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by Deb Shaw
Detail of Cucurbita Maxima, watercolor by Deborah Shaw, © 2014, all rights reserved.
The Ultimate Color Mixing Workshop has moved to Wednesday, January, 14 – Thursday, January 15, 2015 at the Virginia Robinson Gardens.
The workshop details are the same, as posted on a previous BAGSC News Blog article. You may find it at: https://bagscblog.com/2014/10/12/deborah-shaw-to-teach-the-ultimate-color-mixing-workshop-at-the-virginia-robinson-gardens/
9:30 am – 3:30 pm
Cost: $225 for Virginia Robinson Gardens members and Botanical Artists Guild of Southern California (BAGSC) members; $275 for non-members.
$50 deposit is non-refundable.
The Virginia Robinson Gardens has just installed online registration! Register for this workshop by going to: http://www.robinsongardens.org/product/ultimate-color-mixing-class/
You also can still make reservations by calling (310) 550-2068; or mail a check, made payable to: FRIENDS OF ROBINSON GARDENS. The Virginia Robinson Gardens are located at 1008 Elden Way, Beverly Hills, California 90210.
by Deb Shaw
“A Bug In Your Ear,” mixed media by Eileen Sorg, © 2014, all rights reserved.
Save the dates for the week of March 9, 2015, when Eileen Sorg comes to teach a BAGSC-sponsored workshop, “COLORED PENCIL STEW” in Southern California.
This two-day workshop will teach you how to use pen and ink, watercolor, and colored pencil together to create richly detailed pieces of art. This mixed media approach allows for a quick build up of color and value while still leaving room for the beautiful detail and control of colored pencil. You will learn watercolor and colored pencil application tips, and how to extract the best qualities of each medium in this fun and informative workshop.
We are anticipating a high demand for Eileen’s workshop, and so may offer two, two-day classes back-to-back if the numbers are there. Member fee rates will be offered to BAGSC members and members of the Colored Pencil Society.
Watch this blog for updates on how to register (coming soon)!
About the Instructor
Eileen Sorg’s work is collected internationally and is known for its complexity and vibrancy. Her students appreciate her “full disclosure” method of teaching, where no information is held back. Eileen is a Signature member of the Colored Pencil Society, the Society of Animal Artists, and the International Guild of Realism.
By Diane Daly and Deb Shaw
The plans for the BAGSC/Chapman University Leatherby Library Legume Exhibition are coming together! Once again, January 2015 will be a busy month for BAGSC members, with exhibition deadlines and shows all arriving at the same time.
The theme of this Chapman exhibition will focus on botanical specimens of plants in the Legume Family (Leguminosae or Fabaceae). The third largest of all the vascular, flowering plants, legumes have approximately 630 genera and 18,000 species. Legumes are herbs, vines, shrubs and trees—all highly diverse and spread throughout most of the world.
Jennifer Funk‘s research students will be contributing to the educational outreach for this exhibition, writing descriptions of:
- The family characteristics (what makes a legume a legume);
- Their importance to agriculture and soils;
- The legumes of the desert and survival adaptations in dry conditions;
- The legumes that are nasty weeds in our yards;
- The legumes that grow to be trees; and more.
Caesalpinia pulcherrima, Red Bird of Paradise, or Mexican Bird of Paradise, watercolor by Diane Daly, © 2013, all rights reserved.
We are hoping to show the widest variety possible of this fascinating and massive botanical plant family, and are coordinating our paintings with the research and educational outreach. Towards that goal, we would like to hear what plants BAGSC members are painting (or have painted) and are planning to submit. We will publish the list, along with any “gaps” and suggestions for plants that would fill those gaps if members are interested in adding those to their submissions. Please send information about your artwork (or artwork you are thinking about) to Diane Daly.
This exhibition will coincide with the Tenth Anniversary of the Leatherby Libraries. In conjunction with the Leatherby Libraries staff, we are planning invitations, brochure handouts, signage and a reception, as well as other possible educational and botanical art programs. We will need lots of volunteers; please let Diane know if you can help.
Important dates to remember:
Submission deadline: January 16, 2015
Acceptance notification: January 23, 2015
Artwork delivery: On or before February 17, 2015
Exhibition set-up: February 17, 2015
Tentative reception date: February 25, 2015, Leatherby Library, 2nd Floor, 5:30 pm
Exhibition end (and take down): March 26, 2015
Download the Entry Form by clicking this link: bagscChapmanLegume15. Have some ideas for a title? Send those to Diane too! (And yes, you may also send poems and lyrics along the lines of the children’s tune “Beans, beans, the musical fruit…”)
Happy painting!
by Deb Shaw
From top to bottom: Rosemary and Company, Series 33 Kolinsky Sable brush, #4; Escoda Reserva Kolinsky Sable Brush, #2; Winsor & Newton, Series 7 Kolinsky Sable Brush, #1. Photo by Deb Shaw.
I’ve been hearing rumors for the last couple of weeks that US Customs has released the Kolinsky brushes that have been locked away during the ban. I now have confirmation (sort of): the brushes that have been held have been released, but the ban is still in effect for future shipments. So, for art stores, it looks like there is a little relief on their long list of back orders, but no significant headway for future shipments.
Here’s what this means for us artists who want to order/buy Kolinsky brushes:
- Check your local and online art supply stores. You may find most standard watercolor brushes are now in stock, but not all brands. For example, Nate, from Dick Blick confirmed that Dick Blick now has the Winsor Newton Series 7 line (except for a couple of sizes, namely #10) in stock, as well as the Winsor Newton Series 7 Miniatures (except for #5). They do not, however, have the Rafael 8404 and 8408 in stock. [NOTE: If you are purchasing anything from Dick Blick, click on the Dick Blick website FROM the ASBA website. The ASBA gets credit and donation support from Dick Blick.]
- You can still purchase Kolinsky brushes online from select vendors in the UK and elsewhere, including Rosemary and Company, L. Cornelissen & Son, and Ken Bromley Art Supplies.
Calling All Brush Reviews
I’ve received a lot of enthusiastic reviews of different brushes that fellow artists have been trying out, including other sables, synthetics, you-name-it. Some have been in direct conflict (“love it” vs. “hate it”) Obviously, how we each use a brush determines how we feel about a particular brand and style.
I’d love to publish a synopsis of all our testing on watercolor brushes (with full credit of course). If you would like to participate, please email me, and be sure to include the following information:
- The name, product number, size(s) and where you purchased the brushes you are reviewing;
- What substrate you paint on: paper (brand name please), vellum, board, etc.;
- How you paint (wet washes, dry brush, etc.);
- Any other helpful information;
- How you want your name listed.
I’ll compile the information and publish the results (provided I get enough information) in early December.
Happy painting!
by Deb Shaw
John Cogley and Kathrine Taylor of Daniel Smith, gave a fascinating presentation on the pigments and processing methods they use to create Daniel Smith paints.
John Cogley, President/CEO and Founder of Daniel Smith, talks over some paint tests with ASBA Conference attendees.
How rocks become pigments
The multiple-step process begins with the Daniel Smith geologist adventuring out all over the world to search for mineral resources. Acquiring material is rife with problems: countries may decide they no longer want to export minerals; borders close; or mines run dry.
Sugilite, rhodonite, serpentine, ryanite, garnet and more—mountains of minerals arrive for processing. Many start out the size of a person’s torso. John explained that they fracture the rock, rather than grind it. His analogy was the difference between table sugar and powdered sugar: fracturing the rock until it is very fine keeps the crystalline structure intact, so it refracts light. Grinding would make the pigments dull and lifeless, like powdered sugar.
The challenge in creating quality pigments is overcoming the electric static of the individual particles, which makes them want to attract and clump together. This natural tendency to agglomerate creates pigment “lumps,” which leave hot and cold spots in the paint application. Multi-stage machine processing enables the pigments to lay in an orderly row, giving maximum refraction and maximum color.
The rocks are squeezed in the first machine until they fracture. Successive machines gently hammer them, and then roll them through balls, until they are the size of grains of rice. From there, they are run through heavy, hardened steel rollers. The hardened steel rollers have a hardness of 7, and some of the rocks have a hardness of 8 or 9; so the massive rollers need to be replaced annually (at least!). Each roller costs upwards of $50,000.00.
Once the pigment is at its final size, the mineral is run through various solutions. Specific gravity separates out the impurities, and the pure pigment is ready to be mixed with gum arabic and packaged.
Daniel Smith only uses medicinal grade gum arabic for binding, as it is consistent in quality.
Each batch of color is tested and carefully recorded at Daniel Smith. Photo by Deb Shaw.
It’s all about the size of the particles
Different minerals are reduced to different sizes, depending on the color desired. For example, French Ultramarine has larger pigment particles than Ultramarine. This means that French Ultramarine particles have more surface area and will reflect more “red” back to the viewer than Ultramarine.
The smoother the pigment and the purer the pigment, the less granulation will occur when applying the paint.
Garnets in their matrix, on top of Daniel Smith Garnet Genuine test page. Photo by Deb Shaw.
Granulation, or reticulation occurs when three or more pigments in a color behave differently when applied to the paper. If you look at a greatly enlarged side view of a sheet of paper, it’s apparent that it isn’t smooth and flat, but has hills and valleys. The pigments in a granulating color will separate out and settle out at different points on the paper, based on the specific gravity or density. The lightest pigment (frequently synthetic pigments) will “float” and stay on the top of the hill. The next heaviest pigment might flow downhill a little further, settling in on the “side” of the hill. The very heaviest pigment will sink all the way to the valley and remain there. The purer the pigment and the smoother the paper, the less granulation there will be.
Synthetic colors, such as the Quinacrodones, are very pure, very smooth, and have exceptional lightfastness. They are used by (and dictated by) car and other industries. In the Quinacrodone family, different colors are created by moving the bonds around in the molecule.
Testing of pigment, showing the original pigment “rock” with the swatch test. Photo by Deb Shaw.
Testing the paint
The Daniel Smith chemist carefully tests each batch of paint. An equal amount of pigment and distilled water (one part pigment to one part distilled water) is mixed and one full brush load is then painted on a sheet of cold pressed watercolor paper. The brush is then fully loaded once more, and stripes are painted on the lower portion of the paper to see each successive reduction in color strength as the paint is used up.
Gifts!
Daniel Smith generously handed out brochures showing their watercolor lines; a “Try It” sheet of 66 dots of watercolor; and nuggets of Turquoise from Arizona. Treasures!
Different pigment and mixing tests on cold pressed paper, and turquoise nuggets from Arizona. Photo by Deb Shaw.
TIPS
If your cap breaks
Call or email Daniel Smith. They’ll send you more, no charge.
If your tube of paint dries up
1) Unfold and open the crimped end; 2) add a little distilled water at a time until you get the desired consistency; 3) if desired, you may also add a little bit of gum arabic; 4) you may also add a tiny drop of glycerin.
If you have any questions/problems with that one tube of paint
There’s a batch number at the bottom. Include that number with your comments or questions and the folks at Daniel Smith will be able to look up that batch and help you out.
Use distilled water
Tap water is pure and safe to drink, but contains chemicals and minerals which may affect the paint and how it behaves. Use distilled water to ensure you have as much control as possible.
by Beth Stone, posted by Deb Shaw
Prairie Milkweed (Asclepias sullivanti). Photo by Beth Stone, © 2014.
Here are just two pictures from a beautiful fall day spent at the Plains Conservation Center. Our most informative and enthusiastic tour guides were Martha Narey and Susan Smith. Martha provided each of us with a booklet including background about the conservation center, plant lists…and several pages of various drawing papers! In addition to the last few wildflowers of the season, we saw a lot of wildlife. There were prairie dogs, rabbits, coyote, pronghorn (similar in appearance to antelope), prairie dogs, an immature bald eagle, a golden eagle, hawks, great horned owls and prairie dogs.
The Plains Conservation Center exists to bring the natural wonder of the prairie into the realm of personal experience by: preserving a remnant of the eastern Colorado High Plains, educating the public about its natural and cultural heritage and nurturing sound conservation and environmental ethics.
Russian Thistle (Salsola australis). Photo by Beth Stone, © 2014.
by Deb Shaw
The presentations from ASBA Grant Recipients is always one of my favorite sessions at the ASBA conference. It’s inspiring to hear the many different ways members reach out into the community using botanical art as a vehicle.
Jan Boyd Haring presents Estelle De Ridders project during the Grants presentation at the ASBA conference. Photo by Deb Shaw.
This year was no different. Moderator Jan Boyd Haring presented for our own BAGSC member Estelle De Ridder. As we know here in Southern California, Estelle’s project is to assist with the creation of reusable plant identification cards featuring illustrations of plant life cycle phases for the top 35 native plant species of the Madrona Marsh Preserve in Torrance, California. [See our previous blog posting about Estelle’s exhibition and opening in December of this year.]
Jody Williams presented her project: extending the reach of ASBA’s “Following in the Bartrams’ Footsteps” exhibition to the St. Francois Mountains of Southeastern Missouri. Jody documented and illustrated the plants listed by the Bartrams in the diverse habitats of the St. Francois Mountains by finding, drawing, painting and lecturing about the plants.
Lisa Coddington went from her home base in New Mexico to teach botanical art workshops to elementary students, K – 6 on the island of Grenada with a support partnership involving the Peak Institute. She overcame teacher wariness and students’ shyness to have a final art exhibition created by enthusiastic students, many of whom hadn’t known about their local plants and fruits, or how they grew.
Marsha Bennett with members of the Southwest Society of Botanical Artists funded a five minute video highlighting their Citizen Scientist project, scientific identification and documentation of the flora of the Phoenix Mountains Preserve, a permanent rotating exhibition of artwork of the flora, and public education outreach.
Thank you all!
by Deb Shaw
Dichelostemma volubile and Madia elegans. Watercolor © Joan Keesey, all rights reserved.
A quick reminder to my original blog post: the California Native Plant Society (CPNS) is holding a botanical art exhibit in conjunction with their Conservation Conference, January 15-17 in San Jose. The entry deadline for submission of artwork is November 1, 2014. They would love to see our artwork there.
Artists are invited to enter original artwork in any two-dimensional medium that reflects the beauty and uniqueness of California flora and adheres to high standards of botanical accuracy. All entries must depict plants indigenous to California.
More information is at the CNPS web site. You may also download the PDF form 2015 Prospectus CNPS Botanical Art Exhibition, or contact Bernard Halliwell.
The Northern California Society of Botanical Artists (NCalSBA) will be helping with the exhibit and coordinating techniques demonstrations at the Conference. Lesley Randall will be coordinating BAGSC members who would like to help our NCalSBA counterparts. More to come on demonstration opportunities later!
by Deb Shaw
BAGSC member Lisa Pompelli will be teaching a botanical art class about carnivorous plants at The Huntington during the month of November:
Nepenthe, watercolor by Lisa Pompelli, © 2014, all rights reserved.
Botanical Watercolors: Carnivorous Plants
Saturdays, November 1 – November 15, 2014
9 a.m. – 3 p.m.
Members: $245. Non-Members: $275.
Explore the unusual world of sarracenias, nepenthes, sundews, and other carnivorous plants while honing your botanical watercolor skills. Prior drawing experience recommended. Register online with Brown Paper Tickets, or call 800-838-3006. A supply list will be sent upon registration.
The Huntington Library, Art Collections, and Botanical Gardens is located at:
1151 Oxford Road
San Marino, CA 91108
by Gayle Uyehara, posted by Deb Shaw
Carol Govan delivered a fast-paced, exciting lecture about botany. Photo by Gayle Uyehara.
Carol Govan’s Thursday “Wow, Botany Is Exciting” workshop really was that, WOW!
Carol contacted the class participants a few weeks earlier and sent us a very informative email and handout with all the technical terms we would learn so we wouldn’t have to stop and look them up during class. She also told us to relax but hang on tight because the workshop was structured from her 8-week course at Wellesley College Botanic Gardens. In three hours we learned the parts of a plant and their function in a humorous, informative manner that only Carol can deliver.
After we learned the names of the plant parts, we quickly sketched the specimen before us and labeled them. “Quick” being the emphasis and it was amazing how many things we had captured in our short observation. What a treat this class was!
Learning the plant parts. Photo by Gayle Uyehara.
Carol’s botany workshop built on this newbie’s vocabulary in a manner that will allow me to pick up a book and know what to look for in the field. She pointed out several older reference books because of their descriptive words of the plant rather than their non-visual clues like DNA and chemical properties.
Toward the end of class, Carol demonstrated how she uses sketch paper, hard pencil and grid frame to capture a quick but accurate gesture composition of a plant; keeping in mind the negative spaces she creates. The grid was only a few marks on paper and frame but gave her a visual clue about placement on the paper. From there she does a quick contour drawing which she will work with the rest of the time—while making any corrections to her gesture drawing. The color she adds as part of her sketch is made from a three-color palette made up of the primaries. She mixes up her watercolor swatch on a white plate to include the shadow and highlights.
Carol finished up this delightful workshop by telling us how she uses her sketches to create a composition and showed us examples of her finished pieces.
Let me mention again what a treat this class was!
I am sure that I will think of her many times as I continue on my botanical art journey. Thank you Carol!
by Beth Stone, posted by Deb Shaw
Laurence Pierson demonstrating her beautiful egg tempera technique. The camera/light in the foreground is the one mentioned in the article. Photo by Beth Stone.
At the Denver Botanic Gardens, Laurence Pierson demonstrated egg tempera on gesso panel. She mixes dry pigment with water using a colour shaper, adds a bit of alcohol if the particular pigment requires it to dissolve, and mixes in a bit of egg yolk.
Laurence’s background is in painting icons, typically on wood panel prepared with gesso and often including gold leaf. She applies her skill with tempera to botanical subjects with beautiful results!
The camera used in this photo seemed particularly effective for teaching, see the Ladibug DC192 on http://www.lumens.com.tw/product_1.php?big_id=1
Ladibug lamp detail. Photo by Beth Stone.
Iris painting in egg tempera by Laurence Peirson. Photo by Beth Stone.
Laurence Pierson’s palette looks like a jewel box. Photo by Beth Stone.
Laurence Peirson mixing egg tempera. Photo by Beth Stone.
by Deb Shaw
Some of our BAGSC members are lucky to stay for the post-conference workshops, but many of the rest of us have gotten home. We had a great response to our “Live from the Conference” postings; many sent emails letting us know how much they enjoyed the posts. I’m sorry I was struggling with a technology meltdown and couldn’t get all of them up sooner. I believe I now have the technology (mostly) behaving, and will get things posted as quickly as possible.
![[Brush holder] The Rocky Mountain Chapter made (yes, HANDMADE) pine brush holders for each of the conference attendees. Photo is of my new brush holder, happily ensconced in its new home on my work table. Photo by Deb Shaw.](https://dbshaw.files.wordpress.com/2014/10/brushholderfront.jpg)
[Brush holder] The Rocky Mountain Chapter made (yes, HANDMADE) pine brush holders for each of the conference attendees. Photo is of my new brush holder, happily ensconced in its new home on my work table. Photo by Deb Shaw.
Thank you to the Rocky Mountain Society of Botanical Artists and ASBA for all your hard work. And thank you to the roving BAGSC reporters who sent in stories and photos. If you have any more, keep ’em coming and I’ll get them posted. For readers; lots more to come.
See you next year at the Weird, Wild & Wonderful Symposium at the Huntington in the Summer, and at the ASBA Annual Meeting and Conference in Miami in October.
Happy painting!
![[Brush holder back] Susan Fisher explained that the wood came from pine trees harvested after being killed by Mountain Pine Beetles (Dendroctonus ponderosae), native to the forests of western North America. The blue color of the wood is the result of staining from the beetle infestation. Libby Kyer designed the logo on the back, which was also on the water bottles donated by Libby and her husband. Photo by Deb Shaw.](https://dbshaw.files.wordpress.com/2014/10/brushholderback.jpg)
[Brush holder back] Susan Fisher explained that the wood came from pine trees harvested after being killed by Mountain Pine Beetles (Dendroctonus ponderosae), native to the forests of western North America. The blue color of the wood is the result of staining from the beetle infestation. Libby Kyer designed the logo on the back, which was also on the water bottles donated by Libby and her husband. Photo by Deb Shaw.
by Deb Shaw
Tania Marien’s James White Award
The ASBA announced their annual awards last night at the closing banquet. Tania Marien was presented with the James White Service Award for her dedication to botanical art, in recognition of her distinguished support of botanical art.
Lesley Randall’s ASBA Award for Scientific Botanical Illustration
Lesley Randall was presented with the ASBA Scientific Illustrator Award for Excellence in Scientific Botanical Art, in recognition of her outstanding achievements as a scientific illustrator.
George Olsen was presented with the ASBA Diane Bouchier Artist Award for Excellence in Botanical Art, in recognition of his outstanding acheivements as a botanical artist.
Unfortunately, the three award winners were not present to receive their awards in person. When Tania and Lesley’s names were announced, however, the BAGSC table cheered loud enought to hear back in Southern California. Congratulations to the award winners for richly deserved recognition!!
by Beth Stone, posted by Deb Shaw
The Techniques Showcase featured three artists covering a very broad range of approaches: Hillary Parker, Ann Swan, Kelly Leahy Radding.
Hillary Parker shared her artistic problem-solving approach to very large format botanical watercolors which most of us would surely consider impossible! First was a driftwood commission on 40 x 60 inch, 300 lb cold press paper. The second was a 9 foot long (!) watercolor of a stone wall with a foreground of woodland plant silhouettes worked in masking fluid. Can you imagine fitting such a massive work in your studio? Then consider how you would maneuver yourself and your paints around to work on it!
Ann Swan completed a kiwi botanical in front of our eyes as just a portion of her wonderful segment of the Techniques Showcase. The seemingly magical techniques Ann demonstrated included: colored pencil layering strategies; exploiting colors that resist adhesion of subsequent layers (for example, creating veination); use of alcohol-based solvent or baby oil (actually not oil, but dilute paraffin) to blend and spread color; and embossing to create fine hairs for kiwi and pussy willows.
I’m told Ann’s blog is one to watch. She posted photos of the Chihuly glass sculpture exhibit currently at the Denver Botanic Gardens. http://annswan.wordpress.com
Finally Kelly Leahy Radding demonstrated the technique she used to paint the beautiful water lily she entered in the show’s Small Works exhibit. The water lily is painted with gouache on a dramatic black background. Kelley demonstrated her painting process with gourds. She shared a tip regarding both zinc white and the warmer titanium white. Both dry with a slight blue cast which can be counteracted by mixing in just a touch of yellow.
As a special additional treat to complete the Showcase, John Cogley, founder, President and CEO of Daniel Smith, spoke on the manufacture of pigment. The process involves fracturing/cleaving the crystalline materials rather than grinding them. It was great to see the actual mineral samples John brought including a beautiful, huge, piece of Lapis. John graciously answered audience questions: explaining that his company bought out all the Quinacridone close-out stock, so we will always be able to buy a consistent Quinacridone Gold; that we shouldn’t be concerned if Gum Arabic binder oozes from a newly opened tube, it’s just excess that rose to the top; and we should use distilled water in our painting work rather than introduce tap water impurities. Deb Shaw went to John’s lecture, and will include pictures in the next posting.
by Beth Stone, posted by Deb Shaw
Jesse Meyer, founder of Pergamena, the parchment production extension of his family’s centuries-old tanning and leather business, gave a fascinating talk on the Story of Vellum. Check out their web site at pergamena.net for history, process and product information. TV’s Mike Rowe brought his Dirty Jobs crew to Pergamena for not one but 2 episodes, see YouTube.
What a treat conference goers had today with the opportunity to leaf through and select vellum sheets for purchase…and with show discount prices!
BAGSC News 