Category Archive

by Akiko Enokido

The Hunt Institute for Botanical Documentation at Carnegie Mellon University has an International Exhibition every three years, the opening reception coinciding with the ASBA conference.

They seek fine artists and illustrators who are not  represented in their collection. The exhibition for Fall 2010 is the 13th since the Institute was established in 1964.

Sadly, the curator of art, Mr James White has stepped down from his position due to health reasons. His assistant,  Ms. Lugene Bruno has taken over his position. I know her only via telephone, but she seems to be a wonderful person.

They requested I send six slides from my works painted within the last two years (they accept up to dozen slides or transparencies), a letter and a resume.

Camellia Japonica, watercolor, © 2009, Akiko Enokido

A week later, I received an e-mail from Ms. Bruno informing me that that they had accepted my Camellia Japonica painting.

I painted this piece last spring. I had painted camellias before, but this time I tried to focus on creating the texture of the shiny leaves in watercolor. I showed my work to Jenny Phillips when I took her class at the Huntington Library. She gave me some advice which was very helpful. Thank you, Jenny.

I’m not perfectly happy yet with this piece but I’m glad my effort was acknowledged.

The opening will be held on September  23 at Hunt Institute Gallery, 5th floor, Hunt Libarary, 4909 Frew Street, Carnegie Mellon University. The artwork will be on display until December 21st. I hope you can come and see the exhibition. The ASBA Annual Conference will be held September 23-25.

Gloria Whea-Fun Teng, © Gloria Whea-Fun Teng, all rights reserved.

From November 1 to December 31, 2009 Gloria Whea-Fun Teng’s Botanical & Chinese Brush Paintings will be on display at the Main Long Beach Library. The Library is located at 101 Pacific Ave., at Ocean Blvd., Long Beach.

Irene Horiuchi attended the show and sent these images and comment: “Gloria’s show is a wonderful combination of Chinese brush paintings and botanicals. Great show.”

Gloria Whea-Fun Teng's Botanical Painting, © Gloria Whea-Fun Teng, all rights reserved.

Gloria Whea-Fun Teng's Chinese Brush Painting, © Gloria Whea-Fun Teng, all rights reserved.

We’ve put out a call to all BAGSC members that attended the ASBA conference to post their impressions and any images. We’ll post them as they arrive. Keep writing and reading. If you have any questions or comments about techniques, please post them by clicking on “leave a comment” at the top of this article. Feel free to ask participants to give a demonstration of what they learned at a BAGSC quarterly meeting.

It was an honor and a privilege to watch Lizzie Sanders and Jean Emmons work side by side during the techniques showcase session. Each worked with a gourd of the same colors for a subject. It was a study of contrasting different painting techniques, with brilliant and magnificent effect. Lizzie applied paint with very tiny strokes while molding the subject to perfection before moving on to an adjacent  small section. She uses a dry brush and doesn’t wash. The four basic colors were naples yellow, new gamboge, cad orange, and indigo all used in various combinations. For shadows she simply puts on more paint. The result was a rich and articulate color that gave form and luminosity. Jean painted her gourd from a butcher tray palette loaded with tiny spots of colorful paint.  She likes Holbein paint with a little white in the formula and the Daniel Smith quinacridone color series among other paints. Jean uses optical mixing and impressionist color theory creating 20 to 40 washes of mostly transparent colors. A bright and radiant gourd began to emerge from the surface of her bristol board.  Here were two highly accomplished master artists simultaneously demonstrating two very unique approaches to the same  subject. It was fascinating to watch them work.

I took Elaine Searle’s classes called Succulents in Watercolor and  also her class Painting White Flowers in Watercolor.  She was a wonderful teacher giving loads of individual attention and encouraged us to relax, to experiment and to paint without feeling the pressure of a performance. The classes were filled with technique direction, demonstrations, exercises, useful tips, and helpful answers to any question. Her handouts gave colorful illustrations of how to formulate a painting once home. I would highly recommend Elaine for  any future workshop and hope to take a class from her again.

We’ve put out a call to all BAGSC members that attended the ASBA conference to post their impressions and any images. We’ll post them as they arrive. Keep writing and reading. If you have any questions or comments about techniques, please post them by clicking on “leave a comment” at the top of this article. Feel free to ask participants to give a demonstration of what they learned at a BAGSC quarterly meeting.

Chihuly glass plants at the Desert Botanical Gardens, photo by Arillyn Moran-Lawrence.

The  ASBA conference in Scottsdale, AZ, was my first and I was very impressed.  Everything was very well organized and ran smoothly, except for one bus that broke down on the way to the museum exhibition. From the portfolio sharing, the luncheon meeting, the Legacy gallery show, the Techniques Showcase, the Phoenix Art Museum exhibition and the creative hors d’oeuvres and dessert that was  presented by the museum, all were exceptionally well done.

The workshop that Elaine Hultgren presented was “The Illuminated Desert”. Prior to the workshop, I learned about sources while purchasing many intriguing items from a NY company. I traveled with my expensive piece of vellum and small dab of 24k gold right next to my side. We chose a desert flower, then a capital letter style relating to  the genus of the flower and sent that information on to Elaine. On arrival she had prepared a portfolio for each of us so that we could begin work immediately. We designed the desert flower design around the chosen letter and transfered it to the vellum. We learned to make “skins” of paint to use in painting on the vellum, how to apply  the gold and burnish it, and how to draw a ” line” of gold. The workshop was only 7 hours long and most of us did not finish the   project, however Elaine has asked us for our finished illumination and she will then send us a slideshow of all of our work.

Portfolio Sharing. Kelly Leahy Redding, her framed vellums and her Artist in Residence Book from her trip to Italy. Photo by Arillyn Moran-Lawrence.

M. Alice Rezende, Brazilian recipient of a Margaret Mee Fellowship to paint endangered species in the Amazon. Shown with Jenevora Searight, from England, who lived in Brazil for 30 years and worked with Margaret Mee. Photo by Arillyn Moran-Lawrence.

Jean Emmons fascinating work on vellum. Photo by Arillyn Moran-Lawrence.

by Akiko Enokido

Akiko Enokido and Vicky Obenshain with Akiko's Camellia Japonica.

I sent my work of Camellia Japonica to the Horticultural Society of New York last March. I had just finished painting it so I could only submit one piece.

I was very honored and excited when I found out that my piece made it to the 12th Annual International Juried Botanical Art Exhibition 2009.

The opening reception was September 16. I flew in to New York in the morning of 16th and flew back on the 17th. I wish I could stay longer, but I had not visited New York since I moved to California five years ago, so I was very excited. This was the first time for me to see this Exhibition.

"Camellia Japonica", watercolor by Akiko Enokido, © 2009

The subjects of the paintings were so wide-ranging. The 41 paintings included grasses, leaves, fresh or dry fruit, mushrooms, and bolls. There were not many flowers entered in the exhibit, maybe less than half. Some artists were using vellum. I thought those were technically remarkable.

Juror Dick Rauh discusses the paintings at the exhibition.

All of the paintings were high quality and workmanship was precise. HSNY provided magnifying glasses, so we could see the details. I understand composition was an important factor for the judges. I felt I have to work on how I express the characteristic, volume and texture of the subjects.

I was able to talk with a couple artists. Ingrid Finnan from New York, uses oil paint on watercolor paper. She applies gesso on front and back of paper four times then use transparent oil paint. She uses this method to express the deep color of leaves.

"Lords and Ladies", watercolor by Margaret Best, © 2009

Margaret Best had two paintings in the show, “Rocky Mountain Maple” and “Lords and Ladies”.

Milly Acharya won a couple of awards in this show. She painted Wisteria this time. The flowers of Wisteria are very fragile and short-lived. She said she painted directly on the watercolor paper for 18 hours non-stop.

I really enjoyed the exhibition. Artists shared their pain and pleasure that they went through during the course of painting their subjects.

List of Awards are as follows. You can also find them in the catalog: Best in Show /  Lynne Railsback “Purple Fountain Grass”; ASBA Best Painting / Linda Petchnick “Orchid”; NY Central Award / Anne Mcelwain “Mayapple”; Tales Award /  Karen Kluglein “Stock”
Ursus Award / Geoge Olson “Dock and Compass Plant”; Honorable mention / Deirdre Bean “Figs”, Mary A. O’Malley “Monterey Pine Cone”, Milly Acharya “Wisteria”

The ASBA and the Horticultural Society of New York sent out a press release about the show. To download and read it, click here: asba_2009_press_release.