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by Deb Shaw

Kokia drynarioides, Hau hele 'ula. Lesley B Randall, color pencil and graphite on cold press illustration board. Scale 1:1 and various for enlarged details, © 2015, all rights reserved.

Kokia drynarioides, Hau hele ‘ula. Lesley B Randall, color pencil and graphite on cold press illustration board. Scale 1:1 and various for enlarged details, © 2015, all rights reserved.

BAGSC’s exhibition “Totally Tropical,” opens Saturday, November 3, 2018, at the San Diego Botanic Garden (SDBG) in the Ecke Building. “Totally Tropical” celebrates the opening of the San Diego Botanical Garden’s tropical conservatory this past summer.

Seventeen BAGSC members are exhibiting 32 paintings of plants that grow in tropical climates in this non-juried exhibition. Originals and archival giclée prints will be shown. Artists include Natalia Alatortseva, Margaret Best, Melanie Campbell-Carter, Diane Nelson Daly, Catherine Dellor, Steve Hampson, Janice Sharp Hoiberg, Mary Jansen, Suz Landay, Arillyn Moran-Lawrence, Terri Munroe, Marilyn Anne Parrino, Lesley B Randall, Veronica Raymond, Kirsten Rindal, Deborah B Shaw, and Leslie Walker.

A casual reception will be held from 2:30 to 5:00 pm, Saturday, November 3, to celebrate the opening!

Exhibition DATES: 
November 3 – November 30, 2018


Exhibition installation: 
November 3, 2018, from 11 am – 2 pm

Potluck Reception: 
November 3, 2018, from 2:30 – 5 pm

Some of the artwork is for sale; ten percent of all sales will be donated to support SDBG.

Nepenthes ventricosa Blanco, watercolor on paper, Kirsten Rindall. scalle 1:1, © 2017, all rights reserved.

Nepenthes ventricosa Blanco, watercolor on paper, Kirsten Rindall. Scale 1:1, © 2017, all rights reserved.

As usual for SDBG exhibitions, BAGSC will install the exhibition the same day as the opening. All BAGSC members are welcome to come join in the installation, assist with the hanging, and see the amazing gardens. BAGSC members, friends, family, SDBG staff and the public are all welcome to join us for the opening reception.

The San Diego Botanic Garden is located at 230 Quail Gardens Drive, Encinitas, CA 92024. The garden covers approximately 35 acres; hours, admission, and information can be found on their website.

Looking forward to seeing everyone there!

by Deb Shaw

Midnight (Eastern Daylight Time), August 31, 2018 is the last day to register for the American Society of Botanical Artists 24th Annual Meeting & Conference in St. Louis!!

Come spend time with fellow botanical artists, take workshops, and attend lectures. Spend quality time at the Missouri Botanical Garden, one of the world’s top botanical gardens. Founded in 1859, the Missouri Botanical Garden is the nation’s oldest continuously-operating botanical garden and a National Historic Landmark.

The Foundry Art Centre in St. Charles, Missouri will host “Out of the Woods: Celebrating Trees in Public Gardens, the Third New York Botanical Garden Triennial” exhibition of botanical art along with a companion, adjunct exhibition “Out on a Limb.” A reception for conference attendees will be held Thursday, October 11, and will also feature the slideshow of artwork from the 25-country Botanical Art Worldwide exhibitions.

To register, look at the descriptions and information on the ASBA website. Then go to the Conference Registration website to register. Scroll down on the registration site to see openings remaining in various workshops and presentations. There are a lot of openings left in wonderful workshops!

If you’ve already registered but would like to add a class, contact the conference registrar to request the additions to your registration.

by Deb Shaw

Signage with artwork by Esmée Winkel, Leiden's 300-Year-Old Tulip Tree in Autumn (2016), Liriodendron tulipifera. Hortus Botanicus Leiden, Leiden, The Netherlands. Watercolor on paper. © Esmée Winkel. Courtesy of the American Society of Botanical Artists and the New York Botanical Garden.

Signage with artwork by Esmée Winkel, Leiden’s 300-Year-Old Tulip Tree in Autumn (2016), Liriodendron tulipifera. Hortus Botanicus Leiden, Leiden, The Netherlands. Watercolor on paper. © Esmée Winkel. Courtesy of the American Society of Botanical Artists and the New York Botanical Garden.

The Los Angeles Times joined The Huntington Library, Art Collections, and Botanical Gardens and BAGSC in letting everyone know that the “Out of the Woods” exhibition will be coming to a close soon. See the article: http://www.latimes.com/home/la-hm-out-of-the-woods-20180822-story.html?outputType=amp

Make it a day at The Huntington: see “Out of the Woods,” organized by The New York Botanical Garden and the American Society of Botanical Artists, and “Amazing Trees,” the adjunct exhibition by BAGSC members in the Brody Botanical Center, Flora Legium Gallery. Then pop next door to the Rose Hills Foundation Conservatory for Botanical Science to see the blooming Corpse Flowers!

The exhibition closes Monday, August 27, 2018. The traveling exhibition will then go to the Foundry Art Centre in St. Charles, MO where it will be on display October 5 – December 28, 2018, including during the American Society of Botanical Artists annual meeting and conference.

In the beginning of next year, the exhibit will travel to the Tucson Botanical Gardens, Tucson, AZ, January 25 – April 13, 2019, and then on to the Minnesota Landscape Arboretum, Chaska, MN, May 9 – August 13, 2019.

by Deb Shaw

Li'l Stinky decided not to bloom after all, but provided a wonderful dissection opportunity! The Huntington team and the public got to see what's inside!

Li’l Stinky decided not to bloom after all, but provided a wonderful dissection opportunity! The Huntington team and the public got to see what’s inside!

We were all disappointed when Li’l Stinker, Amorphophallus titanum, or “Corpse Flower” failed to bloom last week at The Huntington Library, Art Collections, and Botanical Gardens. The failed bloom, however, gave Jim Folsom, John Trager, and Brandon Tam the opportunity to dissect the bloom on Facebook Live to create an herbarium sheet (watch the dissection here on Facebook Live.

Then, lo and behold, not one but THREE more Corpse Flowers stepped up to the plate. Quickly dubbed the #TitanTriplets! All three plants, “Stink,” “Stank,” and “Stunk,” #CorpseFlowers can be seen in the Rose Hills Foundation Conservatory for Botanical Science at The Huntington, along with a corm and a plant with a leaf. Daily updates, photos, and FAQs are being shared on The Huntington’s website.

“Stink” suddenly decided to bloom today! See it during public hours: 10 am – 5 pm. The two other #CorpseFlowers, “Stank,” and “Stunk” look like they have a few more days to go. But who knows…they might change their minds and bloom any time.

For more stinky resources (from The Huntington) #StinkyatTheH:

The Corpse Flower inspires creativity. Lindsay Brennan made (delicious!) Corpse Flower Cake Pops and brought them to Jim Folsom's Orchid Lecture for BAGSC members.

The Corpse Flower inspires creativity. Lindsay Brennan made (delicious!) Corpse Flower Cake Pops and brought them to Jim Folsom’s Orchid Lecture for BAGSC members.

The bloom (and smell) only lasts a day or so. If you’re coming to The Huntington this weekend to see and smell, be sure to stop by the Brody Botanical Center, Flora-Legium Gallery to see “Out of the Woods: Celebrating Trees in Public Gardens,” The Third New York Botanical Garden Triennial, American Society of Botanical Artists, and “Amazing Trees,” the adjunct exhibition by the Botanical Artist Guild of Southern California (BAGSC). BAGSC artists will be on hand all weekend with drop in family activities and botanical art demonstrations. The exhibitions go through to August 27, 2018.

Another view of the chocolate Corpse Flower Cake Pops.

Another view of the chocolate Corpse Flower Cake Pops.

Deborah Shaw (L) and Tania Norris (R) took a few minutes to sketch Li'l Stinky.

Deborah Shaw (L) and Tania Norris (R) took a few minutes to sketch Li’l Stinky.

BAGSC member Tania Norris with her Li'l Stinky sketch.

BAGSC member Tania Norris with her Li’l Stinky sketch.

by Jude Wiesenfeld, posted by Deb Shaw

Lesley Randall with one Aristolochia gigantea flower. Photo by Jude Wiesenfeld, © 2018.

Lesley Randall with one Aristolochia gigantea flower. Photo by Jude Wiesenfeld, © 2018.

Lesley Randall’s workshop, held at the LA County Arboretum and Botanic Garden in Acadia, was very informative, focusing on Aristolochiaceae, commonly known as the Dutchman’s Pipe Family of plants. Lesley began the workshop with a lecture on the origin of the Aristolochiaceae. They first appeared about 30 million years ago, when most of us were barely starting our careers!

We examined, both in hand and through our microscopes, the distinguishing characteristics to look for while drawing. Lesley encouraged us to write down measurements and notes on the specimens for future clarification in our drawings and to include for illustration work.

Aristolochea gigantea seed pod. Photo by Jude Wiesenfeld, © 2018.

Aristolochea gigantea seed pod. Photo by Jude Wiesenfeld, © 2018.

It was fascinating to see how the different techniques (stippling vs. lines) gave a variety of results. Sometimes a broken line worked better than an unbroken one! Lesley supplied great examples of this in handouts.

The final drawings are started with an outline and then the details are added with stippling. It is important to stipple with a purpose: i.e., namely to clarify a characteristic, show shape, create depth and/or show color pattern. Also, Lesley stressed how important it is to keep your paper, hands and workspace CLEAN.

Lesley encouraged us to research other artists’ work to learn about technique and mentioned Bobbi Angell as someone to study.

Two books recommended by Lesley Randall: "Botany in a Day: The Patterns Method of Plant Identification" by Thomas J. Elpel, ISBN-13: 978-1892784353, ISBN-10: 1892784351; and, "Guide to Flowering Plant Families" by Wendy B. Zomlefer, ISBN13: 9780807844700, ISBN-10: 0807844705. Photo by Jude Wiesenfeld, © 2018.

Two books recommended by Lesley Randall: “Botany in a Day: The Patterns Method of Plant Identification” by Thomas J. Elpel, ISBN-13: 978-1892784353, ISBN-10: 1892784351; and, “Guide to Flowering Plant Families” by Wendy B. Zomlefer, ISBN13: 9780807844700, ISBN-10: 0807844705. Photo by Jude Wiesenfeld, © 2018.

Lesley was a fantastic teacher and very generous with us all. I hope she will consider other workshops in the future.

[NOTE: click on any of the thumbnails above to view the images larger, in a slide show format.]

by Janice Sharp, posted by Deb Shaw

Please be aware that when you deliver artwork to a local BAGSC exhibition, the BAGSC members who are hanging the exhibition will be collecting everything together and transporting artwork to the exhibition location. This is usually done by one or two people who will be carrying the art into the location.

Mitsuko Schultz's packing box showing the interior box and artwork. Photo by Janice Sharp, © 2018.

Mitsuko Schultz’s packing box showing the interior box and artwork. Photo by Janice Sharp, © 2018.

To do this efficiently—and safely for the artwork—it is best to have all the art in portfolios with good carrying handles, clearly labeled with the artist’s name and contact information.

Facilities where we hang art often do not have convenient places to pack and unpack art. Therefore, delivery in a portfolio allows the art to be simply slipped out of the portfolio or slipped back in.

Art in the portfolio can be protected with Foam-Core or cardboard. Plexiglass is notorious for scratching easily. Foam-Core or cardboard across the front that does not touch the surface of the plexi will help protect it. Please see the sample photos of Mitsuko Schultz‘s portfolio to the left which contains an interior box made of cardboard to support and protect the framed artwork.

The box is sufficiently wide to accept at least two pieces of art. An additional sheet of cardboard could be used between the frames if two were inserted into the box. This kind of a system makes it extremely easy (and safe) to unpack and repack art.

Mitsuko Schultz's packing portfolio showing the interior box and artwork. Photo by Janice Sharp, © 2018.

Mitsuko Schultz’s packing portfolio showing the interior box and artwork. Photo by Janice Sharp, © 2018.

We ask that all BAGSC members exhibiting use a similar system to make it easy for those who are hanging and taking down exhibitions.

Of course it is expected that people mailing art will do so in a suitable mailing container instead of a portfolio!

 

We thank everyone for their attention to these important details.

by Kat Powell, posted by Deb Shaw

Some of the workshop participants getting ready for a final critique with Carrie Di Constanzo. Photo by Teri Kuwahara, © 2018.

Some of the workshop participants getting ready for a final critique with Carrie Di Constanzo. L to R: Mary Jo Newman, Carrie Di Costanzo, Suzanne Bassani, Janice Sharp, Carol Readhead, Melanie Campbell-Carter, Kathlyn Powell. Missing from photo: Patricia Mark, Alyse Ochniak.  Photo by Teri Kuwahara, © 2018.

What a fabulous experience! We were honored to have the awe-inspiring Carrie Di Costanzo for a workshop on the use of gouache in botanical art. First of all, Carrie’s work is beyond exquisite — I suspect I was not alone in getting goosebumps while gazing at her originals. They are miraculous in their refinement and perfection. Although Carrie works her magic in other media such as egg tempera and watercolor as well, it is her masterful handling of gouache that we focused on for those wonderful three days.

We all had a choice of working on a large deodar cedar cone, kumquats on a branch, loquats on a branch, or tulips. One participant requested a cactus as a subject, and The Huntington very kindly supplied that subject as well.

Reviewing artwork with Carrie Di Constanzo. Photo by Kathlyn Powell, © 2018.

Reviewing artwork with Carrie Di Constanzo. L to R: Teri Kuwahara, Carrie Di Costanzo, Suzanne Bassani, Janice Sharp, Carol Readhead, Mary Jo Newman, Melanie Carter-Campbell. Missing from photo: Patricia Mark, Alyse Ochniak. Photo by Kathlyn Powell, © 2018.

Carrie demonstrated several ways of using gouache, as the medium is quite versatile. She showed her favored method of laying down a pale “wash” of her mixed paint that consisted of a highly controlled stippling using her amazingly fast feathery stroke of dilute gouache on a dry brush. Texture was instantiated from the start and retained throughout with this technique. Subsequent layers were laid down with generally successively more concentrated pigments with the occasional unifying dry brush wash over. She worked from light to dark in this method, somewhat reminiscent of watercolor.

She also demonstrated an approach using titanium white mixed to varying degrees into her colors to opacify and smooth the deposition of color and it had a depth and richness rivaling oils while retaining the luscious velvety matte surface of gouache. Indeed, in this approach, the handling is more like that of oils or acrylics and many renowned artists such as James Gurney use this method. [See some of James Gurney’s favorite gouache artists here.] Lights do not necessarily need to be retained and working dark to light is possible. Highlights and light structures such as Melanie’s cactus spines can be directly added on top.

Carrie showed us that gouache is like watercolor in re-solubility but has a higher pigment load, yielding greater opacity. It can be used in a watercolor way with wet, dilute translucent washes retaining the light of the paper, building up to a gorgeous matte depth of color. It can also, again, be used somewhat like oils or acrylics, with light pigments over dark. This allows for going over sections with many layers until one is satisfied, without harming the surface or looking overworked. Thus, you can push a painting further. One can also use gouache to exquisite effect on toned papers, like botanical artist Albert R. Valentien did. Carrie showed us how she creates a toned sheet for such an approach.

Carrie encouraged us to use the method that we felt most comfortable with and everyone had their own unique look to their paintings, and all were lovely. The medium was adaptable to each person’s individual style of painting.

A Little About Gouache:
Gouache has a history that goes back to the 9th Century. Illuminated manuscripts and Persian and Mughal miniatures were painted using opaque watercolors mixed with white or on white priming. Chinese white was also freely used in Western watercolors in the nineteenth century as “body colors”, distinguished by their beautiful precision (see, for example, the watercolor and body color work of William Trost Richards). For many subjects, such as landscapes, body color made it possible.

Zinc white (Chinese white) as a pigment had become available in Europe in the mid-19th century (although in use in Persia, India and China since at least the 12th century) and thus at least partially displaced the more opaque but very toxic lead white. It is no wonder that artists happily explored the possibilities of this new pigment! (Especially en plein air, once pigments were packed into tubes.) We are lucky to have access to nontoxic, very opaque titanium white (introduced 1921) as well as zinc white.

Gouache was favored by commercial artists during the twentieth century for its beauty, speed of drying, and matte surface which the camera loves — it is renowned for reproducing extremely well. It got a bit of a bad rap because of the fugitive quality of many of the paints then in use — pieces were made for the camera rather than the frame, so archival lightfast pigments were not always employed. Now, however, we have beautiful, fully lightfast gouache pigments available to us from numerous pigmenters. Also, the medium suffered some stigma in the pretentious “Fine Art” vs “illustration” controversy.

Technical instruction in gouache has become very difficult to come by over the last few decades, so I cherish the training we were so fortunate to obtain with a Master Artist like Carrie. I personally have longed for this type and quality of didactics for nearly half a century. Opacity is another dimension of control which enhances the ability to work the magic of mimesis.

Profound thanks to Carrie Di Costanzo, a real treasure both artistically and as a person, to the Education Committee for bringing her, to The Huntington for hosting us, to Patricia Mark for supplying subjects and to BAGSC for everything!

by Teri Kuwahara and Deb Shaw

BAGSC gathered at the Madrona Marsh Nature Preserve in Torrance for the January meeting to feature the ongoing mural project of BAGSC member Estelle DeRidder.

The interior of the meeting room walls in the Madrona Marsh Interpretive Center have been filled with Estelle’s paintings of the plants, animals and insects found in Marsh. She has spent countless hours capturing each plant in its native environment. The meeting was highlighted by featuring Estelle as our guest speaker, adding her wit and wisdom in starting and continuing this ambitious project. In addition to discussing her process and goals, Estelle also spoke about the challenges of creating such a large work, including determining scale, practical techniques, and interesting visitors (of the human, insect and avian varieties).

Estelle was recently honored by the Cultural Arts Commission in Torrance for her work on this mural. [See BAGSC News blog article about the award here.] The Marsh staff and volunteers from the Friends of the Marsh group were also present to support Estelle, a true indication of how much she is respected and admired. A video was made to highlight Estelle’s mural project for the Cultural Arts Awards ceremony and we were fortunate to view it.   It has now been posted on YouTube so members unable to attend the meeting can enjoy it, and can be found here: https://youtu.be/zExN3JWTcMY

Our sincere thanks go out to Estelle for bringing BAGSC to the attention of Madrona Marsh. Estelle’s mural can be viewed in the Interpretive Center, Tuesday through Sunday, 10:00 a.m. to 5:00 p.m. Additional thanks goes to Tracy Drake, Park Services Manager, Community Services Department, City of Torrance; Hilary and Dave Jamieson; and, Lance Hill for his wonderful photographs of the meeting.

The Marsh is located at: 3201 Plaza del Amo, Torrance, CA 90503.

Click on any image below to see larger images in a slide show format with full captions for each photo.

by Deb Shaw

Botanical Art Worldwide is listed on the American Express Essentials Culture site as one of 15 Art Exhibitions to see this spring at this link: https://www.amexessentials.com/top-art-exhibitions-events-spring-2018/

Congratulations to Akiko Enokido, her Camellia japonica var. decumbens is included (number 14 of 15 in the slide show). Thank you to the ASBA facebook page for the notification!

BAGSC and ASBA member Akiko Enokido's, Camellia japonica var. decumbens.

BAGSC and ASBA member Akiko Enokido’s, Camellia japonica var. decumbens.

by Gilly Shaeffer, posted by Deb Shaw

I recently had a wonderful opportunity to teach a workshop during the California Native Plant Society 2018 Conference that was held at the LAX Marriott Hotel in early February. The attendees at the conference were from all over California. They are a very energetic, enthusiastic and passionate group of people who are committed to protecting the plants and open spaces in our state. Since I live in an area of Los Angeles where many residents are also committed to protecting natural areas and encouraging the cultivation of native plants. I was looking forward to teaching at this venue and thought that a workshop that would be an Introduction to Botanical Art would be well received by this group and I was right.

It is always fun to share an appreciation and love for a subject with those who are attending my class. In this case, it was my love for Botanical Art. This class was intended to introduce botanical art to those who were interested and wanted to know and do more.

The class started with an introduction to the materials used to create this art. Class attendees received a list of recommended books to inspire and to give step by step drawing exercises to begin the process. Workshop attendees did exercises to learn how to shade with graphite to create a value scale which would be preparation for creating three dimensional forms using light to dark shading.

The next portion of the class was focused on line drawing and some of what this entails. We did drawing warm up exercises then contour drawing. I wanted those attending the class to have as much “hands on” experience with drawing, as possible. They were shown how to use the plexiglass view finder, also called the “Leonardo Frame” as a drawing aide.

Workshop participants applied their skills to drawing Toyon berries and leaves. Photo by Gilly Shaeffer, © 2018.

Workshop participants applied their skills to drawing Toyon berries and leaves. Photo by Gilly Shaeffer, © 2018.

Next, the group learned about how establishing a light source can be very important in the shading of their drawing. I showed them how to establish a source of light coming from the left and how it would hit the object that the artist is shading. Those in the class shaded a sphere and a cylinder. After doing this shading, the information about shading was applied to shading a branch and some berries.

Seeing as the class members were all fans of our California native plants, this was a great opportunity to to have them shade Toyon branches with some leaves and berries applying the concept of light coming from the left.

The class members did remarkably well with this drawing and shading exercise and to my delight seemed keenly interested in learning how to do more in the future.

by Deb Shaw

Every three years, the California Native Plant Society (CNPS) Conservation Conference brings together California’s conservation community for scientific sessions and lectures, field trips, workshops, special events and networking. Each conference also has a native plant botanical art and photo contest. This year included a California native plant tattoo contest as well!

BAGSC members Olga Ryabstova and Gilly Shaeffer taught botanical art workshops at the Conference.

Congratulations to the CNPS Botanical Art Contest winners (including BAGSC members):

These images and more from the exhibition can be viewed at: https://www.facebook.com/pg/CaliforniaNativePlantSociety/photos/?tab=album&album_id=1587978757905901 Participating BAGSC members included: Ellie  Yun-Hui Tu, Kim Garrison Means, Nina Antze, Donald  Davidson, Estelle DeRidder, Susan Jackson, Joan Keesey, Lee McCaffree, Olga Ryabtsova, Mitsuko Schultz, Gilly Shaeffer, Janice Sharp, Deborah Shaw, and Jude Wiesenfeld.

Kudos to all who participated, and a special thank you to Elizabeth Kubey, CNPS Conference Assistant and the CNPS art panel: Tina Curiel, Wendell Pascual, Lesley Randall, and Nancy Elizabeth Saltsman.

by Tania Norris, posted by Deb Shaw

BAGSC handouts for "Portraits of Bonsai from The Huntington Collection." Cover image, Ficus retusa, watercolor on paper, © 2018 Anna Suprunenko. Brochure and photo by Olga Ryabtsova, © 2018.

BAGSC handouts for “Portraits of Bonsai from The Huntington Collection.” Cover image, Ficus retusa, watercolor on paper, © 2018 Anna Suprunenko. Brochure and photo by Olga Ryabtsova, © 2018.

The Botanical Center at The Huntington Library, Art Collections and Botanical Gardens, is the location for the BAGSC exhibition ‘“Portraits of Bonsai from The Huntington Collection.” The paintings received many admiring comments from the public and participants at The Huntington’s Bonsai-a-Thon held the weekend of February 24 – 25, 2018.

Demonstrations during the two-day event were given by Olga Ryabtsova, Mitsuko Schultz and Tania Norris. The questions and comments from the viewers were many and varied. They ranged from ‘how do you?’, ‘I could never do that’, ‘are they for sale?’ and ‘where do I find classes?’ etc. People were really interested and appreciative of our participation.

Amazing Bonsais everywhere! Photo by Olga Ryabtsova, © 2018.

Amazing Bonsais everywhere! Photo by Olga Ryabtsova, © 2018.

The wonderful and patient Bonsai master, Ted Matson, gave a long plug for BAGSC before he started the auction of bonsai for the attendees. He mentioned how BAGSC members had come weekly to paint The Huntington Collection. Ted also mentioned the upcoming ASBA “Out of the Woods” art show at the Brody Center (May 18, 2018 to August 27, 2018) and was most complimentary about the BAGSC paintings.

Olga Ryabtsova (L) and Mitsuko Schultz (R) demonstrate in front of the BAGSC wall of Bonsai Portraits. Photo by Jude Wiesenfeld, © 2018.

Olga Ryabtsova (L) and Mitsuko Schultz (R) demonstrate in front of the BAGSC wall of Bonsai Portraits. Photo by Jude Wiesenfeld, © 2018.

It was also wonderful to see many BAGSC members attending the event. A few additional BAGSC demonstrators or BAGSC members who could answer questions would have been appreciated. Don’t be shy — all levels of expertise are appreciated at our outreach events, and seasoned BAGSC participants are always on hand to lend a hand.

Jude Wiesenfeld with her painting Juniperus Californica, © 2018. Photo by Mitsuko Schultz, © 2018.

Jude Wiesenfeld with her painting Juniperus californica, © 2018. Photo by Mitsuko Schultz, © 2018.

Thank you to Ted Matson and The Huntington for this wonderful opportunity; and kudos to all BAGSC papticipants!

by Jude Wiesenfeld, posted by Deb Shaw

Ginseng, watercolor on vellum. Denise Walser-Kolar, © 2017, all rights reserved.

Ginseng, watercolor on vellum. Denise Walser-Kolar, © 2017, all rights reserved.

Denise Walser-Kolar will be teaching the first BAGSC-sponsored workshop of 2018, entitled Roots and Leaves on Vellum or Watercolor Paper.

This workshop will focus on drawing and painting roots and leaves, starting with exercises observing and drawing roots and leaves. The balance of the workshop will concentrate on painting several small leaf studies. Students may work on either vellum or paper. Vellum will be available to purchase from instructor; students wishing to work on paper will bring their preferred materials.

The class also will cover mixing greens, creating dark shadow colors, and mixing light delicate colors necessary for painting roots. Denise is known for her thorough demonstrations, discussion of materials and techniques, hands-on time for developing skills, and lots of individual attention and feedback.

The workshop will be held at:
The Huntington Library, Art Collections and Botanical Gardens,
Botanical Education Center, Allied Technical Lab
Wednesday – Friday, February 7 – 9, 2018
9:30 am – 4:00 pm
The Huntington is located at: 1151 Oxford Road, San Marino, CA 91108.

The cost for BAGSC Members is $300; non-members may also attend for $350. Maximum Registration: 16 students.

To register: Send a check in the full amount, made out to BAGSC, with Denise Walser-Kolar on the subject line. Please mail the check to: BAGSC, PO Box 50166, Pasadena, California 91115.

Bring your lunch, or purchase lunch at any of the cafés on The Huntington grounds.

Questions about the Workshop? Contact the BAGSC Education Chair.

More information, materials list and map are available on the BAGSC website.

About the instructor

Denise Walser-Kolar began her journey into Botanical art in 2003, after receiving a botanical art class from her parents as a birthday gift. She has a degree in Graphic Design and Illustration from the College of Visual Arts in Saint Paul, Minnesota. Denise teaches botanical art workshops across the country and currently works for the American Society of Botanical Artists as the Annual Meeting & Program Coordinator. She received the Diane Bouchier Artist Award for Excellence in Botanical Art in 2015 and received a Silver-Gilt medal from the Royal Horticultural Society in 2011 for her paintings of the hazelnuts of Badgersett Research Farm. Her work is held in the permanent collection of the Hunt institute for Botanical Documentation.

by Deb Shaw

The American Society of Botanical Artists (ASBA) has announced the selected artists for Botanical Art Worldwide: America’s Flora, a groundbreaking collaboration between botanical artists, organizations, and institutions around the world.

This worldwide exhibition and its events will call attention to the importance of conserving our planet’s botanical diversity. Each participating country will provide digital slide shows of up to forty works, to be compiled with all other countries’ images and shown at each venues during the run of each exhibition. Opening events, lectures, demonstrations, webinars, workshops and other events will be held (with some shared online), so visitors can learn more about contemporary botanical art and the earth’s floristic regions and botanical wealth.

For the US exhibition, the jurors were: Susan T. Fisher, Botanical Artist and Educator; Patricia Jonas, Author and Editor; William McLaughlin, Plant Curator, US Botanic Garden; and, Susan Pell, Ph.D, Science and Public Programs Manager, US Botanic Garden. The jurors selected 46 artworks from more than 200 submissions, including artwork by BAGSC members Mitsuko Schultz, Gilly Shaeffer, and Deborah Shaw. A complete list of artists can be seen on the ASBA website. All artworks feature native plants of the US, and images will be available on the ASBA website once the exhibition opens.

The ASBA, in collaboration with the United States Botanic Garden in Washington, D.C., will present the juried exhibition of plants from around the United States, staged in the U.S. Botanic Garden’s gallery space. After remaining on view at the U.S. Botanic Garden through October 2018, the exhibition will then travel through the end of 2019. Similar exhibitions will be held in more than twenty other countries.

A Worldwide Day of Botanical Art will be held on May 18, 2018, with events held for 24 hours, following the sun from venue to venue.

Participating countries include: Australia, Bermuda, Brazil, Canada,  China, Costa Rica, France, Germany, Indonesia, Ireland, Italy, Japan, Korea, Mexico, Netherlands, New Zealand, Russia, Scotland, South Africa, Thailand, the United Kingdom and the United States. Several other countries are in the planning stages and will be announced.

Some goals of the exhibition include:

  • Presenting a unified message about the ability to link people with plants through botanical art.
  • Acknowledging and building upon the increasing connections between botanical artists worldwide.
  • Increasing appreciation and understanding of the world’s plant diversity and its interconnectedness.
  • Raising awareness about the worldwide movement in botanical art.
  • To engage in a project to document some of the wild plant species of the world.

Click here for Botanical Art Worldwide Exhibition Info and Participating Countries  Be sure to return to the ASBA website to see updates about the artists and the exhibitions.

Congrats to all the participating artists, organizations, and institutions from around the world!

Click any of the images below to see an enlarged image with artwork information.

from the Los Angeles County Arboretum Education Dept., posted by Deb Shaw

Cristina Baltayian will resume classes in botanical art starting in January, 2108. These classes will be exploring color pencil, graphite, pen and ink, and watercolor on various papers, vellum and other surfaces. The emphasis will be on plant observation, drawing, composition, color theory and matching, and medium techniques.

Four (4) Tuesdays per session per month                                                                        
10:00am-2:00pm (including lunch break) / Oak Room

January            9, 16, 23, 30
February          6, 13, 20, 27
March             6, 13, 20, 27
April                3, 10, 17, 24
May                 1, 8, 15, 22
June                 5, 12, 19, 26

$275 Arboretum members per month / $295 non-members per month (includes Arboretum Admission)

To Register please call the Education Department at 626.821.4623.

The Los Angeles County Arboretum and Botanic Garden is located at 301 North Baldwin Ave, Arcadia, CA 91007.

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