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by Beth Stone
The call for entries has been sent (see email from Deb Shaw dated 5/5/15) for BAGSC ‘s very own adjunct exhibition to “Weird, Wild & Wonderful: The New York Botanical Garden Second Triennial Exhibition, Botanical Illustrations of Remarkable Plants” coming to The Huntington’s Brody Botanical Center.
BAGSC members of all experience levels are encouraged to enter at least one artwork (limit is 3 artworks per member). To date we have a list of nearly 50 subjects from 25 artists, we’re expecting many more.
Botanical oddities and curiosities could be those found locally, in natural surroundings or a botanical garden. If you’re looking for more inspiration, Dick Rauh, PhD offered ideas to artists on potentially pertinent plants: http://asba-art.org/article/weird-wild-and-wonderful-suggested-subjects. We’d like to include as many different species as possible.
So…what visually unusual, bizarre, beautiful (or not) subject have you chosen?
We have an important deadline, here’s how you can help:
Please email the complete botanical name of your choices ASAP but no later than Wednesday, May 27, 2015 to Beth Stone. Don’t worry, this does not obligate you to submit those works.
The cut-off date is when we will submit our “list of plant subjects” as best we know it to The Huntington so they can start planning on signage, related plants from the Garden, microscopes and more, linking our artworks to The Huntington’s vast plant collection in creative, and no doubt “wonderful”, ways.
by Deb Shaw
BAGSC members Margaret Best and Melanie Campbell-Carter have been accepted into the 18th Annual International American Society of Botanical Artists at The Horticultural Society of New York.
Margaret Best, Echinacea purpurea or purple cone flower, © 2015, All rights reserved.
Margaret’s 8.5 x 11 watercolour on paper is of a Canadian native Echinacea. She writes, “There are two Echinacea natives species in Canada. The one shown is Echinacea purpurea or purple cone flower—the species widely harvested for medicinal use. It has also become popular as a cultivated flower in Canadian gardens, as it brings a final splash of colour at the end of summer and into the fall. The specimens I used came from my daughter’s beautiful front garden that she inherited from the previous green-fingered owner of their new home in Ontario, Canada.”
Melanie Campbell-Carter, colored pencil, Pseudobombax ellipticum, shaving brush tree, © 2015, all rights reserved.
Melanie submitted a Pseudobombax ellipticum, also known as the shaving brush tree. She writes, “The tree was in its full blooming glory this past March on the island of Kauai. Depicting the sturdy strength of its stems and buds, and the delicate profusion of vivid pink stamens, was not only an enormous challenge but also a fantastic and joyful process. As we spent our days and weeks together, I developed a great affection for my ‘shaving brush.’ I am so thrilled to have been able to translate a gorgeous, living thing to paper in such a way that it continues to speak to others!”
Congrats to both of you!
Are there any more BAGSC artists who have been accepted? If so, please send me an email with an image.
A Little About the International ASBA/Hort Exibition
Each fall, the Annual International American Society of Botanical Artists at The Horticultural Society of New York exhibition is held at the Hort in mid-town Manhattan. It is the ASBA’s longest running collaboration. Past exhibitions are posted on the ASBA’s website; this year’s exhibition will be posted as well.
The Hort’s Gallery encourages gardeners and artists alike to appreciate the creative intersection between art and nature. Exhibitions showcase emerging and established contemporary artists inspired by horticulture, botany, landscape, and the environment.
by Beth Stone and Deb Shaw
Solanum lycopersicum, Heirloom Tomato, Watercolor on paper, © Asuka Hishiki
BAGSC will be holding an adjunct exhibition to “Weird, Wild & Wonderful: The New York Botanical Garden Second Triennial Exhibition, Botanical Illustrations of Remarkable Plants” in Banta Hall at The Huntington’s Brody Botanical Center.
The theme of this exhibition will focus on botanical specimens of plants compatible with the theme of the New York exhibition, “Weird, Wild & Wonderful.” Curated by the ASBA and originally opening in New York in 2014, “Weird, Wild & Wonderful” will open June 13 and continue through August 23 in The Huntington’s Brody Botanical Center, Flori-Legium Room, San Marino, California. The exhibition will be open to the public Saturdays and Sundays during the summer, plus additional times during workshops and the Symposium. The exhibition also will be open to the public August 1 – 9 along with the BAGSC “Weird, Wild & Wonderful” adjunct exhibition.
BAGSC artists are invited to seek visually unusual plants and create works of art that celebrate the bizarre, yet beautiful flora of the world. Botanical oddities and curiosities could be those found locally, in natural surroundings or a botanical garden. Dick Rauh, PhD offered ideas to artists on potentially pertinent plants: http://asba-art.org/article/weird-wild-and-wonderful-suggested-subjects.
The “Call for Entries” packet will be sent out via email blast to members soon. Members will be able to enter up to three works. It is our hope to include at least one art work from each and every BAGSC member. So whether you are an experienced exhibitor or you have not yet entered a show, please read the call for entries when you receive it and get to work on your entry now! Framing will be “artists’ choice.”
Some deadlines to mark on your calendar:
- ASAP: We will be coordinating with BAGSC artists and The Huntington to include as many different species as possible. Please let us know what you have, are painting, or are considering painting. Please email the complete botanical name of your choices ASAP to Beth Stone. Don’t worry, this does not obligate you to submit those works.
- Wednesday, May 27, 2015: This date is the absolute deadline for getting your list emailed to Beth Stone of what you have, are painting, or are considering painting. We will submit our “list of plant subjects” as best we know it to The Huntington so they can start planning on signage, related plants from the Garden, microscopes and more to go with our exhibition.
- Wednesday, July 1, 2015: July 1 is the deadline for digital submissions, entry fee and complete entry forms.
Questions about the exhibition? Contact Bonnie Born Ash or Beth Stone.
Need some Weird, Wild & Wonderful inspiration?
Kathy Musial, The Huntington’s curator of living collections, and Huntington horticultural staff will give BAGSC members a private tour of the greenhouses and gardens to talk about their own favorite weird, wild and wonderful plants. This is a great opportunity to get ideas and ask a botanist questions about plants you are painting.
May 8, 2015
10 am; The tour begins at 10 am sharp, so please plan to arrive earlier so you are ready. The tour will leave whether or not you are there.
The Huntington
You must RSVP with Beth Stone to attend. The Huntington will have stickers for us, so there will be no entry fee. The new café is open at The Huntington if you would like to purchase lunch after the plant tour. Details about where, when to meet up and more will be sent out later. You are welcome to spend the day at The Huntington.
Happy painting!
by Deb Shaw
Exhibition catalog cover, “Following in the Bartrams’ Footsteps”
ASBA’s traveling exhibition, Following in the Bartrams’ Footsteps has arrived at its final venue in Northern California, in the beautifully restored Julia Morgan-designed Girton Hall at the University of California Botanical Garden at Berkeley. The exhibition will be on display from December 15, 2014 – February 15, 2015. Consisting of 44 original works shows the native plant discoveries made by father and son, John and William Bartram throughout the Eastern United States from the 1730s through the 1790s. This exhibition at UC Botanical Garden at Berkeley is the only West Coast showing.
View the artwork on the website and see a list of the artists and artwork in the exhibition. The Garden is also offering three notecards from the exhibition in mixed packages of six or individually, sold in their Garden Shop. All proceeds benefit the Garden.
Three lectures are being offered as part of the outreach around the exhibition: Carol Woodin, ASBA Exhibitions Director, is giving a lecture today, December 19 about The Legacy of the Bartrams. Dr. Peggy Fiedler will present Fathers & Sons: A Journey with the Bartrams, Hookers and other Famous Families in Western Botanical Science, Art and Exploration on Saturday, January 31, 2015 from 1 pm – 3pm. The third lecture, titled Maria Sybilla Merian: A Passion for Plants & Insects will be given on Thursday, February 5, 2015. To register, and for more information, visit Bartrams events page on the garden website. Additionally, Catherine Watters will teach An Introduction to Botanical Art with graphite, colored pencil and watercolor on Thursday, January 22 and Friday, January 23 from 10 am – 4 pm each day. All levels are welcome. Registration for this workshop is also located on the Bartrams events page.
Catherine Watters, ASBA Director, developed a fundraising campaign that enabled the exhibition to come to California. A catalog of the exhibition may be purchased from ASBA’s website through ArtPlantae.
Exhibition hours for Following in the Bartrams’ Footsteps are 10 am – 4pm daily during days when the garden is open. Driving directions, admissions information and other information are available on the garden’s website. The University of California Botanical Garden at Berkeley is located at 200 Centennial Drive, Berkeley, CA 94720-5045. Phone: 510-643-2755.
While you’re visiting the Bartrams’ exhibition, be sure to stop in and see Plants Illustrated: Following the Garden’s Path, the 6th Annual exhibition of botanical art, featuring work by the Northern California Society of Botanical Artists. This year’s exhibition focuses specifically on plants in the Garden’s collection. The exhibition will be on display January 7 – February 15, from 10 am – 4 pm. There is an opening reception on Saturday, January 24 from 4:30 pm – 6:30 pm where you can sip wine, meet the artists, and see the show. Registration is required, and can also be found on the Bartrams events page on the garden website.
by Estelle DeRidder, posted by Deb Shaw
Invitation to “The Flora of the Madrona Marsh,” original artwork by Estelle De Ridder.
The reception time for the opening of my show on
December 7, 2015
has changed to 1:00 pm – 3:00 pm
due to Pearl Harbor Day.
Some Madrona Marsh members who are interested in attending the opening had a conflict with the later afternoon times, and we are doing our best to accommodate everyone’s schedule during this busy time of year.
I am at the Madrona Marsh on Saturdays and Sundays, and interest is brisk. Hope to see you there!
[Read our original posting about Estelle’s project and opening at: https://bagscblog.com/2014/09/29/estelle-de-ridder-exhibition-of-the-flora-of-the-madrona-marsh/]
by ASBA, posted by Deb Shaw
Susan Sapanara, Hydrangea quercifolia, Crimson Collar, watercolor on paper, © 2014, all rights reserved.
The Horticultural Society of New York and the American Society of Botanical Artists will be having a “Last Look Walkthrough” of the 17th Annual International Exhibition, with exhibition artists and juror on:
Wednesday, November 19, 2014
6:00 – 8:00 pm
Free for NY Hort and ASBA members
$5.00 for non-members
Join ASBA and The Hort, meet some of the artists and enjoy a seasonal cocktail during this reception and walkthrough of the annual exhibition. Each year ASBA’s Annual International presents the genre’s most established artists alongside emerging talents from around the world. Chris Murtha, Curator at The Hort calls botanical art “…a genre that is pushing well beyond scientific illustration and coming into its own.”
Artists Carrie Di Costanzo, Ingrid Finnan, and Monika deVries Gohlke will share their personal stories behind their work and offer a unique perspective on the work of their peers. They will be joined by exhibition juror Patricia Jonas, who will provide insight into the artwork selection process.
Registration for the “Last Look Walkthrough” can be found on Eventbrite.
Catalog cover image: Annie Patterson, Cynara cardunculus, Cardoon, watercolor on paper, © 2014, all rights reserved.
Catalogs for the exhibition can be purchased for $20.00 through ArtPlantae.
The New York Horticultural Society is located at 148 West 37th Street, 13th Floor, New York, New York. The 17th Annual International is on display through November 26, 2014.
Jurors Patricia Jonas, Marco Polo Stufano, and Catherine Watters selected 42 artworks out of 215 submissions from around the world. BAGSC members Joan Keesey, Lesley Randall, and Deborah Shaw have artwork in the exhibition, and Lesley Randall won the Brooklyn Botanic Garden Award for Drawing & Prints. The ASBA has posted the artwork and the artists’ stories behind each piece. Click on the links and on the ASBA website to see the artwork and read the artists’ stories.
by Deb Shaw
John Cogley and Kathrine Taylor of Daniel Smith, gave a fascinating presentation on the pigments and processing methods they use to create Daniel Smith paints.
John Cogley, President/CEO and Founder of Daniel Smith, talks over some paint tests with ASBA Conference attendees.
How rocks become pigments
The multiple-step process begins with the Daniel Smith geologist adventuring out all over the world to search for mineral resources. Acquiring material is rife with problems: countries may decide they no longer want to export minerals; borders close; or mines run dry.
Sugilite, rhodonite, serpentine, ryanite, garnet and more—mountains of minerals arrive for processing. Many start out the size of a person’s torso. John explained that they fracture the rock, rather than grind it. His analogy was the difference between table sugar and powdered sugar: fracturing the rock until it is very fine keeps the crystalline structure intact, so it refracts light. Grinding would make the pigments dull and lifeless, like powdered sugar.
The challenge in creating quality pigments is overcoming the electric static of the individual particles, which makes them want to attract and clump together. This natural tendency to agglomerate creates pigment “lumps,” which leave hot and cold spots in the paint application. Multi-stage machine processing enables the pigments to lay in an orderly row, giving maximum refraction and maximum color.
The rocks are squeezed in the first machine until they fracture. Successive machines gently hammer them, and then roll them through balls, until they are the size of grains of rice. From there, they are run through heavy, hardened steel rollers. The hardened steel rollers have a hardness of 7, and some of the rocks have a hardness of 8 or 9; so the massive rollers need to be replaced annually (at least!). Each roller costs upwards of $50,000.00.
Once the pigment is at its final size, the mineral is run through various solutions. Specific gravity separates out the impurities, and the pure pigment is ready to be mixed with gum arabic and packaged.
Daniel Smith only uses medicinal grade gum arabic for binding, as it is consistent in quality.
Each batch of color is tested and carefully recorded at Daniel Smith. Photo by Deb Shaw.
It’s all about the size of the particles
Different minerals are reduced to different sizes, depending on the color desired. For example, French Ultramarine has larger pigment particles than Ultramarine. This means that French Ultramarine particles have more surface area and will reflect more “red” back to the viewer than Ultramarine.
The smoother the pigment and the purer the pigment, the less granulation will occur when applying the paint.
Garnets in their matrix, on top of Daniel Smith Garnet Genuine test page. Photo by Deb Shaw.
Granulation, or reticulation occurs when three or more pigments in a color behave differently when applied to the paper. If you look at a greatly enlarged side view of a sheet of paper, it’s apparent that it isn’t smooth and flat, but has hills and valleys. The pigments in a granulating color will separate out and settle out at different points on the paper, based on the specific gravity or density. The lightest pigment (frequently synthetic pigments) will “float” and stay on the top of the hill. The next heaviest pigment might flow downhill a little further, settling in on the “side” of the hill. The very heaviest pigment will sink all the way to the valley and remain there. The purer the pigment and the smoother the paper, the less granulation there will be.
Synthetic colors, such as the Quinacrodones, are very pure, very smooth, and have exceptional lightfastness. They are used by (and dictated by) car and other industries. In the Quinacrodone family, different colors are created by moving the bonds around in the molecule.
Testing of pigment, showing the original pigment “rock” with the swatch test. Photo by Deb Shaw.
Testing the paint
The Daniel Smith chemist carefully tests each batch of paint. An equal amount of pigment and distilled water (one part pigment to one part distilled water) is mixed and one full brush load is then painted on a sheet of cold pressed watercolor paper. The brush is then fully loaded once more, and stripes are painted on the lower portion of the paper to see each successive reduction in color strength as the paint is used up.
Gifts!
Daniel Smith generously handed out brochures showing their watercolor lines; a “Try It” sheet of 66 dots of watercolor; and nuggets of Turquoise from Arizona. Treasures!
Different pigment and mixing tests on cold pressed paper, and turquoise nuggets from Arizona. Photo by Deb Shaw.
TIPS
If your cap breaks
Call or email Daniel Smith. They’ll send you more, no charge.
If your tube of paint dries up
1) Unfold and open the crimped end; 2) add a little distilled water at a time until you get the desired consistency; 3) if desired, you may also add a little bit of gum arabic; 4) you may also add a tiny drop of glycerin.
If you have any questions/problems with that one tube of paint
There’s a batch number at the bottom. Include that number with your comments or questions and the folks at Daniel Smith will be able to look up that batch and help you out.
Use distilled water
Tap water is pure and safe to drink, but contains chemicals and minerals which may affect the paint and how it behaves. Use distilled water to ensure you have as much control as possible.
by Beth Stone, posted by Deb Shaw
Prairie Milkweed (Asclepias sullivanti). Photo by Beth Stone, © 2014.
Here are just two pictures from a beautiful fall day spent at the Plains Conservation Center. Our most informative and enthusiastic tour guides were Martha Narey and Susan Smith. Martha provided each of us with a booklet including background about the conservation center, plant lists…and several pages of various drawing papers! In addition to the last few wildflowers of the season, we saw a lot of wildlife. There were prairie dogs, rabbits, coyote, pronghorn (similar in appearance to antelope), prairie dogs, an immature bald eagle, a golden eagle, hawks, great horned owls and prairie dogs.
The Plains Conservation Center exists to bring the natural wonder of the prairie into the realm of personal experience by: preserving a remnant of the eastern Colorado High Plains, educating the public about its natural and cultural heritage and nurturing sound conservation and environmental ethics.
Russian Thistle (Salsola australis). Photo by Beth Stone, © 2014.
by Deb Shaw
The presentations from ASBA Grant Recipients is always one of my favorite sessions at the ASBA conference. It’s inspiring to hear the many different ways members reach out into the community using botanical art as a vehicle.
Jan Boyd Haring presents Estelle De Ridders project during the Grants presentation at the ASBA conference. Photo by Deb Shaw.
This year was no different. Moderator Jan Boyd Haring presented for our own BAGSC member Estelle De Ridder. As we know here in Southern California, Estelle’s project is to assist with the creation of reusable plant identification cards featuring illustrations of plant life cycle phases for the top 35 native plant species of the Madrona Marsh Preserve in Torrance, California. [See our previous blog posting about Estelle’s exhibition and opening in December of this year.]
Jody Williams presented her project: extending the reach of ASBA’s “Following in the Bartrams’ Footsteps” exhibition to the St. Francois Mountains of Southeastern Missouri. Jody documented and illustrated the plants listed by the Bartrams in the diverse habitats of the St. Francois Mountains by finding, drawing, painting and lecturing about the plants.
Lisa Coddington went from her home base in New Mexico to teach botanical art workshops to elementary students, K – 6 on the island of Grenada with a support partnership involving the Peak Institute. She overcame teacher wariness and students’ shyness to have a final art exhibition created by enthusiastic students, many of whom hadn’t known about their local plants and fruits, or how they grew.
Marsha Bennett with members of the Southwest Society of Botanical Artists funded a five minute video highlighting their Citizen Scientist project, scientific identification and documentation of the flora of the Phoenix Mountains Preserve, a permanent rotating exhibition of artwork of the flora, and public education outreach.
Thank you all!
by Gayle Uyehara, posted by Deb Shaw
Carol Govan delivered a fast-paced, exciting lecture about botany. Photo by Gayle Uyehara.
Carol Govan’s Thursday “Wow, Botany Is Exciting” workshop really was that, WOW!
Carol contacted the class participants a few weeks earlier and sent us a very informative email and handout with all the technical terms we would learn so we wouldn’t have to stop and look them up during class. She also told us to relax but hang on tight because the workshop was structured from her 8-week course at Wellesley College Botanic Gardens. In three hours we learned the parts of a plant and their function in a humorous, informative manner that only Carol can deliver.
After we learned the names of the plant parts, we quickly sketched the specimen before us and labeled them. “Quick” being the emphasis and it was amazing how many things we had captured in our short observation. What a treat this class was!
Learning the plant parts. Photo by Gayle Uyehara.
Carol’s botany workshop built on this newbie’s vocabulary in a manner that will allow me to pick up a book and know what to look for in the field. She pointed out several older reference books because of their descriptive words of the plant rather than their non-visual clues like DNA and chemical properties.
Toward the end of class, Carol demonstrated how she uses sketch paper, hard pencil and grid frame to capture a quick but accurate gesture composition of a plant; keeping in mind the negative spaces she creates. The grid was only a few marks on paper and frame but gave her a visual clue about placement on the paper. From there she does a quick contour drawing which she will work with the rest of the time—while making any corrections to her gesture drawing. The color she adds as part of her sketch is made from a three-color palette made up of the primaries. She mixes up her watercolor swatch on a white plate to include the shadow and highlights.
Carol finished up this delightful workshop by telling us how she uses her sketches to create a composition and showed us examples of her finished pieces.
Let me mention again what a treat this class was!
I am sure that I will think of her many times as I continue on my botanical art journey. Thank you Carol!
by Beth Stone, posted by Deb Shaw
Laurence Pierson demonstrating her beautiful egg tempera technique. The camera/light in the foreground is the one mentioned in the article. Photo by Beth Stone.
At the Denver Botanic Gardens, Laurence Pierson demonstrated egg tempera on gesso panel. She mixes dry pigment with water using a colour shaper, adds a bit of alcohol if the particular pigment requires it to dissolve, and mixes in a bit of egg yolk.
Laurence’s background is in painting icons, typically on wood panel prepared with gesso and often including gold leaf. She applies her skill with tempera to botanical subjects with beautiful results!
The camera used in this photo seemed particularly effective for teaching, see the Ladibug DC192 on http://www.lumens.com.tw/product_1.php?big_id=1
Ladibug lamp detail. Photo by Beth Stone.
Iris painting in egg tempera by Laurence Peirson. Photo by Beth Stone.
Laurence Pierson’s palette looks like a jewel box. Photo by Beth Stone.
Laurence Peirson mixing egg tempera. Photo by Beth Stone.
by Deb Shaw
Some of our BAGSC members are lucky to stay for the post-conference workshops, but many of the rest of us have gotten home. We had a great response to our “Live from the Conference” postings; many sent emails letting us know how much they enjoyed the posts. I’m sorry I was struggling with a technology meltdown and couldn’t get all of them up sooner. I believe I now have the technology (mostly) behaving, and will get things posted as quickly as possible.
![[Brush holder] The Rocky Mountain Chapter made (yes, HANDMADE) pine brush holders for each of the conference attendees. Photo is of my new brush holder, happily ensconced in its new home on my work table. Photo by Deb Shaw.](https://bagscblog.com/wp-content/uploads/2014/10/brushholderfront.jpg)
[Brush holder] The Rocky Mountain Chapter made (yes, HANDMADE) pine brush holders for each of the conference attendees. Photo is of my new brush holder, happily ensconced in its new home on my work table. Photo by Deb Shaw.
Thank you to the Rocky Mountain Society of Botanical Artists and ASBA for all your hard work. And thank you to the roving BAGSC reporters who sent in stories and photos. If you have any more, keep ’em coming and I’ll get them posted. For readers; lots more to come.
See you next year at the Weird, Wild & Wonderful Symposium at the Huntington in the Summer, and at the ASBA Annual Meeting and Conference in Miami in October.
Happy painting!
![[Brush holder back] Susan Fisher explained that the wood came from pine trees harvested after being killed by Mountain Pine Beetles (Dendroctonus ponderosae), native to the forests of western North America. The blue color of the wood is the result of staining from the beetle infestation. Libby Kyer designed the logo on the back, which was also on the water bottles donated by Libby and her husband. Photo by Deb Shaw.](https://bagscblog.com/wp-content/uploads/2014/10/brushholderback.jpg)
[Brush holder back] Susan Fisher explained that the wood came from pine trees harvested after being killed by Mountain Pine Beetles (Dendroctonus ponderosae), native to the forests of western North America. The blue color of the wood is the result of staining from the beetle infestation. Libby Kyer designed the logo on the back, which was also on the water bottles donated by Libby and her husband. Photo by Deb Shaw.
by Deb Shaw
Tania Marien’s James White Award
The ASBA announced their annual awards last night at the closing banquet. Tania Marien was presented with the James White Service Award for her dedication to botanical art, in recognition of her distinguished support of botanical art.
Lesley Randall’s ASBA Award for Scientific Botanical Illustration
Lesley Randall was presented with the ASBA Scientific Illustrator Award for Excellence in Scientific Botanical Art, in recognition of her outstanding achievements as a scientific illustrator.
George Olsen was presented with the ASBA Diane Bouchier Artist Award for Excellence in Botanical Art, in recognition of his outstanding acheivements as a botanical artist.
Unfortunately, the three award winners were not present to receive their awards in person. When Tania and Lesley’s names were announced, however, the BAGSC table cheered loud enought to hear back in Southern California. Congratulations to the award winners for richly deserved recognition!!
by Beth Stone, posted by Deb Shaw
The Techniques Showcase featured three artists covering a very broad range of approaches: Hillary Parker, Ann Swan, Kelly Leahy Radding.
Hillary Parker shared her artistic problem-solving approach to very large format botanical watercolors which most of us would surely consider impossible! First was a driftwood commission on 40 x 60 inch, 300 lb cold press paper. The second was a 9 foot long (!) watercolor of a stone wall with a foreground of woodland plant silhouettes worked in masking fluid. Can you imagine fitting such a massive work in your studio? Then consider how you would maneuver yourself and your paints around to work on it!
Ann Swan completed a kiwi botanical in front of our eyes as just a portion of her wonderful segment of the Techniques Showcase. The seemingly magical techniques Ann demonstrated included: colored pencil layering strategies; exploiting colors that resist adhesion of subsequent layers (for example, creating veination); use of alcohol-based solvent or baby oil (actually not oil, but dilute paraffin) to blend and spread color; and embossing to create fine hairs for kiwi and pussy willows.
I’m told Ann’s blog is one to watch. She posted photos of the Chihuly glass sculpture exhibit currently at the Denver Botanic Gardens. http://annswan.wordpress.com
Finally Kelly Leahy Radding demonstrated the technique she used to paint the beautiful water lily she entered in the show’s Small Works exhibit. The water lily is painted with gouache on a dramatic black background. Kelley demonstrated her painting process with gourds. She shared a tip regarding both zinc white and the warmer titanium white. Both dry with a slight blue cast which can be counteracted by mixing in just a touch of yellow.
As a special additional treat to complete the Showcase, John Cogley, founder, President and CEO of Daniel Smith, spoke on the manufacture of pigment. The process involves fracturing/cleaving the crystalline materials rather than grinding them. It was great to see the actual mineral samples John brought including a beautiful, huge, piece of Lapis. John graciously answered audience questions: explaining that his company bought out all the Quinacridone close-out stock, so we will always be able to buy a consistent Quinacridone Gold; that we shouldn’t be concerned if Gum Arabic binder oozes from a newly opened tube, it’s just excess that rose to the top; and we should use distilled water in our painting work rather than introduce tap water impurities. Deb Shaw went to John’s lecture, and will include pictures in the next posting.
BAGSC News 