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by Deb Shaw
There is an imminent deadline this week, Thursday, October 1, 2015, for artists (and the public) to make “reply comments” to the Copyright Office regarding the return of Orphan Works legislation.
If you are concerned your ability as an artist to make a living and retain copyright ownership of your art, it is important to understand the proposed changes to copyright law. More than 2600 letters were written and filed during the initial comment period for the proposed changes—the majority by artists concerned about or against the proposed changes to copyright. These are the final two days to add your voice.
The following is from the Illustrators’ Partnership: read some of the letters written or write a first letter for yourself (in case you missed the initial opportunity), or comment on points made by others. It is important to become informed and participate.
_______
From the Illustrators Partnership:
Brad Holland and Cynthia Turner for the Board of the Illustrators’ Partnership
We want to thank all of you who wrote to the Copyright Office several weeks ago regarding the return of Orphan Works legislation. The Copyright Office received nearly 2,600 letters, an unprecedented response.
Nearly all are from artists protesting the draft legislation proposed to Congress in June.
To put our response in context, orphan works legislation has been based on fewer than 215 letters sent to the Copyright Office in 2005. That means our initial response trumped those total comments by a factor of 10.
The letters have been posted here: http://copyright.gov/policy/visualworks/comments/
You may find accessing the full set of comments in this PDF a bit of a challenge. See these instructions if you have problems.
Now the next step will be to write “reply comments.” We hope everyone will take the opportunity to write again.
A “reply comment” can take any form you’d like. We’d suggest 1 of 2 ways:
1. Take one or more comments you agree with and say that you agree.
2. Take one or more comments you disagree with and explain why you disagree.
We invite you to consider endorsing the letter submitted by the Illustrators Partnership. It’s key sentence reads:
“Because Article 1, Section 8 of the Constitution grants authors the exclusive rights to their work, it is our understanding that those rights cannot be abridged without a constitutional amendment.”
The full letter can be found in Document #1: Direct Initial Comments. It’s listed alphabetically under Illustrators Partnership.
Reply Comments are due October 1, 2015. American and foreign artists can both submit their letters online here: http://copyright.gov/policy/visualworks/comment-form/
Comments must be submitted using the comment submission form or they will not be considered part of the public record.
Please be advised:
“The Office intends to post the written comments and documentary evidence on its website in the form in which they are received. Parties should keep in mind that any private, confidential, or personally identifiable information appearing in their comment will be accessible to the public.”
Special note to foreign artists: If you are submitting from outside the US, under “State,” please scroll down to the bottom and select “Non U.S.A. Location.”
For those who didn’t write the first time, please don’t miss the opportunity to do so now. Please post or forward this artist alert to any interested party.
by Deb Shaw
Damselfly, Carnation, Firebug, Caterpillar, Carnelian Cherry, and Centipede; Joris Hoefnagel (Flemish / Hungarian, 1542 – 1600), and Georg Bocskay (Hungarian, died 1575); Vienna, Austria; 1561 – 1562; illumination added 1591 – 1596; Watercolors, gold and silver paint, and ink on parchment; Leaf: 16.6 x 12.4 cm (6 9/16 x 4 7/8 in.); Ms. 20, fol. 68. Digital image courtesy of the Getty’s Open Content Program.
The Getty has a treasure in its collections, prized by botanical artists all over the world: the Mira Calligraphiae Monumenta by Georg Bocskay and Joris Hoefnagel. Commissioned in 1560 by the Holy Roman Emperor Ferdinand I, Georg Bocskay, court scribe, displayed his astonishing calligraphy skills in this small book. Thirty years after he completed the volume, Joris Hoefnagel, the court illuminator to Ferdinand’s successor, the Holy Roman Emperor Rudolf II, painted incredible portraits of flowers, insects, snails, seeds, frogs, snakes and more in the spaces on each page.
ASBA member Denise Walser-Kolar was inspired by Hoefnagel’s work after seeing the modern reproduction, Nature Illuminated: Flora and Fauna from the Court of Emperor Rudolf II in a bookstore. She is working on a 25-painting series, Hoefnagel-Inspired. To see more of her work, visit the article in the Getty Iris, the online magazine by the Getty. To order your own copy of Nature Illuminated, visit the Getty Store.
Hoefnagel-Inspired #4 2014, Denise Walser-Kolar. Watercolor and gouache on calfskin vellum, 4 x 6 in. Courtesy of and © Denise Walser-Kolar.
by Gilly Shaeffer, posted by Deb Shaw
Asuka Hishiki demonstrating during the “Weird, Wild & Wonderful” Symposium at The Huntington, July 2015. Photo by Gilly Shaeffer, © 2015.
During the recent “Weird, Wild & Wonderful” Symposium at The Huntington, I watched Asuka Hishiki as she demonstrated how she would paint a segment of an heirloom tomato skin. Here are my impressions of the way she went about developing this small sample of the tomato skin with paint.
- Asuka says every time she approaches her subject it is new for her.
- Asuka starts sketches on tracing paper.
- She uses a wood pencil in a pencil holder which she sharpens with a box cutter.
- She goes over her pencil lines with a lighter color paint or yellow ochre. So she will have thin lines in watercolor for her drawing.
- At this point she erases any pencil lines.
- She covers the entire form with a Chinese white wash. (The Chinese white that she likes is the Holbein brand.) She says one should stay very light when applying the first layer of this white paint. This Chinese white wash acts as a protection for the paper. Much of it gets taken off during the removal of the masking fluid (to be mentioned later).
- Asuka will add more Chinese white paint on the places where she wants the paint to bleed to create soft color transitions. She also mentions the importance of keeping harmony in the colors used as the form develops.
Asuka Hishiki masking fluid technique. Photo by Gilly Shaeffer, © 2015.
- She mixes three colors together in a small amount to be used to develop the form using the dry brush technique. She uses Interlon brand brush #3/0 for her dry brush work.
- In preparing to use masking fluid to prevent certain areas of the paper from getting painted, she would prime the brush to be used with liquid soap. The soap helps to keep the masking fluid brush in good shape for future use. This brush is used exclusively for masking fluid.
- She will use the masking fluid to hold the places that she does not want to get painted—in this case the place where a leaf would be (which looks like a skinny wiggly line in the photos), where the highlights would be and where imperfections would be found on the tomato skin.
Asuka Hishiki masking fluid technique. Photo by Gilly Shaeffer, © 2015.
- Asuka stipples on the masking fluid with a very skinny brush on the section that she has begun to paint.
- She uses tissue to blot any extra paint from her paper.
- Then she adds a second layer of masking fluid. So, this layer of masking fluid dots will have more tone than the first layer of dots that she applied that prevent any paint from getting through to the paper.
- She always makes sure that the paint and the masking fluid that she has applied are absolutely dry before proceeding.
- She says that you can lift paint more easily when you have first applied a Chinese white wash to the paper.
- She applies a layer of Yellow Ochre wash.
- She continues to develop the form through her dry brush technique. At this point the masking fluid remains on the painted area.
Asuka Hishiki masking fluid technique. Photo by Gilly Shaeffer, © 2015.
- Asuka uses Winsor Newton Series 7 brushes, #5 and #3 for the colored washes.
- She adds a third layer of masking fluid dots.
- With WN Series 7 #5 brush, she puts a colored wash on the section that she had previously dry brushed. This makes any lines from dry brushing disappear.
- Now she lifts the masking fluid dots. When she does this she is also lifting the Chinese white paint that was applied to the paper at the very start. The white of the paper now shows through in the places that had masking fluid on them.
- She decides that she wants to apply another layer (this would be the fourth layer) of masking fluid dots. This will make the dots appear lighter and less visible than the layers applied earlier.
- Next more dry brushing with a deeper color paint. Some stippling is used. Then some more wet strokes (colored washes) to further the development of the form.
- When she removes the fourth layer of masking fluid, it is easy to see the section of the heirloom tomato skin developing on the paper with its highlights, its shiny smooth skin, its roundness, its imperfections and its rich colors of orange, red, and purple.
by Clara Josephs, posted by Deb Shaw
Are you looking for a tree to portray for the The Third New York Botanical Garden Triennial, “Out of the Woods”? We have a wonderful opportunity to participate in a guided tour of the unique tree collection of the Los Angeles County Arboretum and Botanic Garden, arranged just for pre-registered BAGSC members.
On the morning of Saturday, October 17, Jim Henrich, LA Arboretum Curator of Living Collections will take 20 pre-registered BAGSC members on a one hour, vigorous walk through the Arboretum to see and learn about some of their very special trees. Jim will explain what makes these trees stand out, their history and uses. After the tour you will be free to sketch and take pictures or just enjoy the Arboretum and Peacock café.
So that everyone can hear the discussion, this tour is limited to 20 members. To reserve a spot, email Clara Josephs. Confirmation and additional details will be sent to you by return email.
For more details about the exhibit “Out of the Woods: Celebrating Trees in Public Gardens”, read the Call for Entries in the Exhibitions section of the ASBA website.
The Los Angeles County Arboretum and Botanic Garden:
626.821.3222
301 North Baldwin Ave, Arcadia, CA 91007
by Deb Shaw
Focus on Nature XIV (FON XIV) has announced they will open in November, 2016 at the Roger Tory Peterson Institute (RTPI) in Jamestown, New York. It is an exciting collaboration between two institutions dedicated to continuing the tradition of natural history illustration. RTPI is a beautiful facility with exceptional exhibition space.
The entry deadline for FON XIV will be March 16, 2016. They will be posting the on-line entry form on the website (and I will hopefully receive an email alert as well, so I can post it to the BAGSC blog). Please check the FON website often as they are in the process of updating.
BAGSC and ASBA members have been well represented through the years in the FON exhibitions. Visit the FON website to view artwork from past exhibitions and award winners.
Stay tuned!
by Lesley Randall, posted by Deb Shaw
Aristolochia gigantea, ink on paper, Lesley Randall, © 2013, all rights reserved.
Lesley Randall will be teaching a two-day workshop on pen and ink for botanical illustration in northern California. Sponsored by the UC Davis Center for Plant Diversity, this workshop is for students of all levels.
Saturday, October 24 and Sunday, October 25, 2015
9:00 am to 4:00 pm
3075 Sciences Laboratory Building
UC Davis
The cost is $170.00 for Davis Botanical Society and ASBA members; $190.00 for non-members. Make checks payable to Lesley Randall and send to her address. Questions? Contact Lesley via email.
Botanical illustration is an art with a long tradition. Although accuracy is the top priority, pen and ink botanical illustrations are art pieces of elegant beauty. Lesley will cover the basics from sketching to transfer and inking techniques. Types of papers and pens will also be discussed. All levels of experience are welcome! Students are encouraged to bring completed sketches so they can focus on inking techniques.
Lesley has been an illustrator for 27 years. Her published work has appeared in The Flora of Yosemite National Park, The Jepson Manual, Invasive Plants of California’s Wildlands and numerous scientific journals. She has exhibited her work in Australia, the United Kingdom, New York City and California.
by Lori Vreeke, posted by Deb Shaw
Front of “Zoo in Bloom” invitation postcard, with artwork by Lori Vreeke.
The Santa Barbara Zoo is advertising the opening reception and exhibition for the “Zoo in Bloom” exhibition. The show opening is October 3, 2015, from 10:00am – 5:00pm on Saturday, October 3, 2015, in the Volentine Family Gallery.
The Volentine Family Gallery is located inside the Discovery Pavilion. Zoo admission rates apply, and drinks and snacks will be available for purchase.
BAGSC members will be demonstrating and answering questions all day. Download the PDF invitation postcard by clicking on this link: ZooArtShowInvitation_2015.
Also happening on October 3rd at the Zoo: Member Morning, from 8 am – 10 am; and ZOOs Line is it Anyway?
The Santa Barbara Zoo is located at:
500 Ninos Drive
Santa Barbara, CA 93103
(805) 962-5339 main
(805) 962-6310 info line
sbzoo.org
by Cynthia Jackson, posted by Deb Shaw
From the New York Times article post: Hardwicke’s woolly bat, flying into a pitcher plant, Nepenthes hemsleyana, where it roosts. The plant attracts the bats to feed on their guano. It does not eat the bats. Photo credit: Ch’ien C.
BAGSC member Cynthia Jackson forwarded a link to a New York Times article, Plants that are Predators, posted online September 14, 2015.
The article highlights numerous carnivorous plants, including the Nepenthe pictured here.
During the “Weird, Wild & Wonderful” Symposium, Mieko Ishikawa gave a workshop on painting Nepenthes, and also discussed them in her lunchtime keynote about painting the plants of Borneo. She showed photographs of one Nepenthe that serves as a toilet for a rodent.
More stories and photos about the “Weird, Wild & Wonderful” Symposium will be posted soon.
Thank you Cynthia for the link!
![Mummy Brown* and Other Historical Colors, Arranged by Date (More or Less) from Prehistory to Almost-Present, Veritable Hokum, by Korwin Briggs, http://www.veritablehokum.com/ [Click image for larger view.] Used with permission as stated in terms under "About", © 2015.](https://dbshaw.files.wordpress.com/2015/09/pigments.jpg?w=304&h=1024)
Mummy Brown* and Other Historical Colors, Arranged by Date (More or Less) from Prehistory to Almost-Present, Veritable Hokum, by Korwin Briggs, http://www.veritablehokum.com/ [Click image for larger view.] Used with permission as stated in terms under “About”, in the Veritable Hokum blog. © 2015.
Korwin Briggs is an illustrator who publishes the online comic blog Veritable Hokum (click the name to go to the blog). As he writes in his “About” section, “Veritable Hokum is a comic about mostly history, maybe science, and possibly some other stuff too.”
This week’s delightful post is a comic illustration and description about the history of pigments, entitled “Mummy Brown* and Other Historical Colors, Arranged by Date (More or Less) from Prehistory to Almost-Present.” Click on the link above to read the entire article as well as enjoy the graphic description of some of our favorite pigments. The history doesn’t go all the way to the modern Quinacridones, but contains fun facts and history in a quick read format with a great sense of humor.
Enjoy!
posted by Deb Shaw
BAGSC member Rita Hopper has two botanical pieces in the Tustin Art League exhibition at the Tustin Senior Center.
The show is open on weekdays, from 9 am – 4 pm, and will run from September 10 through October 1, 2015. There will be an opening reception on Friday, September 18th from 6 – 8 pm.
The Tustin Senior Center is located at:
200 South “C” Street, Tustin, California 714.573.3340.
The Tustin Art League consists of visual artists and is a program of the Tustin Area Council for Fine Arts (TACFA). The organization’s mission is to provide a venue that contributes to the growth of each member, and to enhance the visual arts within the community to enrich and energize citizens of all ages.
Congrats Rita!
by Deb Shaw
Gilly Shaeffer, Strelitzia nicolai, watercolor on paper © 2015, all rights reserved.
The Santa Barbara Zoo will be hosting an opening reception for the “Zoo in Bloom” exhibition, in conjunction with the gala celebrating Santa Barbara Zoo Members’ Day. The celebration runs from 9:00am – 5:00pm on Saturday, October 3, 2015.
BAGSC artists will be demonstrating throughout the day in the gardens and will staff an information table to answer any questions about our exhibit and about BAGSC and ASBA.
You do not need to be in the exhibition to volunteer — the more BAGSC members the merrier! Please let Lori Vreeke know when you would like to volunteer and what you would like to do.
Sign up for as many time slots as you would like. Want to carpool to Santa Barbara? Call or email Lori to let her know and to find out who else is coming up from your area.
The Santa Barbara Zoo is located at:
500 Ninos Drive
Santa Barbara, CA 93103
(805) 962-5339 main
(805) 962-6310 info line
zooinfo@sbzoo.org
by Deb Shaw
Medicinal plant map of the United States of America, David Rumsey Map Collection, 1932. Author: National Wholesale Druggists’ Association, Edwin Newcomb. Publisher: Einson-Freeman Co., Inc., New York.
The year 1932 was a year of transition for the pharmacy industry. Historically, medicines had been compounded from plants. Botanical gardens and botanical art had originated with physicians describing diseases and the plants and other natural compounds used to treat and cure them. In the 1930’s however, pharmaceutical companies began to explore new synthetic drugs in the lab with increasing success.
The National Wholesale Druggists’ Association responded by producing a map of medicinal plants and highlighting their knowledge and skills in using them. Botanical illustrations of medicinal plants are shown as a border for the map, as well as in each of the States (minus Alaska and Hawaii) where they grow or are cultivated. Each illustration is accompanied with the Latin name and a description of the plant’s medicinal use.
The text in the lower right corner explains:
“It is important that the public does not lose sight of the fact that the professions of Pharmacy, Medicine, and Dentistry, each give an essential service, which must not be impaired or destroyed by commercial trends. The public and the professions will suffer equally if these services are allowed to deteriorate.
In pharmacy the public should understand something of the breadth of knowledge required of the pharmacist. Few people realize the extent to which plants and minerals enter into the practice of pharmacy, and how vital they are to the maintenance of public health. It has been stated that upwards of 70 per cent of all medicines employed are the products of plants. The more important vegetable drugs are obtained from about two hundred different plants which grow natively in different parts of the world. …”
More information is available in the Slate article by Rebecca Onion, “A Depression-Era Medicinal Plant Map of the United States.” The map is available for download (including in a high-resolution format) and prints are available for sale on the David Rumsey Map Collection site.
Thank you to the GNSI member that posted the link to this map, and my apologies for not being able to find the original post so I could locate your name and give you proper credit!
by Deb Shaw
File photo of the Bomb Squad, reproduced from the “LAObserved Native Intelligence” article, “A visit from the Bomb Squad,” by Nancy Boyarsky, published online Septemer 2, 2015, 12:33 am. See link in this article. © 2015 LAObserved.
BAGSC member Cynthia Jackson, sent an email the other day, asking “is this one of us?” with a link to an article in LAObserved: Native Intelligence, Observations by LA Observed authors and other Angelenos.
Titled, “A visit from the Bomb Squad,” (click on the title to read the article), I didn’t even glance at the byline and started reading right away. When I read the reference to botanical art at the end of the article, (no, I’m not going to give it away — you have to read the article), I scrolled quickly back to the top. Sure enough, it was written by Nancy Boyarsky!
For those of you who are newer BAGSC members, Nancy was one of our founding members, and served on the Board for many years handling Public Relations and Communications for BAGSC with her wonderful writing skills.
Cover of “The Swap: A Mystery” by Nancy Boyarsky, sold on Amazon.com
Nancy responded to my email that since leaving BAGSC, she’s written two mystery novels, now available on Amazon: The Swap: A Mystery and The Bequest: A Mystery, and is now working on her third book.
And yes, Nancy sent the article to the unnamed botanical artist responsible, and she and her family thought it was very funny.
Thank you Cynthia, and congrats Nancy!
Cover of “The Bequest: A Mystery” by Nancy Boyarsky, sold on Amazon.com
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