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by Leslie Walker and Deb Shaw
The Opening Reception for the BAGSC “Fast Track” Show at the Fine Arts Building in Los Angeles will take place during the LA Artwalk on:
October 14, 2010
5 pm – 8 pm
Fine Arts Building
811 West 7th Street (7th east of Figueroa), Los Angeles
The Fine Arts Building is hosting a reception for BAGSC. The LA Artwalk is anticipating more than 20,000 people over the course of the entire walk during the evening. This is a grand event, and an opportunity to see LA in an entirely different light.
Sage advice is to try to get to the downtown area early if possible. The rush of crowds usually starts about 6 pm. As always, parking in downtown LA is a challenge and expensive. Street parking is difficult to come by and fills quickly. There are parking garages in the area, with prices averaging between $8 – $10.00.
There are fantastic restaurants in the areal as well, and the gourmet food trucks come in and participate in the walk too!
Interior art display area in the Fine Arts Building. Photo courtesy of http://www.ratkovich.net/development/office/fineartsbuilding
BAGSC has the following members exhibiting work:
Margaret Best
Bonnie Born
Kathy Dunham
Cynthia Jackson
Clara Josephs
Morgan Kari
Joan Keesey
Suzanne Kuuskmae
Arillyn Moran-Lawrence
Veronica Raymond
Janice Sharp
Deborah Shaw
Gloria Whea-Fun Teng
Please promote the show (which will be up until mid-November) to colleagues, friends and family. Please have your guests join us for the exciting opening reception and the LA Artwalk on the 14th.
by Leslie Walker
On Thursday, September 30th, I was contacted by the property manager of the Fine Arts Building on 7th St. in downtown LA. She said the lobby showcases were available for us to have a show there. We would hang the show on October 13 and they would host a reception on October 14, the night of The LA City Art Walk. This was presented to the group on Saturday at the BAGSC meeting and everyone thought it was a good opportunity.
Each member may enter four paintings, with no particular framing requirements. There is no entry fee to enter the show. An email blast will be sent to all BAGSC members with the show entry form and delivery details. Members must fill out the show entry form and email or send them to Leslie Walker and Deborah Shaw by Thursday, October 7, 6 pm. All paintings must have show identification labels in place on the back of the painting. Paintings may be delivered to Tania Norris, Leslie Walker, or Deborah Shaw by October 10. Paintings should be in portfolios or boxes with cardboard dividers with the member’s name written on the outside of the portfolio.
The show will be up until the middle of the second week in November. We will provide email addresses of all participants who will handle all sales and delivery after show is taken down. There will be no percentage of sales taken by the gallery.
This is a wonderful opportunity to participate in the LA Art Walk and exhibit in a beautiful, historic LA building!
by Deborah Shaw
Akiko Enokido with her painting at the Hunt opening. Photo by DB Shaw.
Akiko Enokido had her watercolor, Camellia japonica ‘Kramer’s Supreme’ accepted at the Hunt Institute for Botanical Documentation for the 13th International Exhibition of Botanical Art & Illustration. The opening was in conjunction with the ASBA 2010 conference, attended by the following BAGSC members: Akiko Enokido, Olga Eysymontt, Clara Josephs, Tania Norris, Pat Mark, Janice Sharp, and Deborah Shaw.
Akiko also had a piece exhibited in the Thirteenth Annual International Juried Botanical Art Exhibition by the ASBA and The Horticultural Society of New York, her watercolor of Chorisia speciosa, Floss Silk Tree.
Additionally, Akiko presented her portfolio at the ASBA conference portfolio presentation.
Congratulations Akiko!
Akiko Enokido and Rose Pellicano at the ASBA Portfolio Presentation. Photo by Clara Josephs.
Deborah Shaw, Janice Sharp, Akiko Enokido about to go into the Hunt opening. Photo by Clara Josephs.
Akiko Enokido talking with Lugene Bruno at the well-attended opening. Photo by Clara Josephs.
by Clara Josephs
Without even introducing herself, Karen Kluglein was off and running in her very first sentence instructing the class in the ins and outs of painting on vellum. She gave a short talk and in just a few minutes we were sorting though piles of small pieces of various types of vellum, and trying our hand at as many as we had time to sample. I felt like a kid in a candy store! While we painted, Karen also painted, either demonstrating to four students at time, or working silently on her own piece. We were free to sit with her for as long as needed and then return to our work.
Sample card of different types of vellum
A sales representative from Pergamena was at the conference and provided the 8 x 10″ calf skin piece that was included in the class cost. However, I think that Karen usually gets her calfskin Cowleys manuscript (creamy white) from Talas. It can be ordered by phone if you can’t go to Brooklyn, NY for the fun of picking out your own pieces. Tala also sells a sample card of Cowleys (see the photo).
When picking out pieces consider these points. Look for a flat piece. When framed and hung on a wall, rippling will be accented by overhead lighting. You can request pieces that are finished on both sides or only one side. If you want “veiny vellum” you may want to pick it out in person so as to get a piece that appeals to you or complements the subject. Paint on the top side which is smoother to the touch and may show indentations from the follicles.
Choose thicker pieces that are uniformly thick and even. Store flat. Vellum reacts to humidity. If it curls, it will relax later in the day. Vellum refers to calfskin, while parchment denotes sheep, which is oily and less desirable for our work.
Wash on vellum
Painting on vellum is a pleasure and a torture. The key is mastering the correct amount of water. Karen began with a light wash – slightly stronger than a tea wash-that dried instantly. From then on, it was all dry brush. Our first practice was creating a smooth transition on a 1 x 2 inch scrap using a light wash under cross hatching dry brush. Karen’s demonstration was so smooth it looked printed! (see photo) She uses Series 7 brushes (000 is her favored) to limit the flow of water onto the surface. She fills in tiny gaps with tinier dabs of paint. If you touch the paint with a brush that is too damp, it instantly removes all the under lying paint! Of course, the flip side is that may errors can easily be corrected in the same way.
While you can easily erase graphite from vellum, Karen transfers her finished composition using Seral paper and then lightens with a clean kneaded eraser. She also uses the eraser to remove surface oils in places where the paint beads and refuses to spread evenly. Keep hand oils off the surface to avoid this problem. While paint can be fairly easily lifted, water drops sully the surface permanently and can be seen in side light.
Kate Nessler's stitched vellum piece, © Kate Nessler, photo by Clara Josephs
Frame vellum with an 8 ply mat and at least ½ margin under the mat to allow for some expansion and contraction, or it can be floated. Kate Nessler had several pieces in the Portfolio Show that were stitched onto a backing and floated; the stitching was part of the composition.
I have been fascinated and intimidated by vellum ever since I saw our Morgan Kari’s glowing painting of a clover at a BAGSC meeting several years ago at Norma Sarkin’s home. I was thrilled with this class and with Karen’s expert, content filled instruction.
by Clara Josephs
Phipps Garden Center, photo © Clara Josephs
Hillary Parker’s full day class entitled Composition was held a short bus ride from the hotel in the charming Phipps Garden Center. The class content began with an overview of the elements that Hillary thinks are most important to consider when developing a new composition: balance, movement, light, negative-positive space, and the “voice and vitality of both the artist and the plant”. Some interesting notes from this segment:
- Think early on about how the subject will be lit. Lighting plays a huge roll in composition.
- Balance involves more than just size, also consider color, mass, placement. Balance does not have to be symmetrical.
- Movement calls the viewer in and sustains attention. Be careful about creating square, circle or triangular negative shapes that can trap the eye. Any easily recognized shape can become a trap.
The ability to convey the Voice and Vitality of both the plant and the artist is a hallmark of fine art. Hillary suggests that it is very helpful to do a fair amount of writing about the plant before starting your composition. Once your have written, perhaps several pages about the plant, its habit, what interests you, what are the most outstanding characteristics and the defining traits, then condense that down to one sentence or phrase that you keep on your table and refer to daily to make sure you are portraying those attibutes. Keep referring to the adjectives in your writing – are they coming through in the portrait? We looked at copies of 15 paintings attempting to identify the voice of the plant and artist.
Hillary cautioned that when drawing your subject be sure to use multiple subjects so that you are truly familiar with the species” botanical truths”.
Hillary Parker and students, photo © Clara Josephs
Hillary paints a number of very large (8 feet plus) watercolor commissions for hotels, and a highlight of the class for me was viewing her enormous tracings for a painting of a cotton plant (see the photos). Done on 300 hot press cut from a roll, she used the familiar method of numerous tissue paper iterations. The individual bolls were drawn in final detail on small pieces and taped in place. Since she does not like to paint upside down, she had to carefully lie across the painting to reach into the center areas.
The afternoon concluded with students creating a composition of cotton bolls. I had never seen them up close and was stunned by how beautiful they are. Every angle was captivating. The day was over too soon!
Cotton bolls, photo © Clara Josephs
by Deborah Shaw
"A Love in Bloom", Kathy Dunham, watercolor, © 2010, all rights reserved.
Kathy Dunham is exhibiting her watercolor, “Love in Bloom”, in the:
Watercolor West XLII Annual International Exhibition
Opening Reception: October 9, 2010, 5 – 7 pm
City of Brea Art Gallery
1 Civic Center Circle,
Brea, CA 92821
The juror is Frank Francese. The show will be up October 9 – December 19, 2010 and the demonstration schedule is listed on the Watercolor West website.
by Deborah Shaw
Sally Jacobs will be exhibiting at the TAG Gallery with her collection of works entitled “From the Ground Up”:
November 3 – 27, 2010
Gallery hours: Tuesday – Saturday, 11 am-5 pm
Everyone is invited to the:
Artist’s Reception: Saturday, November 6th, 5 – 8 pm
Artists’ Panel (Interviews with the three participating artists): November 13, 3 pm
TAG Gallery
Bergamot Station D3
2525 Michigan Avenue
Santa Monica, California 90404
310.829.9556
"Garden Flowers", by Sally Jacobs. Postcard invitation from a 27" x 22" watercolor. © 2010, all rights reserved.
Sally will have a dozen new paintings in the show. Two other TAG members will be exhibiting at TAG at the same time.
The TAG Gallery moved to Bergamot in January, into a large space and wonderful site for exhibiting. There are many galleries in the immediate area, so it’s fun to visit several while you’re there.
Sneak preview of one of Sally's new watercolors: "Strawberries", © 2010, all rights reserved.
Sneak preview of one of Sally's new watercolors: "Old Artichoke", © 2010, Sally Jacobs, all rights reserved.
Sneak preview of one of Sally's new watercolors: "Tomatoes", © 2010, Sally Jacobs, all rights reserved.
by Tania Norris
Rosa Canina, Rosehip, watercolor by Margaret Best, © 2010
Margaret Best will be back at Virginia Robinson Gardens to teach a 3‐day workshop “A Single Flower Portrait”, October 5, 6, and 7.
The purpose of the workshop is to bring together all the skills taught at the workshops at Virginia Robinson Gardens throughout the 2010 series in a single flower study.
To prepare for the 3-day class and maximize on the class time with Margaret, it is recommended that students select a single flower subject that is not complicated and that will be able to be completed in the allotted time. Try to limit the outer dimension of the complete work to a maximum of 7.5 inches by 9.5 inches, so any preparatory drawing on tracing paper or in a sketch book should be sized accordingly. If the selected flower does not meet this dimension in life‐size, there is a strong possibility that the required exercises will not be completed during the class.
Select a single flower on a stem with at least one full leaf (attached if possible). You may have more than one leaf and a bud if you wish, but the goal of the class is to complete all three elements to the final detail stage flower, leaf and stem. Per the homework provided following the composition class, you should complete six different compositional sketches (thumbnail sketches) of your selected flower and related parts. If you did not attend the composition class, take time to position and sketch your subject thoughtfully in six different ways with maximum eye appeal.
The following schedule will form the basis of the 3‐day workshop:
Day 1: Review prepared compositions with Margaret and complete final drawing on quality paper. Light tables are provided.
Day 2: Commence color washes to build form and chroma.
Day 3: Complete chroma and form on all three required elements and add the final details.
If you were not able to attend the details class, Margaret will be happy to demonstrate certain techniques again that pertain to the subjects selected for this final workshop.
For a full schedule of Botanical Art classes, and to register for this class, please visit the Virginia Robinson Gardens website, or call them at (310) 550-2068. If you have any questions, feel free to contact Tania Norris.
by Tania Norris
The Virginia Robinson Gardens Botanical Art program started nine years ago and has been carefully nurtured by renowned teachers from England and Canada.
We are now privileged to have one of Southern Californiaʼs botanical artists and authorities on morphology and botany, agree to present a one-day class at Virginia Robinson Gardens:
Tania Marien, “Plant Morphology and Economic Botany”
One-day class, Wednesday, October 27th, 2010
10 am – 3 pm
Course fee: $60.00 for Friends of Robinson Gardens
$75.00 for non-Friends
$25.00 is non-refundable if for any reason the student has to cancel
Checks should be made payable to: Friends of Robinson Gardens,
1008 Elden Way, Beverly Hills, Ca 90210
Payment may be made by credit card by calling (310) 550-2068
The Plant Morphology Reg Form must be filled out and returned to the Friends of Robinson Gardens address.
Tania Marien is a long time member of the American Society of Botanical Artists as well as the local chapter the Botanical Artists Guild of Southern California. She has taught botany at the Getty Museum and for other institutions and schools. She is a very knowledgeable young woman that will bring life and excitement in to knowing how to make your paintings botanically correct. She will provide a booklet to keep for reference and during class we will use dissecting kits and magnifying lens as well as microscopes.
This we can promise you – school was never like this class and should be fun and enjoyed by all.
A materials list will be sent to all registered students prior to the class as well as parking instructions. The class will be held in the Pool Pavilion from 10am to 3pm. For a full schedule of Botanical Art classes, please visit the Virginia Robinson Gardens website. If you have any questions, feel free to contact Tania Norris.
by Janice Sharp
Deborah Ravin demonstrating technique during her class.
Deborah Ravin taught a BAGSC-sponsored class, August 19 – 21, 2010 at the Huntington Library, Art Collections and Botanical Gardens.
Beatrix Potter display.
Beatrix Potter is well known for her “Peter Rabbit” children’s books featuring her pen and ink/watercolors illustrations, however, Beatrix was also an accomplished botanical artist. Her detailed renderings of fungi and lichens were scientific trendsetters in the era before microscopic photography was an option.
Beatrix Potter’s interests lay with botanical art, particularly in the study of mycology. Her investigation and discovery led her to develop theories expressed in her paper “On the Germination of the Spores of Agaricineae.” (Poculum). Her paper was submitted to the Linnean Society on March 18, 1897. However, her theories, like those of any other woman, were not taken seriously. The paper was withdrawn with the understanding that it needed “more work”. One hundred years later, the Linnean Society wrote an official apology for the sins of historic sexism.
Today, 450 of Beatrix Potter’s scientific, archaeological, and botanical art comprise the Armitt Collection in Cumbria. Tania Norris treated us to a close-up of a Beatrix Potter original that is in her personal art collection.
Deborah led us through a series of a variety of methods for applying ink and watercolor to illustrate our botanical drawings.
Afternoon tea during class.
The class featured a treat of afternoon tea with Almond-Cardamom Scones (baked by Jill Carlson to whom we are all very grateful-the recipe is on the BAGSC Blog under the “Recipes” section or can be viewed by clicking the link).
Deborah also shared a recipe for “Black Walnut Ink” which is also on the BAGSC Blog (or can be viewed by clicking the link).
Our artwork, accomplished during class.
Julie Schneider Ljubenkov will not be sending out her newsletter this season, but wanted to let everyone know about upcoming classes. Some are for just for fun and learning, some are for college credit, and there is one class offered for children. They are listed below:
For teachers that need credits beyond their masters:
University of La Verne Professional Development Courses, Independent, home study courses. Students have up to one year to complete their course(s). Julie offers some excellent courses for teachers or for life-long-learners, including: Drawing to Enhance Learning; Integrating the Arts for Teaching and Learning; The Impressionists; The Music and Life of Mozart; Beethoven: His Life and Music; The Impressionists; Monet: Painter of Light and Color; The Art and Life of Georgia O’Keefe. Many other courses in all subjects are offered. 1-800-793-6533 or http://pdc.laverne.edu Request a catalog or enroll. 3 units courses are $285.00
Shinto Arch, recovering landscapes with Jan, made in the "Introduction to Mosaic Sculpture" class.
Introduction to Mosaic Sculpture UCSD Extension, 858-534-3400, www.extension.ucsd.edu/ahl or email ahl@ucsd.edu (request a catalog, enroll, or see the class description) Art 40385, 3 units, $275.00 (early enrollment: $250.00). Class is from October 5 to December 10th, 2010. Tuesday evenings, 6:00 to 9:00 PM Room 128 at the Extension Complex.
Mosaics for All Levels Mira Costa College Community Services, non-credit adult courses. Oceanside campus, room 7001 (Horticulture Building). 5:30 to 8:30 PM, 7 Monday evenings, October 4 to November 15th. $109.00 plus a $35.00 materials fee. To see the course description or to enroll go to: 760 795-6820. Email at: commservices@miracosta.edu, or see the website. You can enroll by phone or internet with a credit card 24 hours a day.
Gardening and Landscaping with California Native Plants City of Escondido, Community Services Department and Department of Recreation, 3 Thursday evenings, October 14th to November 4, 6:00 to 8:30 PM. $65.00 There will also be Saturday morning field trip to a native plant garden and nursery on the Saturday immediately following the end of the course. The course is described in the 2010 Community Services Department Brochure or on-line at: http://www.Escondido.org/recreation. Email: recreation@escondido.org. Call the offices at: 760 839-4691
Cartooning for Children (ages 8 to 13) City of Escondido, Community Services Department and Department of Recreation, 4 Thursday meetings, October 14th to November 4, 3:30 to 5:00 PM. $49.00. The course is described in the 2010 Community Services Department Brochure or on-line at: Escondido.org/recreation. Email: recreation@escondido.org. Call the offices at: 760 839-4691.
Hope to see you soon and I look forward to doing another newsletter for the upcoming Spring 2011 courses and other noteworthy events and news.
by Leslie Walker
The Rancho Los Alamitos Gardens in Long Beach have invited us to participate in their “Garden, Gourmet and Gallery Series” Autumn Events on
Saturday, October 16, 2010, from 9:30am – 5:00pm
6400 Bixby Hill Road, Long Beach, California 90815
(562) 431-3541
The day will feature a lecture on Perennials and Bulbs by John Schoustra, Landscape Architect, and, of course, the drawings and paintings of the Botanical Artists Guild of Southern California.
Members of BAGSC who wish to display and sell their work, prints, cards, etc are welcome to sign up now. Participating members will be required to arrive at 9:00 am to set up, stay until closing and assist in take-down. Rancho Los Alamitos will provide a box lunch for those participating. They would also like to have some artists painting and demonstrating. This will be a good opportunity to meet some new people and introduce ourselves. Rancho Los Alamitos is a lovely garden and house where our work will show off nicely.
If you would like to join us, email your name and agreement to work this event to Leslie Walker. Include the number of paintings, etc. you plan to bring, and if you wish to demonstrate. Also we will need to bring our own display/sales things and take care of our own sales. Additional details about sales, etc., will be available at the end of September/beginning of October.
The next BAGSC Quarterly Meeting will be on Saturday, October 2, 2010, at the home of Pat Mark. Please join us for the meeting and special program that follows. Members are encouraged to form car pools!
Coffee will be ready at 9:30 a.m. and the meeting begins promptly at 10:00 a.m. The Agenda 10-2-10 includes updates on upcoming classes and exhibition opportunities. Lunch will be potluck style, so please let Pat know what you are bringing. We are always interested to see what everyone is working on and you are welcome to bring your latest work to share.
After lunch we will visit Rancho Santa Ana Botanic Garden, a short drive from the meeting. Admission is $8 for adults and $6 for seniors. This is a garden devoted to California native plants, and has a display of the sculpture of Pamela Burgess, a nature based artist.
RSVP to Pat, or phone her by September 30. Directions will be sent out via email blast. We hope to see you on October 2!
by Deborah Shaw
Chinese Brush Painting, Bamboo, by Gloria Whea-Fun Teng, © 2009, all rights reserved.
BAGSC Member Gloria Whea-Fun Teng will be teaching a new class at the Los Angeles County Arboretum & Botanic Gardens:
Introduction to Chinese Brush Painting.
4 Thursdays: October 28-November 18, 2010
1-3pm / Oak Room
Gloria Whea-Fun Teng, Instructor
$120 members / $130 non-members
Pre-registration required. For reservations or information, please call (626) 821-4623 or email Jill Berry at the Arboretum. If there is a conflict with a date, please let Jill know.
In this introductory course the student will learn the difference between Chinese brush painting and other watercolor painting. The class will teach the beginning painter to use Chinese brushes and ink to create beautiful paintings on rice paper. At the end of this course, a completed painting will be ready to be framed and displayed. Gloria, the instructor, is a very talented artist who has taught a variety of courses over the years. She has also studied botanical illustration at Otis College of Art & Design.
1. Week one: Introduction to Chinese brush painting: includes how to mix color, brush painting style and techniques, how to use the brush on rice paper, practicing on newsprint first, and how to paint a bamboo branch. 1st assignment: bamboo branch
2. Week two: Bamboo branch with leaf: using black ink, learn to paint a bamboo leaf, single leaf, double leaf and how to paint a set of leaves. The student will learn how to control the water with brush. 2nd assignment: bamboo branch and leaf
3. Week three: Flower: Rose: how to paint flower stems and buds; start to use color, practicing on a single petal flower, including different angles and shapes; learn the techniques of painting multiple layers of petals and different leaves. 3rd assignment: Flower: Rose
4. Week four: Final Critique: bamboo painting in black ink, and rose in color. Student will complete one painting in the class, and it will be ready to frame when the course is finished.
If you haven’t had the opportunity to watch Gloria’s grace and skill executing a Chinese brush painting, now is your chance to learn this beautiful technique.
By Joan Keesey
Joan Keesey with Buckeye Painting at Filoli
On July 15th I attended the Artist’s Reception for the FILOLI 12th Annual Botanical Art Exhibition. There were 46 paintings from the United States and Canada; six were by members of BAGSC: Margaret Best, Akiko Enokido, and Joan Keesey. The paintings were beautiful; the Filoli gardens in summer were lovely, and it was a pleasure to talk to other botanical artists with pictures in the exhibit.
I also attended a four-day class on Nepenthes, taught by Hillary Parker. I have admired her work since I first saw it at the ASBA Conference in Pasadena. You can see her work on her website. Her emphasis is on composition and a more conceptual and interpretive rendering of a plant species. While we did use plant specimens, she didn’t want us to “ copy the specimen” but rather to portray the characteristics of the species.
There were six students in the class, three of whom are currently in the Filoli Botanical Art Certification program. We did gesture and contour drawings of six species of Nepenthes, then we each chose a species to paint. We wrote verbal descriptions of the plants and did multiple
Akido Enokido Painting at Filoli
“thumbnail sketches” until we achieved a composition that we thought characterized both the species as well as something of the artist’s reaction to the species. I thought that there were several outstanding compositions as a result of this process. Everyone was very enthusiastic about the class. The certification candidates have requested that she return next summer because they thought the process was so different and produced a more interesting and artistic rendering of a botanical subject. I hope that she is able to teach a class in Los Angeles sometime in the future.
Margaret Best Paintings at Filoli
BAGSC News 