three jurors, including one botanical artist (chosen for their fluency in the art and science of botanical art), one plant scientist or horticulturalist (chosen for their ability to judge the botanical accuracy of a variety of plants), and one person involved in the arts, either as a curator, gallery owner, or arts academic (chosen to bring a dispassionate voice to the judgment of the artistic merit of each piece). When choosing the team consideration is given to how they will work together and the exhibition criteria laid out in the call for entries.
The Process
Prior to meeting, each juror familiarizes themselves with the focus of the exhibition, the size of the space at the venue, artwork size requirements, maximum number of works allowed, etc. as set forth in the call for entries.
Ideally the jurors meet at the venue, which allows the jurors to see the space prior to jurying the exhibition. The ASBA strongly encourages that the jury team meet together so decisions regarding final cuts can be discussed. Usually the exhibition organizer or Exhibition Coordinator receives the digital entries, assembles and records them, and provides them to the jury team ready to view on their computers. At present, the ASBA only accepts digital file entries, which increases the ease in handling, preparation, viewing and examination of the artworks. The Exhibition Organizer’s list includes the artists’ names, artwork titles, sizes, and media for each artwork. The digital images of the artwork provided to the jury team are numbered and artist’s names are removed from the jurors’ digital copies of the artwork. The Exhibition Organizer also makes a preliminary cut of artworks not conforming to show criteria (for example, works that are too large or too small, or the subject matter or media are excluded from the criteria for the exhibit). Works that are clearly outside the show criteria are removed before presentation of the entries to the jurors.
The jurors preview all the entries without scoring them in order to get a sense of all submissions. The jurors then individually evaluate and score each of the entries.
Each juror in the jury team is provided with a tally form that includes the artwork number, title, size, medium and a space for their point score and comments. The jurors assign a score between 1 and 5 for each of the artworks. The scores of each of the jurors are then added together and the artworks for the exhibit are chosen from the highest scorers to fill the spaces available for the exhibit. If there are ties that result in more artworks than spaces available, the venue may be consulted to determine whether additional works can be included. If additional space is not available, the jurors reconsider the tied works and eliminate works until the required number of artworks is achieved. At this stage, jurors may also consider subject matter or overall appearance of the show.
Once all the original artwork that won a place in the exhibition has been received on-site, an additional jurying takes place to verify that the quality of the original is equivalent to the standard seen in the submission, and that presentation requirements are met. If artworks are received that do not conform to presentation requirements (for example the frame is unacceptable), the artist can choose to remove the work from the exhibition, or allow the ASBA to bring the artwork into conformance with their requirements (i.e. reframe), at the artist’s expense. (See “The Botanical Artist” Vol. 13 Issue 4, December 2007, Page 18 for a detailed discussion of the ASBA framing requirements)
The Criteria
All artwork in ASBA exhibitions must be executed by hand in traditional media. Photographic or computer-generated artwork is not accepted. All artwork submitted for ASBA exhibitions is judged on three major criteria. These are:
Scientific Accuracy. Are all the visible plant’s parts shown clearly and accurately? Are all aspects of the plant shown in correct proportion to one another and in correct perspective? Is the artwork structurally correct?
Aesthetic quality. Is the artwork’s composition aesthetically pleasing? Is the three-dimensionality of the plant believably conveyed? If in color, are the colors accurate and lifelike? Do all the elements of the artwork conform to the same high standard?
Artistic proficiency. Has the artist demonstrated a superior control of and comfort with their medium? Has the whole of the work been executed a high standard of practical application of techniques? If in paint, has the artist shown expertise in handling the paint or is the paint blotchy? If in ink, are there blotches or is there shakiness in the lines? Are the techniques well mastered? If in pencil, is there adequate contrast between light and dark, and is refinement shown? If lettering is included, is it proficiently done? When judging artwork, the quality of the artwork is the overriding consideration for selection.
As a special note it was pointed out that many works are rejected as a result of lettering on the artwork that is of poor quality, detracts from the artwork, is cramped to make fit in the space available etc. It is strongly suggested that if in doubt about adding letter to your artwork, it is better to leave it out! This can also include signing the work.
Janice Sharp
August 1 - 3, 2008
Renaissance Hotel
Seattle, WA
By Suzanne Kuuskmae
The evening before classes began the Hospitality Room was a gathering spot for picking up art supplies donated by several vendors as well as an impromtu demonstration by Ester Roi of her Icarus Drawing Board which features two working zones: a warm zone and a cool zone. You can learn more about this technique at: www.icarusart.net or by calling Ester at (949) 481-4010.
I had signed up for both classes and the first one was with Carlynne Hershberger entitled, “The Unconventional Portrait. We first created a colored background using colored pencils and mineral spirits. All of this was totally new to me because as a botanical artist, I am always working on a white background and the only portrait I am doing is an exact portrayal of plants and flowers. I did a portrait of my granddaughter complete with various symbols of activities that are very important to her at her age of 11. I finished it at home and am happy with the result. Also, I prepared several other sheets of paper with various colors in the background and am working on a huge hydrangea flower; quite a bit off track from my usual work but most rewarding.
The second class was with John Smolko entitled, “The Scribble – Colored Pencils and the Expressive Line.” In this class we did a very large letter imposed on a circular background of scribbled colors going from light in the center to darker tones toward the outside. After laying down the various fields, then one mixes in the adjacent color to make for a smooth transition. In the afternoon we were free to use the scribble line technique on a painting of our choice. My painting was one of water lilies, which I am working on to finish at home. This is a technique I think would be helpful to work further with as it encourages the artist to add lots of colors, which allows for a most pleasing effect. I know that John has recently retired from teaching and would love to come to Los Angeles to give a week long class. Maybe that will be my project for 2009, planning a class with John Smolko.
The hotel was quite comfortable and the delicious luncheons supplied on the days of the classes was salads and sandwich fixings. The dining room, which was at the top of the hotel, gave us a fantastic view of the surrounding area while we enjoyed eating and talking with our fellow artists. Seattle certainly has quite a bit to offer, and my husband and I did a harbor tour, went to the top of the Space Needle, visited Pike Market, and had an interesting dinner down at Pioneer Square. I cannot report on the banquet because I was not able to attend due to a prior commitment with friends who live outside Seattle.
The art exhibition was spectacular where it was hung at the World Trade Center. The art work displayed showed a good cross section of subjects and did justice to the talented members of CPSA. The convention was a rewarding experience!
Jenny Phillips in the Getty Garden
This past June, July, and August, BAGSC participated in a variety of educational outreach programs held in conjunction with the Maria Sibylla Merian exhibit, titled “Maria Sibylla Merian & Daughters, Women of Art and Science” at the J. Paul Getty Museum, featuring activities that introduced the public to botanical art, entomology, botany, natural history, and Suriname.
Tania Norris was instrumental in bringing Jenny Phillips to the Getty to explore flower and insect drawings by Merian and her daughters in a Getty “Point of View” lecture. Jenny also demonstrated and lectured in an “Artist at Work” presentation, celebrating the beginning of summer with a one-day demonstration about the art and practice of botanical painting.
Tania provided the voice over for the GettyGuide Audio Tour of the exhibit, as well as the voice-over for the slide show on the web site at www.getty.edu.
Tania was also instrumental in connecting BAGSC with the Getty. BAGSC’s participation began in June when Deborah Shaw and Tania Marien introduced Getty Gallery Teachers to the techniques of botanical illustration and to plant morphology. They also taught a two-week course in June (repeated in July) to the public, designed to introduce participants to botanical illustration, and to provide an experience similar to what Merian must have experienced upon traveling to Suriname and observing unfamiliar plants. The Getty arranged for this class to be taught in conjunction with The Huntington Library, Art Collections, and Botanical Gardens. Jim Folsom, director of the botanical gardens at the Huntington Library, lead tours of the Huntington’s conservatory and greenhouses and introduced participants to how plants work.
Veronica at the BAGSC Family Festival table
BAGSC members participated in two Getty Family Festivals, where they conducted botanical art demonstrations in the Getty’s Central Garden and lead a host of children’s activities. Both festivals were well-attended. Children who visited the BAGSC area had the option of coloring engravings created by Merian, creating a natural history illustration with leaf rubbings, stamping fruits and vegetables with tempera paint to create their own “paintings”, and drawing plants and insects freehand. At other Family Festival venues, children of all ages could make a hat out of ti leaves, assemble floral brooches, create their own butterflies, create picture frames, stamp and mail postcards, and listen to the music of Suriname.
During the entire month of July, BAGSC members demonstrated botanical drawing and painting twice each week in the Getty’s Central Garden.
BAGSC member Kathy Dunham also taught classes at the Getty. Kathy led the Getty’s Drawing Hour and demonstrated how to create a nature journal during three early-evening classes in July and August.
Sally Markel with Deb in the Getty Garden
And, in a true “Small World” moment, Sally Markel ran into Deborah Shaw during one of the botanical art demonstrations. Sally happened to be out visiting friends in Southern California, and came across BAGSC members doing the Getty “Artist at Work” demonstrations. Sally generously donated her pineapple illustration for use on the ASBA Annual Meeting & Conference web site registration.
The exhibition is open at the Getty until the end of August. Information about the exhibition (and Tania’s voice over) can be found on the Getty web site. Once the exhibition is over, information can be found in the Getty web site archives. The exhibition catalog and other books about Maria Sibylla Merian can be found online in the Getty bookstore.
More photos will be published to the blog soon. Stay tuned!
Arillyn Moran-Lawrence’s Hibiscus arnottianus, an endangered Hawaiian Hibiscus, will be in the Wildling Museum’s juried exhibition and competition. Titled “Endangered Species: Flora and Fauna in Peril” will open June 22, 2008 at the Los Olivos site. The show will remain at the Wildling Museum until September 14th. Then the painting, drawings and sculpture will be sent to the Department of the Interior, Washington,DC.
Their exhibition will open November 1, 2008 and close on February 28, 2009. The tour continues on to Denver and the Wildlife Experience Museum. That exhibition opens May 9, and closes July 12, 2009.
Prizes will be announced at the Wildling Museum on June 22, 2008. First Prize is $10,000, Second Prize is $5,000 and Third Prize is $2000.
Gilly Shaeffer has a show entitled “Contemporary Botanical Watercolors” at the Carriage House Gallery (next to the Boddy House) at the Descanso Gardens from April 4 to May 1, 2008. The Gallery is open from 10:00 a.m. to 3:30 p.m. daily.
Descanso Gardens is located at 1418 Descanso Drive, La Canada, California 91011. The Gallery telephone is 818.949.0125.
”Seductive Strands”, Watercolor , Ophiopogon planiscapus, Black Mondo Grass
Arillyn Moran-Lawrence’s painting “Seductive Strands” is in the Catharine Lorillard Wolfe Art Club, Members’ Exhibition in the Broome Street Gallery, New York City. “Seductive Strands” is a watercolor botanical painting of Ophiopogon planiscapus, commonly known as Black Mondo Grass. The painting received a second place award in watercolor. This is a Members’ Exhibition that covers all genres, and not a botanical show. The show runs from March 24th to April 13, 2008. The Broome Street Gallery is located at 498 Broome Street, New York City, New York.
Sally Jacobs, posted by DB Shaw
Sally Jacobs, a member of BAGSC for many years and a former officer, is having a show of her new work at the TAG Gallery, February 27-March 22, 2008. The opening reception is Saturday, March 8, 5-8 pm. The address of TAG is 2903 Santa Monica Blvd (at Yale), in Santa Monica. 310-829-9556. She’d love to see you there.
She’ll also be giving an “Artist’s Talk” on March 19 at 7pm. The normal gallery hours are Wed-Sat, 11 am - 5 pm. Questions? Email Sally.
Here’s Kathy Dunham applying some last minute touches to her painting of Matilija Poppies. Her painting was selected as the poster image for the Southwest Arts Festival held in January at the Polo Grounds in Indio, California. The festival is a show place for 260 artists from around the country. This was one of the few watercolors ever selected and fewer yet botanical pieces used for the poster.
By Julie Schneider Ljubenkov (posted by D. Shaw)
A note to BAGSC members from the BAGSC Executive Board: Julie has the same email address, phone number and post office address as is listed in the roster. BAGSC is contributing a gift certificate to Target so that Julie and her husband can get things they need. If anyone would like to add to the gift certificate fund, please send checks made out to “The Botanical Artists Guild of Southern California” or “BAGSC” to Deborah Shaw, Treasurer. Please put a reference on the check to Julie and/or the fire. We will also be taking up a collection of art supplies for Julie at the January 19th BAGSC meeting. If you have any extra supplies please bring them to the meeting. Our thoughts and support are with Julie, her family and all of the victims of the fires as they work to put their lives back together.
Some of Julie’s artwork can be viewed on the BAGSC web site, at: http://www.bagsc.org/ljubenkov.html. This BAGSC gallery page has additional links to view Julie’s work on other sites as well.
On the night of October 23 we were asleep. Upon retiring we had felt fairly safe: all the big fires in San Diego County were at least 15 miles away and the wind was not blowing in our direction — plus the wind had died down and it was a beautiful, clear autumn afternoon. We did get a few things ready to evacuate earlier that day, since we thought it would be typical that some nut would try to start a fire here and it would be wise to be ready. We’ve been evacuated twice before in the last 13 years. It is a very tiring experience — like moving — so we didn’t do a complete job getting stuff ready to go because we were very tired. At 3:50 a.m. my husband woke up and opened the window, smelled smoke and saw an orange glow in the eastern sky. The winds had picked up and again were howling. We knew this meant we were probably going to lose our home and that we needed to get out quick. We called our next door neighbors and they had just woken up too.
We threw clothes and prescription drugs in waiting suitcases and made a total of three trips to each of our cars with the stuff we had waiting by the door — mostly stuff to keep us working. My husband is a marine biologist; he grabbed his microscope and some of his most important literature for identifying animals. For me, this was a couple of sketch books; some computer disks; some stuff for teaching which had been packed up already for next week’s classes; some botanical and landscape prints I had packed for an upcoming engagement; plus, our pre-packed fire suitcase with all our important papers and some photographs.
Those trips to the car took ten minutes. Within that time the flames surrounded the house on three sides. There was a large fire funnel tornado on the hill above the house which advanced towards us. Luckily our driveway was only burning on one side, and as we backed into the flames we knew the house would be gone. We filed down the dirt road behind other fleeing neighbors. There were no fire fighters in sight and no evacuation calls.
Our friends, the Marx’s (Wes Marx is author of Frail Ocean) had called us previously wondering how we were fairing with the winds and the fires. At 4:15 a.m. on the way out, unable to reach my husband on his cell phone and wondering if he had actually got out behind me, I pulled over to the side of the road and called them. They let us stay in their downstairs apartment for three weeks and took care of us for the first week, as we were zombie basket cases for a few days. They shopped for us, picked up our prescription drugs, and took us to the relief centers to get us started on the recovery process.
With the help of the insurance company, we are currently renting a small place while our manufactured home gets rebuilt. We hope to be back to our property in May 2008.
People have asked us what we need. Here is our current list. We don’t want anyone to feel compelled to get us anything, but maybe if you have two of something, or you would like to get us something on the list that would be wonderful. We know our insurance will not cover replacing the contents of our home, and we don’t qualify for FEMA or SBA, so we appreciate anything anyone wants to give us.
Here’s our current list:
- Mattress pad, California King
- Pillow liners, king size
- Stepping stool for indoors
- Wire brush (for cleaning up charred and burnt stuff)
- Bottle brush, large and small sizes
- Kitchen serving trays/or for eating (2 to 4)
- Basting kitchen tool
- Bread maker
- Clothes line with wooden clothes pins
- Indoor clothes drier/rack (wooden or metal)
- Letter opener (2)
- Colored folders with pockets for class outlines (10)
- Copy holder for computer typing
- Book ends
- Head sets and microphone for landline phones
- Blank cassette tapes
- Electric pencil sharpener
- River walker shoes, women’s size 7
- Warm down coat – women’s medium size 12
- Warm down coat – men’s XL or XXL
- Women’s cotton socks, dark colors
- Fax machine
- Topo map program of California on CD for a PC computer
- Pictures from magazines or calendars of flowers, landscapes, and animals (for my classes - we use these as image libraries)
I also miss all my 60’s and 70’s rock and roll music:
Elton John, The Beatles, James Taylor, Paul Simon, Gordon Lightfoot, ELO, Supertramp. Right now I can listen to both cassette tapes or CD’s.
Our very efficient and proactive Membership Chair, Joann Leonard sent out her annual email reminder notice for membership dues in early December. (Thank you Joann!)
You should be receiving your quarterly December 2007 issue of the ASBA newsletter soon, which announces a membership dues increase for 2008 of $20.00 for the national portion of the dues, approved at their annual Board meeting in Pittsburgh this past September.
At the BAGSC meeting in October, it was voted to keep our local chapter portion of the dues the same (please see your October BAGSC minutes).
What does this increase mean to you as a member of the Botanical Artists Guild of Southern California? It means that the cost of a dual ASBA/BAGSC membership will be $85 in 2008 ($60 ASBA + $25 BAGSC). Please send a check for $85 to Membership Chairperson, Joann Leonard at her address in the BAGSC roster, in order to continue your participation in two exciting international organizations. (The exceptions are those new members who joined the Guild in November and so have already paid their dues for the coming year.)
International members will pay $100 in 2008 ($75 ASBA + $25 BAGSC).
To the record number of BAGSC members who have responded promptly and early this year (thank you all!), please send your additional $20.00 to Joann. We apologize for any inconvenience this may cause.
If you have not yet had an opportunity to visit our website, www.bagsc.org please do so. As a member of the Botanical Artists Guild of Southern California you are entitled to your own gallery page where you can exhibit up to three images of your artwork on the website. Guidelines for submission can be found on the website. Just click the link “For Members Only.”
Thank you. We wish the best to you and yours during this season, and look forward to an exciting 2008.
Botanical Paintings from the garden of HRH The Prince of Wales
An exhibition at the Gallery of the New York School of Interior Design
January 23 – April 12, 2008
The Gallery of the New York School of Interior Design will exhibit 75 watercolors of plants, fruits and vegetables growing in the garden at Highgrove, the Gloucestershire residence of HRH The Prince of Wales. The works on view have been painted by some 55 international artists and depict a selection of botanical varieties from the 15 acres of Highgrove’s garden. The show, organized according to botanical classification, marks the first public display of the watercolors, which are owned by A. G. Carrick Limited and loaned with the kind permission of HRH The Prince of Wales.
Named after the Latin word for a collection of pictures of garden flowers, the Highgrove Florilegium unites two of the Prince’s passions - horticulture and painting - and is produced by some of today’s leading botanical artists. The works in the Florilegium revitalize the art of botanical drawing and painting, which can be traced back to the ancient Greeks but became especially popular during the 17th, 18th and 19th centuries.
HRH The Prince of Wales purchased Highgrove in 1980 and has been working to transform its grounds to reflect his gardening interests, and adhere to strict organic principles. Managed without the use of any artificial materials, chemical fertilizers or generically modified organisms, the garden at Highgrove is considered one of the finest gardens of our time.
Alecto Publications Limited of London has been commissioned to produce a two volume facsimile in a limited edition of 175 copies, the first volume of which will be available in 2008. The Prince’s Charities Foundation will receive a royalty on the sale of the books to support its activities.
The New York School of Interior Design is most grateful to HRH The Prince of Wales for giving permission for the watercolors to travel to New York so that they can be enjoyed by the American public.
The School also wishes to thank Condé Nast’s House & Garden for its support of the exhibition and the related public programs that will focus on horticultural and sustainable topics.
Public programs scheduled in conjunction with the exhibition include:
• Wednesday, January 23, 2008 at 6pm
David Howard, Head Gardener for HRH The Prince of Wales, on the Garden at Highgrove.• Wednesday, February 20, 2008 at 6pm
Martin Lane Fox, architect and internationally acclaimed garden and landscape designer, on Garden Structure.• Wednesday, March 12, 2008 at 6pm
Patrick Bowe on Gardens of the Roman World, one of the eight books he has authored or co-authored on garden history.• Wednesday, April 9, 2008, at 6pm
Professor David Cadman, urban land economist, writer, senior fellow and former chairman of the Prince’s Foundation for the Built Environment, on Beauty as the Informing Principle of Sustainability.• In addition, the Friends of Horticulture at Wave Hill will hold three lectures at the School on January 30th with Patricia Jonas, curator of the Brooklyn Botanic Garden Florilegium Collection; February 27th with Alexander Redford on the Jardin de Metis in Quebec; and March 19th with garden designer Pepe Maynard.
The Gallery of New York School of Interior Design
170 East 70th Street (between Lexington and Third Avenues), NY
Gallery Hours: Mon - Sat, 10 am - 5 pm, Closed Sundays & Holidays
Access: Free admission, open to the public, and wheelchair accessible
Public Info: 212.472.1500 www.nysid.edu
Founded in 1916, New York School of Interior Design is New York’s only private, not-for-profit college devoted entirely to interior design education.
BAGSC member Irene Horiuchi was accepted into the Watercolor West XXXIX Annual Juried Exhibition with her painting Silent Watch. The exhibition is in Riverside, through January 26.
Watercolor West XXXIX Annual Juried Exhibition
Riverside Art Museum
December 6, 2007 – January 26, 2008
Monday – Saturday, 10 am – 4 pm
http://www.riversideartmuseum.org
951-684-7111
Directions and general information can be found at: http://www.riversideartmuseum.org/about/index.html
Guest Speaker, Linda Doll
The Watercolor Artist in the Digital Age
Saturday, December 8, 2007
3 pm – 5 pm
Exhibition Opening Reception
Saturday, December 8, 2007
5 pm – 7 pm
BAGSC members, Margaret Best and Elaine Searle exhibited at the 12th International Exhibition of Botanical Art & Illustration at the Hunt Institute at Carnegie Mellon University, Pittsburgh, PA. The opening reception of this international exhibit coincided with the 13h Annual Meeting & Conference of the American Society of Botanical Artists (September 27 - 29, 2007). The show is open from 30 September–20 December 2007 and features 111 artworks by 64 artists from 14 countries (Australia, Belgium, Brazil, Canada, China, England, France, Italy, Japan, Scotland, South Africa, Sweden, the United States, and Wales).
Elaine exhibited two paintings: Echeveria laui, and Astrophytum myriostigma var. nudum. Elaine’s web site can be viewed at: http://www.paintbotanical.com/
Margaret’s watercolor painting of Mespilus germanica (English medlar) can be viewed at her web site: http://www.bestbotanical.com/
Information about the exhibition can be viewed on the Hunt Institute for Botanical Documentation web site at: http://huntbot.andrew.cmu.edu/HIBD/Exhibitions/Exhibitions.shtml The catalogue for the show can also be purchased from their web site: http://huntbot.andrew.cmu.edu/HIBD/Publications/HI-Pubs/Pub-IE-09.shtml
Margaret also had two paintings in the ASBA show at the Horticultural Society of New York, Tenth Annual International Juried Exhibition, Malus baccata (Siberian Crabapple Blossoms) and Malus baccata (Siberian Crabapple Leaves).
Suzanne Kuuskmae
An exhibition at the Creative Arts Center in Manhattan Beach by BAGSC closed Friday, November 16, after a month-long stay. The show got off to a great start at our reception in early October when visitors were treated to the saxophone playing of Ken Gable with refreshments planned by Cristina Baltayian and participating artists. Over 60 paintings were shown by 15 artists. The venue showed our work beautifully in their high ceiling-ed, well-lighted gallery.
During the month of October, free lectures were offered each Saturday. Several were under the auspices of the Botanical Garden, covering gardening with native California plants, container gardening, and water conservation. On October 20, guild members Suzanne Kuuskmae taught a drawing class, and Gloria Whea-Fun Teng taught a Chinese Brush Painting class to over 15 enthusiastic participants.
Clara Josephs
I spent two delightful and enlightening days at Filoli in July taking Catherine Watters’ class on painting roses. Catherine is on the Board of Directors of ASBA and a teacher in the new Botanical Art Certificate Program at Filoli. Her classes sell out fast, so I was glad to get a seat. We began our first day with a tour of the annual exhibit. BAGSC was well represented, both in number and quality. Christina, Nancy B., Akiko, Sue, and Gilly had paintings in the show.
Back upstairs in the class, Catherine demonstrated the correct use of dividers to measure our choice of rose specimens. She circulated constantly throughout the class, making sure every student received their share of attention. By the end of the first day, most students had their composition tea-washed and ready to paint. I was able to complete my simple subject by the end of the second day and was thrilled with all I had learned. Catherine uses a limited palette of (Winsor Newton) Alizarin, Crimson, French Ultra, Winsor Violet, Perm Rose, Neutral Tint, Burnt Umber, Hooker’s Green, and Holbein’s Gamboge Nova. She recommends using those 20 cent plastic round palettes with 10 compartments, keeping each color (greens, reds, yellows) on a separate palette. Color is built slowly, with as many as 10 thin washes. Shadows are a mixture of French Ultramarine and Neutral Tint applied in almost transparent layers. Some intense points of shadow are accented by graphite delicately applied and the sealed with a wash. Catherine’s beautiful green “mother mix” is made from a mix of Hooker’s Green, Gamboge Nova, Burnt Umber, and Neutral Tint. Her acronym for this recipe is “Get Your Botanicals Now (green, yellow, brown, neutral tint).
At the end of our second day we admired the array of beautiful works the class had produced. I was thrilled with how much was accomplished in only 2 days and I’m looking forward to my next opportunity to return to Filoli!
The next day we headed to Alcatraz to see “The Softer Side of the Rock – The Historic Gardens of Alcatraz” exhibit by 18 artists in the Botanical Illustration Program at the San Francisco Botanical Gardens, directed by Mary Harden http://www.sfbotanicalgarden.org/news/pr/alcatraz-art.htm. These 38 paintings, while painted is a somewhat looser style than we are used to, were vibrantly colored and strikingly composed.
