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by Ted Tegart, LA Arboretum, posted by Deb Shaw
If you love plants and like to draw, this workshop on botanical drawing is custom-made for you! Join instructor Cristina Baltayian for a three day workshop on drawing autumn leaves in colored pencil on wood.
Drawing is a fundamental skill in botanical art and its importance should never be underestimated. In these three days, you will:
- Hone your observation skills
- Be guided through sketching and line drawing exercises
- Discover how to arrange shapes on a page and make a pleasing composition
- Translate a 3-dimensional subject onto a 2-dimensional surface
This exploration in colored pencil on wood will show you how to start and finish a botanical portrait of a leaf. If your curiosity is piqued and you wish to investigate further, please join the on-going Tuesday Botanical Art classes from 10am-2pm.
Three Day Workshop:
Thursday November 12, Friday November 13, Saturday November 14
10am-3pm (includes lunch break)
$255 Arboretum members for workshop
$275 non-members for workshop (Includes Arboretum Admission)
You may bring your lunch or purchase it at the Peacock Café
ALL LEVELS WELCOME. SUPPLIES WILL BE PROVIDED AT THE START OF THE CLASS, although students may bring their own colored pencils if desired.
Pre-registration required: please call 626.821.4623.
Cristina Baltayian holds a Botanical Illustration Certificate from Cornell University. She has a background in drawing (graphite, charcoal, pen and ink), two-dimensional design, watercolor, and colored pencils. Her work is in public and private venues, and has been shown at Filoli, Los Angeles County Arboretum and Botanic Garden, Chapman University, Virginia Robinson Garden and in an adjunct Botanical Artists Guild of Southern California group exhibition presented by the botanical gardens at The Huntington Library, Art Collections and Gardens. She is a member of the American Society of Botanical Artists, and The Botanical Artists Guild of Southern California.
by Deb Shaw
Icon for the “Weird, Wild & Wonderful” Symposium keynotes, available for free from iTunes U > The Huntington.
The keynote lectures from the “Weird, Wild & Wonderful” Symposium have been made available in audio format by The Huntington Library, Art Collections and Botanical Gardens for free, via iTunes U > The Huntington. To listen, go to: https://itunes.apple.com/us/institution/the-huntington/id416672109. This link will take you to the iTunes U where you can hear all of the keynote talks from the symposium unedited, including:
- Jim Folsom’s opening remarks
- Dr. Jodie Holt, “Do you ‘see’ plants? Using Art and Technology to Teach Science”
- Mieko Ishikawa, “Painting the Wonder Plants of Borneo”
- Dr. Phillip Cribb, “The Art of Orchids”
- Dr. Alain Touwaide, “Plants, Artists, Languages: A Sense of Time and Places”
If you are having trouble connecting with the link above, go to The Huntington’s website, scroll down to the bottom of the page to the social media icons on the lower right side, and click on the iTunes U icon (the music notes). While there, take a look around at all of the free lectures offered by The Huntington.
The “Weird, Wild & Wonderful” Symposium was held this summer in conjunction with the southern California showing of Weird, Wild & Wonderful: The New York Botanical Garden Second Triennial Exhibition, Botanical Illustrations of Remarkable Plants, a traveling exhibition curated by the American Society of Botanical Artists.
Reposted in its entirety by Deb Shaw from an article from the Illustrators Partnership. The Illustrators Partnership has posted a request with the following article to “Please post or forward this artist alert to any interested party.”
From the Illustrators Partnership: Google Prevails in Copyright Lawsuit
Next Stop: Supreme Court
How will outcome affect artists?
October 16, 2015
Four years ago the Google Book Search Settlement was thrown out of court on the grounds that neither party to the agreement had legal standing to carve up the exclusive rights of the world’s authors. In his ruling, Judge Denny Chin wrote that it was for Congress, not the courts, to decide on the future of copyright law.
Since then, however, the courts have been chipping away at copyright, expanding the scope of what’s called “fair use,” that is, how much someone can use of your work without your permission.
Today an appeals court ruled in Google’s favor, according to an online article in Fortune.
“It’s finally over. An appeals court confirmed that Google’s scanning of more than 20 million books counts as fair use.
“It’s been ten years since authors first sued Google over the decision to scan millions of books, but now an appeals court appears to have confirmed once and for all the scanning did not violate copyright law.”
To be clear, this does NOT directly affect the new orphan works legislation currently being considered by Congress. But it’s a safe bet that corporation lobbyists will use it to argue that the decision paves the way for it:
“Friday’s appeals court ruling is significant because it clears the legal uncertainty that has been hanging over Google for a decade, and also because it provides more guidance on what qualifies as fair use in a digital age.
“In particular, the court states on several occasions how copyright law represents a balance between authors and the public, and points out how many forms of fair use are partly commercial.”
[Emphasis added.]
The Authors Guild has announced that it plans to appeal to the Supreme Court:
“We are disheartened that the court was unable to comprehend the grave impact that this decision, if left standing, could have on copyright incentives and, ultimately, our literary heritage. We trust that the Supreme Court will see fit to correct the Second Circuit’s reductive understanding of fair use, and to recognize Google’s seizure of property as a serious threat to writers and their livelihoods, one which will affect the depth, resilience and vitality of our intellectual culture.”
Thanks to all of you who wrote the Copyright Office this summer, and let’s all buckle our seat belts. We could be in for a bumpy ride.
Letters submitted by Illustrators Partnership and ASIP can be read on our Orphan Works Blog:
by Deb Shaw
Pincushion Protea, watercolor and colored pencil on paper, © 2015 Estelle DeRidder, all rights reserved.
The American Society of Botanical Artists and The Horticultural Society of New York announce the opening of the 18th Annual International at a new venue: the New York Design Center at a new venue. The ASBA’s longest-running collaboration, this prestigious exhibition will be held for the first time in mid-town Manhattan.
The opening reception will be on Wednesday, November 4, 2105 from 6 pm – 8 pm. Awards will be announced at 7 pm.
The evening’s events will begin with a book talk by author Amy Goldman at 5 pm. Limited seating is available. To attend Amy Goldman’s talk, an RSVP is required: scourtade@thehort.org. No RSVP is required to attend the opening reception.
As always, the catalog of the exhibition is available through ArtPlantae, starting November 4th.
BAGSC artists accepted into the exhibition include: Margaret Best, Melanie Campbell-Carter, Estelle DeRidder, Akiko Enokido, Asuka Hishiki, Joan Keesey, and Lesley Randall. Jurors for the exhibition were: Susan Fraser, Director, Mertz Library, The New York Botanical Garden; David Horak, Curator of Orchids and Aquatic House, Brooklyn Botanic Garden; Catherine Watters; Botanical Artist and ASBA Board Member.
The New York Design Center is located at: 200 Lexington Ave. New York 10016, (212) 679-9500.
by Clara Josephs, posted by Deb Shaw
Jim Henrich, Curator of Living Collections, Los Angeles Arboretum, lectures about their tree collection. Photo by Clara Josephs, © 2015, all rights reserved.
On Saturday October 11, 14 BAGSC members were treated to an hour and a half walking tour of a portion of the exquisite tree collection of the Los Angeles County Arboretum and Botanic Garden. Our gracious guide, Jim Henrich, Curator of Living Collections, enthralled attendees with detailed descriptions of the life cycle and history of about 30 unique or rare trees in the Arboretum’s extensive collection.
The tree collection was begun in the 1950s, and includes some specimens that are grown outdoors in the US only at the Arboretum. BAGSC members used Jim’s handout of significant trees to take detailed notes and reminders about tree locations. After a great morning, the group enjoyed lunch on the patio of the Peacock Café.
Other Tree Walks are planned to help members prepare paintings for submission to the New York Botanic Garden’s Triennial, “Out of the Woods.” Read the call for entries on ASBA’s website.
A beautiful day at the Arboretum. Photo by Beth Stone, © 2015, all rights reserved.
by Estelle DeRidder, posted by Deb Shaw
Nevin’s Barberry with Bluebird, by Estelle DeRidder, © 2015, all rights reserved.
As an extension of the ‘Flashcard Project’ which was started through a grant from the ASBA to illustrate the plants of the Madrona Marsh in Torrance, California, Estelle DeRidder has illustrated twelve more species, which are now on exhibit.
The exhibit is open to the public until December 3, 2015, with an opening reception on Sunday, November 15 from 1:00 – 3:00pm. Dessert and coffee will be served.
The Madrona Marsh is located at 3201 Plaza Del Amo, Torrance, California 90503, (310-782-3989) and is open Tuesday through Thursday 10:00am – 5:00pm.
Congrats Estelle!
by Alyse Ochniak, posted by Deb Shaw
Jim Folsom lecturing during the “Weird, Wild & Wonderful Symposium.” Photo by Clara Josephs, © 2015, all rights reserved.
More looking forward to the next New York Botanical Garden Triennial, “Out of the Woods”:
Jim Folsom, Marge and Sherm Telleen Director of the Botanical Gardens, will be teaching two workshops about the structure of trees at The Huntington Library, Art Collections, and Botanical Gardens, on:
October 24, 2015 (limit 30 students) in the Brody Teaching Lab, from 8:30 am – 12:00 pm, and
January 17, 2016 (limit 20 students) in the Engemann Applied Tech Lab, from 8:30 am – 12:00 pm
Cost is $10.00 each session, payable at the workshop. Reservations are required, however; please RSVP to Alyse Ochniak. Reservations are first come, first served.
Come to one or both! Each session will be a 3-hour demonstration/workshop. Students will use dissection and compound microscopes to examine tree architecture, growth patterns, and structural characteristics using fresh and prepared material (provided by the Gardens). Discussion will include characteristics and terminology used to describe trees, and most useful in identification. Instruction will give particular attention to natural growth patterns and specific details of tree morphology and anatomy that would impact veracity of depiction.
Workshops only require pencil/pen and sketchbooks for taking notes, although artists are welcome to bring whatever materials they would like to use. Attendees are welcome to stay and draw in the Gardens after the class.
For more information about the New York Botanical Garden Triennial “Out of the Woods, Celebrating Trees in Public Places” visit the ASBA website.
The Huntington is located at: 1151 Oxford Road, San Marino, California, 91108.
About the instructor:
Jim Folsom, PhD., rides the demographic peak of baby boomers, having been born in southeastern Alabama in 1950. His lifelong love of plants is reflected in a BS in Botany from Auburn University, an MA in Biology from Vanderbilt University, and a PhD in research botany from The University of Texas at Austin. Though his research has centered on the orchid family, with much of the research time spent in Tropical America (including a year in Colombia on a Fulbright Pre-Doctoral Fellowship), Jim’s botanical interests are wide-ranging. As Curator of the Botanical Gardens at The Huntington in San Marino, CA, he dedicates much of his effort to educational programs that increase public interest and understanding of the science, culture, and history of plants and gardens. He lives at The Huntington with his wife, Debra (also a botanist) and children Molly and Jimmy. Jim was recognized as a Friend of the Cactus and Succulent Society of America in 1996, a Member-at-Large of the Garden Club of America in 1998, and presented a Professional Citation by the American Association of Botanical Gardens and Arboreta in 1999. The Garden Club of America awarded him their Medal of Honor in 2007.
by Lori Vreeke, Melanie Campbell-Carter, Diane Daly, posted by Deb Shaw
Lori Vreeke at the “Zoo in Bloom” opening. Photo by Melanie Campbell-Carter, 2015. As Melanie stated, “She’s the little one :-)”
On Saturday, October 3, 2015, the BAGSC “Zoo in Bloom” exhibition opened at the Santa Barbara Zoo. It was a wonderful day and the exhibit received great reviews!
The Zoo reported there were approximately 600 visitors at the beginning of the day for the “Members Morning” and a total of 1,962 Zoo guests for the entire day!
More than 100 visitors voted for the Peoples’ Choice award at the BAGSC exhibition of nine artists, showing 22 artworks in a variety of media. Awards are as follows:
1st Choice: Asclepias fascicularis, Narrowleaf milkweed with
Danaus plexippus by Estelle DeRidder
2nd Choice: Strelitzia reginae, Bird of Paradise by Lori Vreeke
3rd Choice: Heteromeles arbutifolia, Toyon by Gilly Shaeffer
Artists helping throughout the day included: Lori Vreeke, Jan Clouse, Melanie Campbell-Carter, Gilly Shaffer, Barbara Janelle, and Diane Daly.
The show will hang in the Volentine Gallery in the Zoo’s Discovery Pavilion October 3, 2015 — January 3, 2016.
First place Peoples’ Choice award: Asclepias fascicularis, Narrowleaf milkweed with Danaus plexippus by Estelle DeRidder, © 2015, all rights reserved.
Second place Peoples’ Choice award, Strelitzia reginae, Bird of Paradise by Lori Vreeke, © 2015, all rights reserved.
Third place Peoples’ Choice award: Heteromeles arbutifolia, Toyon by Gilly Shaeffer, © 2015, all rights reserved.
Click on any of the circle images to see them large, with captions, in a slide show:
Gilly Shaeffer assisting exhibition visitors who are trying their hand at botanical art in watercolor. Photo by Lori Vreeke, © 2015.
BAGSC member Melanie Campbell-Carter assists an exhibition visitor with a leaf rubbing. Photo by Lori Vreeke, © 2015.
Diane Daly demonstrating botanical art with a fall squash. Photo by Lori Vreeke, © 2015.
The Zoo bear sniffed each painting in the exhibition. Photo by Lori Vreeke, © 2015.
BAGSC “Zoo in Bloom” exhibition in the Discovery Pavilion at the Santa Barbara Zoo. Photo by Lori Vreeke, © 2015.
BAGSC “Zoo in Bloom” exhibition in the Discovery Pavilion at the Santa Barbara Zoo. Photo by Lori Vreeke, © 2015.
BAGSC “Zoo in Bloom” exhibition in the Discovery Pavilion at the Santa Barbara Zoo. Photo by Lori Vreeke, © 2015.
BAGSC “Zoo in Bloom” exhibition in the Discovery Pavilion at the Santa Barbara Zoo. Photo by Lori Vreeke, © 2015.
BAGSC “Zoo in Bloom” exhibition in the Discovery Pavilion at the Santa Barbara Zoo. Photo by Lori Vreeke, © 2015.
BAGSC “Zoo in Bloom” exhibition in the Discovery Pavilion at the Santa Barbara Zoo. Photo by Lori Vreeke, © 2015.
BAGSC “Zoo in Bloom” exhibition in the Discovery Pavilion at the Santa Barbara Zoo. Photo by Lori Vreeke, © 2015.
by Lori Vreeke, posted by Deb Shaw
Hanging the “Zoo in Bloom” BAGSC exhibition at the Santa Barbara Zoo. Photo by Lori Vreeke, © 2015, all rights reserved.
I just wanted to share a few pictures from the Santa Barabara Zoo. The artwork was hung yesterday, and everything looks wonderful!
Please join us on Saturday, October 3 for the opening reception for the exhibition from 10 am – 2 pm. See the posting on the Zoo’s website. The Zoo has offered free entry to our members and families; please wear your BAGSC name badge if you have one, and contact Lori Vreeke for information about free entry.
Hanging the “Zoo in Bloom” BAGSC exhibition at the Santa Barbara Zoo. Photo by Lori Vreeke, © 2015, all rights reserved.
The Zoo is anticipating 600 – 800 members in the morning on Saturday. BAGSC artists will be demonstrating throughout the day, and there will be BAGSC-led activities for kids and families. BAGSC volunteers and demonstrators are welcome!! There are still a few volunteer slots available, and the more volunteers available for BAGSC public activities the merrier. Please contact Lori Vreeke to let her if you would like to volunteer for an hour or so, and please bring any extra paper, colored pencils and pencils to share.
Hanging the “Zoo in Bloom” BAGSC exhibition at the Santa Barbara Zoo. Photo by Lori Vreeke, © 2015, all rights reserved.
Bring a lunch, or enjoy the café right outside the exhibition hall for a beautiful day in a beautiful setting.
The show will hang in the Volentine Gallery in the Zoo’s Discovery Pavilion October 3—January 3. The Santa Barbara Zoo is located at: 500 Ninos Drive, Santa Barbara, CA 93103.
(805) 962-5339 main; (805) 962-6310 info line
Looking forward to the exhibit, and hope to see you there!
Hanging the “Zoo in Bloom” BAGSC exhibition at the Santa Barbara Zoo. Photo by Lori Vreeke, © 2015, all rights reserved.
by Nancy Grubb/Deb Shaw
Hibiscus, colored pencil on paper by Nancy Grubb, © 2015, all rights reserved.
BAGSC member Nancy Grubb was juried into the Creative Arts Group in Sierra Madre, CA last week. She has been invited to exhibit approximately 12 paintings in their Spring Show, which hangs from early March to mid May, 2016. She is excited and honored to show her work in their prestigious gallery.
Details about the Spring Show and artists’ reception will be posted to the blog as soon as they are announced. Information will also be posted on the Creative Arts Group website as soon as it is available.
The Creative Arts Group is located at:
108 N. Baldwin Avenue, Sierra Madre, CA 91024
(626) 355-8350
info@creativeartsgroup.org
Congrats Nancy!
Sunflower, colored pencil and watercolor, Nancy Grubb, © 2015, all rights reserved.
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!
BAGSC News 