You are currently browsing the category archive for the ‘Learning Opportunities’ category.
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 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.
Plaza de Espana, Seville, © Quench Travel.
by Michael Best, posted by Deb Shaw
There are only 2 spaces left in Margaret’s April/May 2016 workshop in Spain. Non-artist friends, partners or spouses are also welcome.
The workshop accommodation is a beautifully restored 16th century house located in an aromatic garden surrounded by 3000 acres of olive and orange groves. As for all of Margaret’s previous painting trips, this workshop/tour is capably managed on the ground by Kiloran McRae for the Quench Travel Group of Toronto.
The tiled garden view in Alcazar Palace Gardens, © Quench Travel.
Five glorious days of painting will be spent in a spectacular setting high in Sierra Moreno Mountains, just north of Seville in the heart of Andalucía with options to tour the historic sights of Seville and Barcelona. As always, Quench ‘s remarkable local connections will make for an unforgettable, cultural immersion. Tapas, flamenco dancing, sherry bodegas, historical gardens …
Many of the already registered participants have been on three or more of Margaret’s destination workshops. Their enthusiasm for these unique painting opportunities speaks to the quality of their previous experiences. BAGSC member Jan Clouse and her husband Charles of Santa Barbara have this to say about their previous trips with Margaret and Kiloran:
Trasierra interior, © Quench Travel
Margaret knows how much Jan appreciates her guidance and mentoring, but the sustained exposure to her teaching skills provided by these trips is inestimable. We both admire Kiloran’s skills as well. Where do we start? Guide? Translator? Chaperone? Student of Medieval history? Plant identifier? She does it all at breakneck speed — in two, sometimes three, languages. Can’t praise her too highly either.
The food was as always, rave-worthy … impressive botanical gardens, the welcoming horticulturalists, and historical sights as well… Altogether we had terrific experiences as botanical painter, guitarist, and tourists.
For details about this unique painting opportunity and a chance to explore some remarkable art and sites of historical significance in Spain, see Quench Travel’s website.
Previous Margaret Best/Quench workshop destinations have included:
- Tuscany, Italy
- Marrakech, Atlas Mountains, Morocco
- Newfoundland, Canada
- Cotswold’s, England
- Puglia, Italy
by Tania Norris, posted by Deb Shaw
Hybrid Bearded Flag Iris, watercolor on vellum and in the artist’s private collection. © 2015 Jenny Phillips, all rights reserved.
Jenny Phillips, internationally renowned botanical artist and teacher, is returning to Southern California to teach watercolor. Sponsored by the Virginia Robinson Gardens, Jenny will be teaching two workshops in two locations: one at the Virginia Robinson Gardens in Beverly Hills; the other at The Huntington Library, Art Collections and Botanical Gardens in San Marino. Participants may sign up for one or the other, or both.
Jenny runs the Jenny Phillips School for Botanical Art in Melbourne, Australia, and has taught in America, Europe and Africa. Jenny is known for her attention to detail and in her teaching, shares her expertise in helping everyone — from beginning to advanced students. She furthers understanding of the art of botanical painting by giving demonstrations of her methods, tips and the benefits of her experience. Her magic with a paintbrush, her techniques for correcting “mistakes” are well known and her enthusiasm is contagious. All who take her classes come away with a renewed energy and thrill of painting nature.
“Water color techniques and tips for all artists, with an emphasis on botanical art”
Session I: September 21 – 25, The Huntington, Frances The Frances Lasker Brody Botanical Center
1151 Oxford Road San Marino, CA 91108
Monday through Friday, 9:30am – 3:30pm
For more information, contact Tania Norris.
Session II: September 28 – October 2, Virginia Robinson Gardens
1008 Elden Way, Beverly Hills, Ca 90210
Monday through Friday, 9:30am – 3:30pm
For more information contact, Friends of Robinson Gardens
Jenny Phillips discussing techniques at Virginia Robinson Gardens.
Fee PER WEEK $595. for Virginia Robinson Garden and Botanical Artists Guild of Southern California members.
Non-members $625. per week. A $100 non-refundable deposit or payment in full will reserve a seat in the class. Remainder payable in full, one week before scheduled class.
A supplies list will be sent to all registered participants. Coffee, tea and water will be provided, but please bring your own lunch. Lunch at The Huntington may be purchased from the Café or coffee shop.
To make reservations for the class held at Virginia Robinson Gardens, visit the Virginia Robinson Gardens online; call 310.550.2068; or mail a check to: Friends of Robinson Gardens, 1008 Elden Way, Beverly Hills, CA 90210.
Jenny Phillips demonstrating techniques at the Virginia Robinson Gardens.
To make reservations for the class held at The Huntington, please mail a check made out to Tania Norris: 137 N. Larchmont Boulevard, Los Angeles, Ca 90004.
For more information about either session, please contact Tania Norris.
About the instructor:
Jenny Phillips, a Gold Medalist from The Australian National Print Awards 1998, The Royal Horticultural Society, London 1993, and recipient of the Celia Rosser Award, has focused her drawing, watercolour skills, and love of gardening on botanical art since 1971. She is a renowned botanical artist and one of the most popular and experienced teachers. She has her own Botanical Art School in Melbourne, Australia, and has her paintings in many notable collections, including that of H.R.H. Prince Charles. Jenny’s teaching always includes effective ways to achieve maximum effect with ease and her wit is always evident.
by Clara Josephs, posted by Deb Shaw
Here is some helpful information regarding the cost of Olga’s Sunday class at the LA Arboretum. The base cost of the class (through Otis) for noncredit is $435 plus the required amount of $39 for insurance and registration fees. You may deduct up to two $50 ($100 total!) discounts as they apply to you.
Choose from any two of the following:
- Senior, 60 and over: subtract $50
- KCRW member with valid card in your name: subtract $50
- Early bird registration until August 23: subtract $50
- Alumni discount: subtract $50
Take two discounts and the cost of the class is $374 for 8 full days of instruction!
For convenience, here is the basic information posted in a previous BAGSC Blog post:
Graphite for Botanical Illustration. Classes will held for 8 Sundays, from September 13 through November 1, 9:30–4:30 and is appropriate for all skill levels. Register through Otis College 310 665 6950 class # XILU3556. This class is not yet up on the website, but will fill quickly. If you are interested, register soon by phone.
by Clara Josephs, posted by Deb Shaw
Passion Flower study, Olga Eysymontt, © 2008, all rights reserved.
Olga Eysymontt, one of the founding members of BAGSC and the first botanical art teacher to many of us, is returning to the Los Angeles Arboretum to teach her iconic class, Graphite for Botanical Illustration. If you have not had the opportunity to study with Olga, now is your chance. Classes will held for 8 Sundays, from September 13 through November 1, 9:30–4:30 and is appropriate for all skill levels. Register through Otis College 310 665 6950 class # XILU3556. This class is not yet up on the website, but will fill quickly. If you are interested, register soon by phone.
This hands-on drawing course enables teaches students to observe and draw plants with accuracy, develop perceptual acuity, analyze the role of light on form, and use tonal value skills that are essential in drawing any subject. Classes will be held at the LA Arboretum. This course is suitable not only for beginners but also for those students with extensive drawing experience. Course includes demonstration, class discussion, and critique.
First class materials: 14″ x 17” Strathmore Drawing Pad Series 400, Medium (no sketch or recycled paper; you can use another brand), 14” x 17” Medium Weight Tracing Paper (any brand), 3 Drafting Pencil Holders and 1 Sharpener, Leads: 2H, HB and 2B leads (at least 2 each), Eraser Stick, Erasing Shield, Drafting Brush, Mars Drafting Dots (masking tape), Portable Task Light (Ott-Lite). Vis a Vis wet erase fine point marker, Clip, 8″ x 10″ Plexi and 8″ x 10″ format supplied by teacher for $10.00.
by Beth Stone
It’s pre-dawn on Friday and we’ve loaded our sleepy selves into The Huntington van with Jim Folsom at the wheel. We’re off to see the flowers, the wonderful flowers of the LA Flower Mart!
Peonies, Clematis and Lilies oh my!
We could while away the hours, conversing with the flowers…
and it’s back to The Huntington with The Wizard!
by Melanie Campbell-Carter
Nepenthes! The very epitome of Weird, Wild, and Wonderful was the subject of a three-day pre-symposium workshop led by Mieko Ishikawa, a featured artist in the Weird, Wild & Wonderful exhibit currently on view at the Brody Botanical Center at The Huntington and also a Keynote Speaker at our symposium.
Mieko Ishikawa graciously traveled across the Pacific to join us here in Southern California. Her first event of the Symposium was her three-day workshop on Nepenthes. The Huntington botanical gardens staff kindly cultivated and provided living Nepenthes plants for the workshop, and Mieko provided Reindeer Vellum for her students’ paintings.
Meiko Ishikawa and Akiko Enokido unroll Reindeer Vellum to show the class what a whole skin looks like.
First Mieko treated us to a wonderful presentation about her adventures finding and painting the very special plants of Borneo. We then enjoyed a behind-the-scenes tour of The Huntington greenhouse where the Nepenthes were grown. Robert Hori of The Huntington and BAGSC’s very talented Akiko Enokido provided interpretive skills for the workshop.
Meiko demonstrating her techniques.
After three days of intense study, graphite drawing on our vellum, and very careful application of watercolor on our drawings with extremely tiny brushes, we all had a much greater understanding of the stunning talent and achievements of Mieko Ishikawa. Her mastery of the structure of the plants, as well as her breathtaking artistic talent, gave all of us an enormous dose of inspiration to continue learning and painting!
Many, many thanks to everyone who made the workshop possible – including The Huntington gardens’ staff, the ASBA, the amazing BAGSC women who organized the symposium, and especially our tireless and patient instructor, Mieko Ishikawa.
Workshop participants with their Nepenthes paintings.
by Beth Stone
photographs by Gayle Uyehara
An enthusiastic group of artists enjoyed three days with Elaine Searle for her class entitled “Liquid Shine…Sculpting Form with Light and Color”. This was one of two Weird, Wild & Wonderful pre-symposium classes held at The Huntington this week. Gilly Shaeffer searched everywhere until finally her artist’s eye found beautiful Italian peppers for our studies. The class explored the differences between Sheen, Shine and Liquid Shine learning a host of indispensable techniques and tips.
Elaine Searle (back of room) made good use of the projection system in The Engemann Applied Tech Lab for demonstrations. Even Jim Folsom stepped in to help by printing personal photographic pepper portraits (see sample in foreground).
Terri Monroe thoughtfully applying finishing touches to her pepper.
The class joins in a group status check mid way through the third and final day.
Elaine Searle (far left) treated the class to an overview of just a few samples of her beautiful artwork.
by Gilly Shaeffer, posted by Deb Shaw
Gilly Shaeffer, “Camellia,” watercolor on paper, 2015, all rights reserved.
Gilly Shaeffer, long time member of BAGSC, will be holding four Thursday morning classes in July at her home studio entitled “Drawing Basics.” This is a great opportunity for beginners and intermediates to perfect their drawing skills and also a preparation for doing botanical watercolor painting. It is perfect for those who like a small group experience with a lot of individualized attention. It will consist of a cumulative series of exercises to improve observational and drawing skills, as well as, preparing students to create three dimensional form through light to dark shading. Those who complete the drawing exercises with Gilly will move on to the study of botanical watercolor painting. The understanding and skills gained through these classes can be applied when doing all types of drawing and painting.
Visit Gilly Shaeffer’s website to see samples of her work and read her “Bio” to learn about her educational background, teaching experiences and accomplishments in botanical art.
Four Thursdays in July: July 2; July 9; July 16; July 23
Fee:$160
Locations: Gilly’s Home Studio
For address, directions, and answers to any questions, please Gilly’s email address.
by Suzanne Kuuskmae, posted by Deb Shaw
Cristina Baltayian will be teaching a day-long (10 am – 4:00 pm) botanical colored pencil techniques class on July 11, 2015 at Destination: Art in Old Torrance. The cost will be $90 for the day; you can bring your lunch or we will order out.
Contact Suzanne Kuuskmae to sign up or get further information. Come enjoy our comfortable, co-op studio/gallery for the day.
We will have a second session on August 8!
Destination: Art is located at:
1815 West 213th Street, Suite 135
Torrance, California 90501
(310) 742-3192
Destination: Art Map and Directions
by Jan Clouse, posted by Deb Shaw
View of Masseria Montenapoleone, photo by Charles Clouse, © 2015, all rights reserved.
By tourist industry standards, Puglia is undiscovered territory. Situated down at the heel of Italy’s geographical boot, facing east to the Adriatic Sea, it is generally ignored in favor of the High Renaissance attractions of Rome, Florence, or Siena, the style consciousness of Milan and Venice or the casual flair of Naples.
Nevertheless, with its own earthy appeal and cultural heritage of pre-historic, medieval and Byzantine sights, Puglia can be irresistible for visitors ready to hike, bike, or drive through its bountiful landscape. It supplies the largest portion of Italy’s olive oil from its ancient trees, and its typical cucina povera depends heavily on delicious seafood, fresh, seasonal vegetables and the famous Pugliese hearth bread.
The olive groves and almond orchards, the rugged coastline and lush meadows filled with wild flora are a painter’s paradise. And this, in particular, was the attraction for Margaret Best’s latest botanical painting workshop/travel excursion. Five botanic artists (Ana Brito, Jan Clouse, Jane Maycock, Carole Schumacher and Leslie Walker) along with one husband/guitarist (Charles Clouse) and a guide (Kiloran McRae) joined Margaret for an 8-day immersion in art, food and visits to this land that time forgot.
Artists’ studio at Masseria Montenapoleone, (featuring from L to R) Jane Maycock, Carole Schumaker, and BAGSC members Leslie Walker, Margaret Best and Ana Brito, photo by Jan Clouse, © 2015, all rights reserved.
The workshop was based at the rustically elegant agriturismo farm, Masseria Montenapoleone, which besides most comfortable accommodations, provided us with a large airy studio, well lit by walls of windows. At the opposite end of the room from the studio space was a huge fireplace right behind the table where we gathered for fabulous lunches and dinners.
We were introduced to the Masseria by our host, Guiliano Monteneve, who gave us a leisurely tour of the property with the assumption that along the way each of us could find an appealing botanical specimen to paint. Across the path from the main cluster of buildings was an almond orchard interspersed with fava bean rows, further on were olive trees, some many hundreds of years old, a meadow of wildflowers, a path leading to a pre-historic grotto, and everywhere unique indigenous blooms.
Leslie Walker found a beautiful Polygala myrtifolia to paint. Photo credit: Leslie Walker, 2015, all rights reserved.
Besides the ubiquitous red poppies scattered across the springtime fields, there were small pale lavender wild irises, a dark red orchid, a nameless neon blue ground cover, and furry borage everywhere–including on our dinner plates. Most of us spotted several possible specimens on the walkabout, and by the following morning in the studio everyone was ready to draw. As we settled in, each of us had a large table of our own, plenty of space to spread out, and our drawing pencils sharpened.
Margaret got us started on our first day with a meditation to bring us into the time and spirit for art. As always at her workshops, she had a spiral bound syllabus of information and instructions; this one appropriately titled “Postcards from Puglia.” Ahead of time she had emailed us a few instructions, among them was to rule off several “postcard-sized” formats on our favorite paper to help us compose our paintings, and to bring a few finished pieces with us. Personally I found the “ready format” a real help in focusing and cropping the blooming Acacia branch I had chosen, though my “postcard” turned out to be a double-wide affair. I was productive enough, though, to complete two additional postcards of dried acorns gathered on one of our field trips.
A montage of Leslie Walker’s subject: (clockwise from upper left) Polygala myrtifolia, dissection sheet; Leslie’s finished painting; Leslie concentrating on her subject. Photo(s) courtesy of Leslie Walker, 2015, all rights reserved.
We settled in to a comfortable routine. My husband, Charlie, played guitar to start us off on a couple of mornings, and then shifted to the back of the room or outdoors on the patio where Leslie was working, for her own private concert. Our quiet concentration was broken around eleven each morning when Michele, our personal waiter, laid out a couple of plates of sweets and took our coffee, tea and cappuccino orders.
Long, very productive days in the studio were a gift of undistracted time to draw, paint, and ask my mentor for advice, just when I needed it most. One of the real treats of the week was that Margaret could guide each of us in proportion to our skills and needs as both colored pencil and watercolor artists.
Interspersed with art time, were some extraordinary sights and experiences—an evening visit to the seaside town of Polignano a Mare, another to the rampart city of Ostuni with a dramatic view of the Adriatic. One morning we toured the Giardini di Pomona, where Paolo Belloni is dedicated to sustaining traditional fruit tree species, including over 350 varieties of figs. Another day we shopped the weekly farmer’s market in Locorotondo, buying assigned ingredients for a dinner to be prepared by celebrity chef Tiziano Mita, and finished the morning with a tour of the UNESCO World Heritage town of Alberobello, known for its concentration of curious conically shaped stone houses called trulli.
Hanging the Exhibition with Alessandra and Giuliano, photo by Jan Clouse, © 2015, all rights reserved.
The workshop week ended, not with a routine sharing of work within the group, but with an elegantly mounted evening exhibition that our host Guiliano had envisioned even before we arrived. Here we met a large gathering of neighbors, friends, and folks who had shown us the wonders of Puglia during the previous week. Guiliano and his family had ingeniously transformed our studio into an art gallery, with suspended panels that featured each artist’s bio, personal quotes and work, including the pieces we had brought with us. And the masseria’s chef, Antonio, prepared an incredible array of antipasti and desserts for a very social and international group of about 75 guests.
The “Vernissage,” Gallery opening exhibition, photo by Jan Clouse, © 2015, all rights reserved.
Altogether the week was an energizing and inspiring introduction to a botanically rich yet otherwise little-noticed part of Europe. Guidebooks should definitely make note for Puglia: “painters welcome.”
Leslie Walker, Carole Schumaker, Ana Brito, Kiloran McRae, Jan Clouse, Charles Clouse, Jane Maycock, Margaret Best, photo courtesy of Masseria Montenapoleone, © 2015, all rights reserved.
By Beth Stone, posted by Deb Shaw
Caltech is offering a lecture entitled “Watching Paint Dry and Colors Fade: The Intersection of Art and Science,” by Katherine T. Faber, the Simon Ramo Professor of Materials Science at Caltech. A part of the Earnest C. Watson Lecture Series, the lecture will explore the links between science, engineering and art about pigments, color, fading masterpieces and more.
Wednesday, May 20, 2105
8 pm
Beckman Auditorium
Caltech
Presented by Caltech Committee on Institute Programs
Description and more online on the Caltech Public Events Calendar.
by Deb Shaw
Promotional for Roger’s Gardens “Day of Art,” Sunday, March 1 features a painting in progress that BAGSC member Clara Josephs was working on during the last year’s “Day of Art” at Roger’s.
Due to the much-needed rain, Roger’s Garden’s “Day of Art” has been postponed until Sunday, April 26th. Sorry for any inconvenience.
The same free workshop and demonstrations schedule will be held; everything should be the same except the weather. The end of April should promise a beautiful Spring day, with little chance of rain.
In the meantime, we welcome the water!!
by Deb Shaw
Promotional for Roger’s Gardens “Day of Art,” Sunday, March 1 features a painting in progress that BAGSC member Clara Josephs was working on during the last year’s “Day of Art” at Roger’s.
Roger’s Garden is proud to present their 3rd Annual “Day of Art,” Sunday, March 1 from 10 AM – 4 PM. (In case of rain, this event will be cancelled until further notice.) For the event schedule, visit the Roger’s Gardens’ Art Gallery page.
This Springtime event attracts 50 invited plein air and botanical artists painting and drawing in the Gardens for the day. A painting by each of the participating artists will be on display and available to the public for purchase. This year Roger’s will be judging the 50 original artworks with awards and recognitions.
Open to the public at no charge, all visitors will have the opportunity to participate in scheduled workshops and demonstrations.
BAGSC members Diane Daly, Clara Josephs, Patricia Mark and Deborah Shaw will be participating in the event, and BAGSC will have an information table about botanical art, our group, and our upcoming events and plans. Deborah, Clara, and Diane will be teaching a free “Drawing in your garden” introductory botanical art workshop from 2 pm to 3 pm on that afternoon. The workshop is free and open to the public, no art experience required. Roger’s Gardens will supply basic drawing materials, or participants can bring additional supplies.
Roger’s Gardens is located at 2301 San Joaquin Hills Rd., Corona Del Mar, CA 92625, 949.640.5800.
BAGSC News 