by Jude Wiesenfeld, posted by Deb Shaw

Lesley Randall with one Aristolochia gigantea flower. Photo by Jude Wiesenfeld, © 2018.

Lesley Randall with one Aristolochia gigantea flower. Photo by Jude Wiesenfeld, © 2018.

Lesley Randall’s workshop, held at the LA County Arboretum and Botanic Garden in Acadia, was very informative, focusing on Aristolochiaceae, commonly known as the Dutchman’s Pipe Family of plants. Lesley began the workshop with a lecture on the origin of the Aristolochiaceae. They first appeared about 30 million years ago, when most of us were barely starting our careers!

We examined, both in hand and through our microscopes, the distinguishing characteristics to look for while drawing. Lesley encouraged us to write down measurements and notes on the specimens for future clarification in our drawings and to include for illustration work.

Aristolochea gigantea seed pod. Photo by Jude Wiesenfeld, © 2018.

Aristolochea gigantea seed pod. Photo by Jude Wiesenfeld, © 2018.

It was fascinating to see how the different techniques (stippling vs. lines) gave a variety of results. Sometimes a broken line worked better than an unbroken one! Lesley supplied great examples of this in handouts.

The final drawings are started with an outline and then the details are added with stippling. It is important to stipple with a purpose: i.e., namely to clarify a characteristic, show shape, create depth and/or show color pattern. Also, Lesley stressed how important it is to keep your paper, hands and workspace CLEAN.

Lesley encouraged us to research other artists’ work to learn about technique and mentioned Bobbi Angell as someone to study.

Two books recommended by Lesley Randall: "Botany in a Day: The Patterns Method of Plant Identification" by Thomas J. Elpel, ISBN-13: 978-1892784353, ISBN-10: 1892784351; and, "Guide to Flowering Plant Families" by Wendy B. Zomlefer, ISBN13: 9780807844700, ISBN-10: 0807844705. Photo by Jude Wiesenfeld, © 2018.

Two books recommended by Lesley Randall: “Botany in a Day: The Patterns Method of Plant Identification” by Thomas J. Elpel, ISBN-13: 978-1892784353, ISBN-10: 1892784351; and, “Guide to Flowering Plant Families” by Wendy B. Zomlefer, ISBN13: 9780807844700, ISBN-10: 0807844705. Photo by Jude Wiesenfeld, © 2018.

Lesley was a fantastic teacher and very generous with us all. I hope she will consider other workshops in the future.

[NOTE: click on any of the thumbnails above to view the images larger, in a slide show format.]

by Melanie Campbell-Carter, posted by Deb Shaw

Aloe broomii hybrid, Melanie Campbell-Carter, © 2018. Image protected by Digimarc.

Aloe broomii hybrid, Melanie Campbell-Carter, watercolor on paper, © 2018. Image protected by Digimarc.

BAGSC member Melanie Campbell-Carter is returning to Texas wearing her Botanical Artist hat! As fellow members know, in 2014 Melanie relocated to Southern California from Texas to study botanical art.

Melanie was thrilled to see an article in the March 2018 issue of The Botanical Artist about a new ASBA Circle in north Texas. The Circle’s first juried exhibition, Botanical Art: Flowers, Fruit and Fungi, will take place June 14 – August 9, 2018, at the Botanical Research Institute of Texas (BRIT) in Fort Worth.

Now living and painting full-time in Tucson, Melanie will be exhibiting two new paintings in Fort Worth, Aloe broomii hybrid and Caesalpinia pulcherrima.

Contact Denis Benjamin for more information about the Botanical Art Collective (BAC) in Texas, or if you would like to join. BAC also has a public Facebook page: https://www.facebook.com/groups/1502598476445397/.

Caesalpinia pulcherrima, Melanie Campbell-Carter, © 2018. Image protected by Digimarc.

Caesalpinia pulcherrima, Melanie Campbell-Carter, watercolor on paper, © 2018. Image protected by Digimarc.

by Leslie Walker and Deb Shaw

Leslie Walker delivering her Hechtia argentea to the World Bromeliad Conference. The painting is wrapped in bubble wrap. Photo by Robert Kopfstein, © 2018.

Leslie Walker delivering her Hechtia argentea to the World Bromeliad Conference. The painting is enclosed in a plastic bag. Photo by Robert Kopfstein, © 2018.

BAGSC member Leslie Walker delivered her commissioned graphite drawing of Hechtia argentea to be shown at the World Bromeliad Conference 2018. This year’s conference was held in San Diego, May 29 – June 3, 2018.

The Hechtia argentea is endemic to Mexico. This Bromeliad has a thick stem, really almost a trunk covered with the remains of old leaves, similar to the appearance of a palm tree skirt. The leaves are covered with tiny white scales, hence the name, “argentea” which means “silvery.”

The plant specimen had many more leaves; the challenge of drawing the Hechtia was editing out which leaves to draw, in order to be both true to the plant and yet make it understandable to view.

The artwork was on display during the World Bromeliad Conference.

Hechtia argentea by Leslie Walker, © 2018. Partial image (cropped) of artwork, taken with an iPad.

Hechtia argentea by Leslie Walker, © 2018. Partial image (cropped) of artwork, photo taken with an iPad.

by Patricia A. Mark and Deb Shaw

Olga Eysymontt will be teaching two botanical art workshops this summer at the Los Angeles County Arboretum and Botanic Gardens (LA Arboretum) through the Extension Program at Otis College of Art and Design.

The first is a two-day drawing and painting workshop, “Heirloom Tomatoes in Watercolor/Colored Pencil. The focus for this workshop will be techniques for conveying the perception of light and shadow, mixing color and continuous tone. Prior experience in drawing botanical subject matter is helpful. A supply list is on the Otis workshop registration site (included on the link below):
Heirloom Tomatoes in Watercolor/Colored Pencil
Saturday, July 7, and Sunday, July 8, 2018
9:30 am – 3:30 pm
Science Lab Classroom
Cost: $185
LA Arboretum & Botanic Garden (link to map)

The second two-day drawing and painting workshop, “Eggplants in Watercolor/Colored Pencil,” will be held in August. This workshop also will cover the techniques for conveying light and shadow, mixing color, and continuous tone. Changing the subject matter from tomatoes to a variety of eggplants allows exploration of different techniques and effects. A supply list is on the Otis workshop registration site (included on the link below):
Eggplants in Watercolor/Colored Pencil
Saturday, August 18, and Sunday, August 19, 2018
9:30 am – 3:30 pm
Oak Room
Cost: $185
LA Arboretum & Botanic Garden (link to map)

Both workshops will be held indoors at the LA Arboretum. Class details will be sent to registrants. There are still a few seats remaining. Take one or both classes!

Questions? Call Otis Extension at 310-665-6850, or email extension@otis.edu

by Janice Sharp, posted by Deb Shaw

Please be aware that when you deliver artwork to a local BAGSC exhibition, the BAGSC members who are hanging the exhibition will be collecting everything together and transporting artwork to the exhibition location. This is usually done by one or two people who will be carrying the art into the location.

Mitsuko Schultz's packing box showing the interior box and artwork. Photo by Janice Sharp, © 2018.

Mitsuko Schultz’s packing box showing the interior box and artwork. Photo by Janice Sharp, © 2018.

To do this efficiently—and safely for the artwork—it is best to have all the art in portfolios with good carrying handles, clearly labeled with the artist’s name and contact information.

Facilities where we hang art often do not have convenient places to pack and unpack art. Therefore, delivery in a portfolio allows the art to be simply slipped out of the portfolio or slipped back in.

Art in the portfolio can be protected with Foam-Core or cardboard. Plexiglass is notorious for scratching easily. Foam-Core or cardboard across the front that does not touch the surface of the plexi will help protect it. Please see the sample photos of Mitsuko Schultz‘s portfolio to the left which contains an interior box made of cardboard to support and protect the framed artwork.

The box is sufficiently wide to accept at least two pieces of art. An additional sheet of cardboard could be used between the frames if two were inserted into the box. This kind of a system makes it extremely easy (and safe) to unpack and repack art.

Mitsuko Schultz's packing portfolio showing the interior box and artwork. Photo by Janice Sharp, © 2018.

Mitsuko Schultz’s packing portfolio showing the interior box and artwork. Photo by Janice Sharp, © 2018.

We ask that all BAGSC members exhibiting use a similar system to make it easy for those who are hanging and taking down exhibitions.

Of course it is expected that people mailing art will do so in a suitable mailing container instead of a portfolio!

 

We thank everyone for their attention to these important details.

by Suzanne Kuuskmae, posted by Deb Shaw

Suzanne Kuuskmae will be starting private botanical drawing/painting lessons next week in her expanded studio area. Destination: Art also has a beautiful exhibit, Spring Fling, on view this month, Thursdays – Saturdays, from 11am – 5pm, and Sundays, 12pm – 4pm.

Destination: Art hosts workshops in the gallery. On May 8, 2018 there will be a meeting and afternoon paint-in for the Paletteers Art Group. Information about classes, workshops and exhibit space for individuals or groups of artists is available on the Destination: Art website: Destination-art.net

Destination: Art is located at 1815 West 213th Street, #135, Torrance, California 90501. Check it out!

 

by Deb Shaw

Deborah Shaw will be having a one-person exhibition at Chez Shaw Gallery—no relation 🙂

Entitled “Botanical Portraits,” the exhibition will run from  May 12 – July 31, 2018. Deborah’s watercolors and graphite drawings feature California native plants as well as other fascinating specimens of the plant kingdom.

The opening is May 12, 2018 from 6 – 9 pm, and is open to the public. Visiting the Gallery on other days is by appointment only, 562-708-3803. Chez Shaw Gallery is located at 1836 Nipomo Avenue, Long Beach, California 90815.

Opuntia spp., Fruit, Prickly Pear “Tunas,” Watercolor on calfskin vellum, © 2016, Deborah Shaw, dbshawstudios.com Digital image protected by Digimarc.

Opuntia spp., Fruit, Prickly Pear “Tunas,” Watercolor on calfskin vellum, © 2016, Deborah Shaw. Digital image protected by Digimarc.

 

 

by Susan Eubank, Arboretum Librarian, Los Angeles County Arboretum & Botanic Garden, and Deb Shaw

Party in the Stacks!
Please join The Arboretum library and other plant and garden aficionados for a beautiful evening celebrating the Arboretum Library. The Arboretum Library is distinct among libraries as a comprehensive and very special collection of more than 20,000 books on botany, botanical illustration, gardening, California native plants, landscape design, gardens around the world, agriculture, and more.

For one night only, there will be merriment in the Arboretum Library stacks, twilight music in the Arboretum, outside viewing of mid-century travel slides, and inside viewing of mid-century library landscape materials, various nerdy library things, a little nosh and a no host bar. View a wonderful art exhibit, with personal artist tours of the exhibit “The naturalist’s desk: language and landscape” And of course a book sale too!

Consider spending an evening with your fellow BAGSC colleagues supporting the Arboretum Library. All proceeds from the event support Arboretum Library programs.

For one night only, there will be revelry in the Arboretum Library stacks and music in the Arboretum twilight!

Arboretum Library Benefit and Book Sale
Proceeds fund Arboretum Library programs

Friday, May 4, 2017, 6:30 p.m.-9:00 p.m.

There will also be…

  • Light refreshments and a No Host bar featuring wine, beer, and literary spirits,
  • Projections of Sunset magazine’s photographer, William Aplin’s mid-century travel slides,
  • Displays of mid-century modern gardening and landscape architecture books,
  • Pamela Burgess will give tours of her exhibit the naturalist’s desk: landscape + language, and
  • First chance to purchase at the used book sale. Specialty books ready for their new owners.

You are invited!
Advanced Tickets: General Public $20, Members $15. Call 626-821-4623.

At the Door: General Public $25, Members $20

Members include:
BAGSC Members
Members of the Los Angeles Arboretum Foundation
All plant, garden and landscape societies, all library organizations, and all botanic gardens and arboreta.

Questions? Contact Susan Eubank, 626-821-3213.

The Los Angeles County Arboretum & Botanic Garden is located at: 301 North Baldwin Ave, Arcadia, CA 91007
arboretum.org

Los Angeles County Arboretum and Botanic Gardens Logo

 

 

 

 

by Arillyn Moran-Lawrence, posted by Deb Shaw

After choosing where you are going, find out what gardens are available to you. Choose at least three and label them:

  • Rugged (but wonderful),
  • Perfect (or almost),
  • Problematic.
Etlingera elatior, aka Pink torch ginger. Waimea Valley Botanical Gardens, Ginger and Heliconia Gardens, North Shore, Oahu. HI. Photographer: Arillyn Moran-Lawrence, © 2017.

Etlingera elatior, aka Pink torch ginger. Waimea Valley Botanical Gardens, Ginger and Heliconia Gardens, North Shore, Oahu. HI. Photographer: Arillyn Moran-Lawrence, © 2017.

I began studying endangered plants in Hawaii, when the ASBA Exhibition Losing Paradise?  was announced. I had three to four gardens I wanted to visit. One was the Lyon Arboretum, on the South Shore of Oahu, in the Rain Forest; Waimea Gardens on the North Shore of Oahu; and, Koko Head to the east of Honolulu. Ho’omaluhia on the East side of Oahu did not have endangered plants so I did not consider that garden in my plan. I also did not consider the small garden in Wahiawa nor several other gardens in downtown Honolulu. I focused on the three larger gardens.

I called the three major gardens ahead of my visit and contacted knowledgeable people with whom I made appointments. At the Lyon Arboretum I contacted Karen Shigematsu, Botanist. At Waimea I made an appointment with David Orr, Botanical Specialist. At Koko Head there was no botanist or specialist available. You are on your own with just the information on the plant labels in the specialized gardens.

These are three different gardens with three different personalities. This is true of all gardens all over the world. You can visit each of these three and decide on which one best delivers what you are looking for.

Rugged Garden Lyon, The Lyon Arboretum

This garden is very large and stunning as you walk out the backdoor of the Administration Building. It is rugged, however. Mosquitos and bugs like to bite you. Karen Shigematsu first showed me the nursery and then introduced me to the garden. The first garden has numerous plants to choose from. However, as you go deeper into the garden on the way to the falls you will find you need strong boots, a rain poncho, an umbrella and a map of the garden. Keep in mind that your cell phone may be blocked by the high mountains that surround the Lyon. If you have health issues you may want to check with the Administration Staff on the ability to make it to the falls and visiting the gardens along the way. There is a less difficult path close in area, to which they will direct you.

A back pack is the best way to carry items you will need to record plants of interest. Make it light as the trails are full of rocks and the heat or rain may wear you out. Rolling gear is only good in about a quarter of the Arboretum. There is no shuttle service, no food stands, and the toilets are in the Administration Building. You can buy t-shirts, books and more, in the Administration Building.

The Perfect Garden, Waimea

Arillyn Moran-Lawrence working on Stelechocarpus burahol, aka the Keppel Tree, while sitting on the steps in the Waimea Valley Botanical Gardens, Malesia Gardens, North Shore, Oahu, HI. Photographer: Michael Tyau, © 2017.

Arillyn Moran-Lawrence working on Stelechocarpus burahol, aka the Keppel Tree, while sitting on the steps in the Waimea Valley Botanical Gardens, Malesia Gardens, North Shore, Oahu, HI. Photographer: Michael Tyau, © 2017.

Waimea Gardens on the North Shore of Oahu is an example of the Perfect Garden. It has a retail shop, an outdoor restaurant, bathrooms, a shuttle to carry you to the waterfall for a swim, and gardens galore. All are scattered over this treasure of a garden on a paved trail with shuttles. The only problem is that the garden is in a valley and the cell phones do not work there.

David Orr, Botanical Specialist met me with a golf cart so we could cover a large area. He explained a great deal about the endangered plants and why so many are on the Red Lists. Hawaii has the most endangered place in the world, including animals, birds, insects and plants.

Ask if a guide is available to meet you on a special day, date and time. Carry bug spray, go in long sleeved t-shirts and long pants if you do not do well with bugs. Otherwise dress however you want. Any kind of shoes work in this garden. Have your small camera, iPad or cell phone with you. Carry a hand held battery charger with you as the gardens are superb and you will want many photos. If you find the perfect plant and don’t want to stand or sit on a rock go to WalMart and buy a cheap collapsible chair. You can always donate it and leave it behind when you fly home. Also, if you choose where you want to paint first and last you can then work on getting to the falls area and catch a ride back to the shop and restaurant area. One way is $5 and round trip is $10. There also are family rates available.

The Problematic Garden, Koko Head

Koko Head is an old volcano that is dormant. There is just the garden there and a gardner that is invisible. The last time I was at Koko Head you checked in with a man at a table at the entrance and you checked out when you left. There was no indication that any kind of help was available. I don’t know if the cell phone works well or at all at KoKo Head.

It is a long, hot dusty walk to the Hawaiian section, which is at the farthest point in the garden. Tackle this garden aggressively, but travel light. A small backpack with sketch pad, watercolor pencils and a water brush would be adequate. Be sure to take a bottle of water for you and your assistant. When you finally arrive at the Hawaiian Section, find your specimen, photograph your choices, and sketch and make color swatches. You can make notes about the plant from the ID labels that are below the plant. A red ID tag means the plant is endangered; a green/blue ID tag means it is not. Photograph the label so you have the information you need later.

The last time I was at Koko Head the garden was very young. I am sure you will find some nice growth there now. It is difficult to get to the plants at Koko Head, and there is no one to assist you. It would be difficult to work there alone. I fell down a small hillside in very soft dirt about 25 feet. I guess I could have been hurt but I wasn’t. However, a sprained ankle would have made it hard to walk a long way to your car.

Materials

  • Small camera, cell phone, iPad, small portable charger.
  • Sketch book, such as a Bee or Stillman & Birn, Mixed Media (both can accept watercolor).
  • Paper, 8-1/2 x 11 or smaller. Arches or Fabriano 300 lb watercolor paper can be bound into a book at Fed Ex or at an office supply store. These can be used for plein air studies in the field or in your hotel room/with photos from your iPad or cell phone.
  • Ruler, tape measure, water bottle, water brushes and three to four good watercolor brushes.
  • Pens that have their own ink supply (such as Copic, Zig or Micron).
  • Mechanical pencil.
  • Small travel palette. Know the paint that you have in the palette. You can always shop for more paint at your destination. I have two great art supply stores that I go to in Honolulu.
  • I have tried colored pencils. I find they break and you need a good sharpener. I like watercolor pencils because you can translate that color to real watercolor paint.
  • Tombow markers with brushes. They are very strong colors but I have found them to be fun to do quick sketches and to work with on the plane. They don’t cause any problems. I carry 12 – 15 in a plastic box.
  • A small folding chair. These can be found at Wal-Mart, Rite Aid, Daiso, sporting/camping stores, any variety stores, or online.
  • Lightweight backpack. They sell some very nice lightweight backpacks in Honolulu. I bought a large one and a small-sized one made by Hawaii Island Spirit. I see them for sale in many places. If you plan on doing rugged hiking bring your own.

Things to Remember

It is not easy to work in a new environment with no desk, chairs, lighting or bathrooms. It is difficult to balance everything like paint, brush, water and paper when you are outside and the nearest place to put anything is the ground.

It also is dark in some gardens, and is hard to find what you are looking for if you have been directed to a particular plant. It can be wet and muddy.

Alpinia zerumbet. Shell ginger. Lyon Arboretum, Manoa Valley, Honolulu, HI. Photographer: Arillyn Moran-Lawrence, © 2017.

Alpinia zerumbet. Shell ginger. Lyon Arboretum, Manoa Valley, Honolulu, HI. Photographer: Arillyn Moran-Lawrence, © 2017.

You need a lot of things to make life productive so make sure you test things at home to see if they work for you. Get overly organized. Keep things light and manageable. If you have a collapsible chair, that is an advantage. If not, see if someone can lend you a TALL bucket.

Having someone to help you is advisable. You can always contact an Art Academy or High School and see if they have a list of students who want to make some extra money. Pay them well so that they will want to really assist you.

by Nina Antze, posted by Deb Shaw

Sketching Bonsai Workshop May 12, Douglas Charles © 2018.

Sketching Bonsai Workshop May 12, Douglas Charles © 2018.

The Northern California Society of Botanical Artists is holding a workshop taught by Lee McCaffree, “Sketching Bonsai in Pen and Ink.” The workshop has been rescheduled to
Saturday, May 12, 2018,  10:00am -3:00pm
in Menlo Park, California

Enjoy a day of sketching Bonsai trees among an extensive collection of plants in Menlo Park. Learn about the basic structure of this art form, and how to capture the essence of an individual specimen(s) in pen and ink. This workshop is intended to be fun and relaxing—depicting the trees overall design instead of the exact details. Everyone is welcome.

The cost is $30 for NCalSBA members; $40 for non–members. The workshop cost includes a donation to NCalSBA and the Bonsai Garden.

There are still a few seats available. To register, and for more information about the workshop (including a materials list), contact D. Hunter.

 

by Kat Powell, posted by Deb Shaw

Some of the workshop participants getting ready for a final critique with Carrie Di Constanzo. Photo by Teri Kuwahara, © 2018.

Some of the workshop participants getting ready for a final critique with Carrie Di Constanzo. L to R: Mary Jo Newman, Carrie Di Costanzo, Suzanne Bassani, Janice Sharp, Carol Readhead, Melanie Campbell-Carter, Kathlyn Powell. Missing from photo: Patricia Mark, Alyse Ochniak.  Photo by Teri Kuwahara, © 2018.

What a fabulous experience! We were honored to have the awe-inspiring Carrie Di Costanzo for a workshop on the use of gouache in botanical art. First of all, Carrie’s work is beyond exquisite — I suspect I was not alone in getting goosebumps while gazing at her originals. They are miraculous in their refinement and perfection. Although Carrie works her magic in other media such as egg tempera and watercolor as well, it is her masterful handling of gouache that we focused on for those wonderful three days.

We all had a choice of working on a large deodar cedar cone, kumquats on a branch, loquats on a branch, or tulips. One participant requested a cactus as a subject, and The Huntington very kindly supplied that subject as well.

Reviewing artwork with Carrie Di Constanzo. Photo by Kathlyn Powell, © 2018.

Reviewing artwork with Carrie Di Constanzo. L to R: Teri Kuwahara, Carrie Di Costanzo, Suzanne Bassani, Janice Sharp, Carol Readhead, Mary Jo Newman, Melanie Carter-Campbell. Missing from photo: Patricia Mark, Alyse Ochniak. Photo by Kathlyn Powell, © 2018.

Carrie demonstrated several ways of using gouache, as the medium is quite versatile. She showed her favored method of laying down a pale “wash” of her mixed paint that consisted of a highly controlled stippling using her amazingly fast feathery stroke of dilute gouache on a dry brush. Texture was instantiated from the start and retained throughout with this technique. Subsequent layers were laid down with generally successively more concentrated pigments with the occasional unifying dry brush wash over. She worked from light to dark in this method, somewhat reminiscent of watercolor.

She also demonstrated an approach using titanium white mixed to varying degrees into her colors to opacify and smooth the deposition of color and it had a depth and richness rivaling oils while retaining the luscious velvety matte surface of gouache. Indeed, in this approach, the handling is more like that of oils or acrylics and many renowned artists such as James Gurney use this method. [See some of James Gurney’s favorite gouache artists here.] Lights do not necessarily need to be retained and working dark to light is possible. Highlights and light structures such as Melanie’s cactus spines can be directly added on top.

Carrie showed us that gouache is like watercolor in re-solubility but has a higher pigment load, yielding greater opacity. It can be used in a watercolor way with wet, dilute translucent washes retaining the light of the paper, building up to a gorgeous matte depth of color. It can also, again, be used somewhat like oils or acrylics, with light pigments over dark. This allows for going over sections with many layers until one is satisfied, without harming the surface or looking overworked. Thus, you can push a painting further. One can also use gouache to exquisite effect on toned papers, like botanical artist Albert R. Valentien did. Carrie showed us how she creates a toned sheet for such an approach.

Carrie encouraged us to use the method that we felt most comfortable with and everyone had their own unique look to their paintings, and all were lovely. The medium was adaptable to each person’s individual style of painting.

A Little About Gouache:
Gouache has a history that goes back to the 9th Century. Illuminated manuscripts and Persian and Mughal miniatures were painted using opaque watercolors mixed with white or on white priming. Chinese white was also freely used in Western watercolors in the nineteenth century as “body colors”, distinguished by their beautiful precision (see, for example, the watercolor and body color work of William Trost Richards). For many subjects, such as landscapes, body color made it possible.

Zinc white (Chinese white) as a pigment had become available in Europe in the mid-19th century (although in use in Persia, India and China since at least the 12th century) and thus at least partially displaced the more opaque but very toxic lead white. It is no wonder that artists happily explored the possibilities of this new pigment! (Especially en plein air, once pigments were packed into tubes.) We are lucky to have access to nontoxic, very opaque titanium white (introduced 1921) as well as zinc white.

Gouache was favored by commercial artists during the twentieth century for its beauty, speed of drying, and matte surface which the camera loves — it is renowned for reproducing extremely well. It got a bit of a bad rap because of the fugitive quality of many of the paints then in use — pieces were made for the camera rather than the frame, so archival lightfast pigments were not always employed. Now, however, we have beautiful, fully lightfast gouache pigments available to us from numerous pigmenters. Also, the medium suffered some stigma in the pretentious “Fine Art” vs “illustration” controversy.

Technical instruction in gouache has become very difficult to come by over the last few decades, so I cherish the training we were so fortunate to obtain with a Master Artist like Carrie. I personally have longed for this type and quality of didactics for nearly half a century. Opacity is another dimension of control which enhances the ability to work the magic of mimesis.

Profound thanks to Carrie Di Costanzo, a real treasure both artistically and as a person, to the Education Committee for bringing her, to The Huntington for hosting us, to Patricia Mark for supplying subjects and to BAGSC for everything!

posted by Deb Shaw

Sally Jacobs' "Buddha's Hand (Lemon Fingers) Watercolor," 19x16. Part of Sally Jacobs' "Sundays at the Farmers Market" exhibition at the TAG Gallery in Los Angeles.

Sally Jacobs’ “Buddha’s Hand (Lemon Fingers) Watercolor,” 19×16. Part of Sally Jacobs’ “Sundays at the Farmers Market” exhibition at the TAG Gallery in Los Angeles.

BAGSC Member Sally Jacobs‘ exhibition, “Sundays at the Farmers Market” will be at the tag Gallery in its new location: 5458 Wilshire Blvd., Los Angeles, California 90036: April 17 – May 12, 2018

The Opening Reception is this Saturday, April 21, 5 – 8 pm

Artists’ Talk, Saturday, April 28, 3 – 4 pm
(includes a raffle for a print)

Drawing Class: “How to Draw a Leaf,” Saturday, May 5, 1 – 3:00 pm. Beginners welcome. Class size limited; contact Sally to register.

Jeanette Marantos, LA Times wrote an article about Sally’s exhibition for the Home & Garden section, entitled “This L.A. artist grows luscious fruits and veggies — in watercolor”. Read the article and see a slide show of all Sally’s paintings in the show.

Congrats Sally!

tag Gallery
5458 Wilshire Blvd., Los Angeles, CA 90036
email: gallery@taggallery.net
310.829.9556
Gallery hours: Tuesday – Saturday, 11 am – 5 pm

Sally Jacobs with an armful of inspiration.

Sally Jacobs with an armful of inspiration.

by Teri Kuwahara and Deb Shaw

BAGSC gathered at the Madrona Marsh Nature Preserve in Torrance for the January meeting to feature the ongoing mural project of BAGSC member Estelle DeRidder.

The interior of the meeting room walls in the Madrona Marsh Interpretive Center have been filled with Estelle’s paintings of the plants, animals and insects found in Marsh. She has spent countless hours capturing each plant in its native environment. The meeting was highlighted by featuring Estelle as our guest speaker, adding her wit and wisdom in starting and continuing this ambitious project. In addition to discussing her process and goals, Estelle also spoke about the challenges of creating such a large work, including determining scale, practical techniques, and interesting visitors (of the human, insect and avian varieties).

Estelle was recently honored by the Cultural Arts Commission in Torrance for her work on this mural. [See BAGSC News blog article about the award here.] The Marsh staff and volunteers from the Friends of the Marsh group were also present to support Estelle, a true indication of how much she is respected and admired. A video was made to highlight Estelle’s mural project for the Cultural Arts Awards ceremony and we were fortunate to view it.   It has now been posted on YouTube so members unable to attend the meeting can enjoy it, and can be found here: https://youtu.be/zExN3JWTcMY

Our sincere thanks go out to Estelle for bringing BAGSC to the attention of Madrona Marsh. Estelle’s mural can be viewed in the Interpretive Center, Tuesday through Sunday, 10:00 a.m. to 5:00 p.m. Additional thanks goes to Tracy Drake, Park Services Manager, Community Services Department, City of Torrance; Hilary and Dave Jamieson; and, Lance Hill for his wonderful photographs of the meeting.

The Marsh is located at: 3201 Plaza del Amo, Torrance, CA 90503.

Click on any image below to see larger images in a slide show format with full captions for each photo.

by Lee McCaffree and Deb Shaw

Filoli’s 20th Annual Botanical Art Exhibition is a celebration of spring flowers from their wonderful historic Garden. Artworks in the exhibition are from local and international artists (some of them graduates of Filoli’s Botanical Art Certificate Program) and are depicted in watercolor, colored pencil, pen and ink, oil, and graphite.

Jurors were Peggy Feidler, botanist, and Carol Woodin, botanical artist; curators were Lee McCaffree and Catherine Watters. The exhibition includes 44 pieces by 36 artists, including the curators and juror Carol Woodin, many of them artists who are exhibiting for the first time.

Awards:
Bourn Award for distinction with an emphasis on horticulture: “Sunflower Awakening” by Jeannetta vanRaalte
Roth Award for distinction with an emphasis on traditional botanical art presentation: Paeonia lactiflora, Pink Peony by Miksuko Schultz (and BAGSC member!)
Jurors Award for distinction with an emphasis on botanical art presentation: Papaver somniferum, Poppy by Jean Emmons
Jurors Award Honorable Mention: Tacca chantrieri, Cat’s Whiskers by Stephanie Law

The exhibition runs from February 23 – May 20, 2018.

BAGSC members in the exhibition include: Nina Anzte, Catherine Dellor, Joan Keesey, curator Lee McCaffree, and Mitsuko Schultz.  Carrie Di Constanzo has two pieces in the exhibition: Carrie will be coming to teach a BAGSC workshop in April, 2018, to be held at The Huntington Libraries, Art Collections and Botanical Gardens.

Click on any of the images by BAGSC members below to see a larger image. These paintings, as well as all of the artworks in the exhibition can be seen online at OnlineJuriedShows.com

In addition to “A Palette of Flowers,” the Filoli Florilegium is on display in its entirety throughout the House.

Filoli Historic House & Garden is A Site of the National Trust for Historic Preservation and is located at 86 Cañada Road, Woodside, CA 94062, (650) 364-8300.

Congratulations to the award-winners and all the participants!

by Jude Wiesenfeld, posted by Deb Shaw

Magnolia grandiflora, gouache on paper, © Carrie Di Costanzo

Magnolia grandiflora, gouache on paper, © Carrie Di Costanzo

Carrie Di Constanzo will be teaching a BAGSC-sponsored workshop, entitled Creating Botanical Paintings with Impact Using Gouache.

Participants in this workshop will learn how gouache is used to create realistic and detailed botanical paintings. Explore the benefits of using gouache and the similarities and differences between gouache and watercolor. Demonstrations will include using light washes of gouache, layering of colors with a dry brush, mixing of colors, glazing, and using semi-transparent and semi-opaque gouache. The class will be encouraged to experiment with gouache using small botanical subjects.

This workshop is suitable for artists who have previous experience with gouache, as well as those who have always wanted to try this wonderful opaque medium. Gouache will be supplied by the instructor, and a small fee will be charged to participants to share in the cost of the supplies. The workshop will be held at:
The Huntington Library, Art Collections and Botanical Gardens,
Botanical Education Center, Allied Technical Lab
Wednesday – Friday, April 11 – 13, 2018
9:30 am – 4:00 pm
The Huntington is located at: 1151 Oxford Road, San Marino, CA 91108.

The cost for BAGSC Members is $300; non-members may also attend for $350. Maximum Registration: 16 students.

To register: Send a check in the full amount, made out to BAGSC, with Carrie Di Constanzo on the subject line. Please mail the check to: BAGSC, PO Box 50166, Pasadena, California 91115.

Bring your lunch, or purchase lunch at any of the cafés on The Huntington grounds.

Questions about the Workshop? Contact the BAGSC Education Chair.

More information, materials list and map are available on the BAGSC website.

About the instructor

Carrie Di Costanzo worked as a fashion illustrator before shifting her focus to botanical art. Group exhibitions include the 14th Annual International through the 20th Annual International with the ASBA/HSNY (receiving the Ursus Award in\2013); “Following in the Bartrams’ Footsteps” and “Weird, Wild, and Wonderful” and the 14th through 19th Annual Botanical Art Exhibit at Filoli (receiving the Roth Award in 2013 and the Jurors’ Award in 2014). Her work is held in the Botanical Collections at The Huntington Library, Art Collections, and Botanical Gardens, The Hunt Institute for Botanical Documentation, and private collections.

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