You are currently browsing the tag archive for the ‘botanical art class’ tag.

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 Patricia A. Mark and Deb Shaw

Olga Eysymontt will be teaching two botanical art workshops this summer at the Los Angeles County Arboretum and Botanic Gardens (LA Arboretum) through the Extension Program at Otis College of Art and Design.

The first is a two-day drawing and painting workshop, “Heirloom Tomatoes in Watercolor/Colored Pencil. The focus for this workshop will be techniques for conveying the perception of light and shadow, mixing color and continuous tone. Prior experience in drawing botanical subject matter is helpful. A supply list is on the Otis workshop registration site (included on the link below):
Heirloom Tomatoes in Watercolor/Colored Pencil
Saturday, July 7, and Sunday, July 8, 2018
9:30 am – 3:30 pm
Science Lab Classroom
Cost: $185
LA Arboretum & Botanic Garden (link to map)

The second two-day drawing and painting workshop, “Eggplants in Watercolor/Colored Pencil,” will be held in August. This workshop also will cover the techniques for conveying light and shadow, mixing color, and continuous tone. Changing the subject matter from tomatoes to a variety of eggplants allows exploration of different techniques and effects. A supply list is on the Otis workshop registration site (included on the link below):
Eggplants in Watercolor/Colored Pencil
Saturday, August 18, and Sunday, August 19, 2018
9:30 am – 3:30 pm
Oak Room
Cost: $185
LA Arboretum & Botanic Garden (link to map)

Both workshops will be held indoors at the LA Arboretum. Class details will be sent to registrants. There are still a few seats remaining. Take one or both classes!

Questions? Call Otis Extension at 310-665-6850, or email extension@otis.edu

by Nina Antze, posted by Deb Shaw

Sketching Bonsai Workshop May 12, Douglas Charles © 2018.

Sketching Bonsai Workshop May 12, Douglas Charles © 2018.

The Northern California Society of Botanical Artists is holding a workshop taught by Lee McCaffree, “Sketching Bonsai in Pen and Ink.” The workshop has been rescheduled to
Saturday, May 12, 2018,  10:00am -3:00pm
in Menlo Park, California

Enjoy a day of sketching Bonsai trees among an extensive collection of plants in Menlo Park. Learn about the basic structure of this art form, and how to capture the essence of an individual specimen(s) in pen and ink. This workshop is intended to be fun and relaxing—depicting the trees overall design instead of the exact details. Everyone is welcome.

The cost is $30 for NCalSBA members; $40 for non–members. The workshop cost includes a donation to NCalSBA and the Bonsai Garden.

There are still a few seats available. To register, and for more information about the workshop (including a materials list), contact D. Hunter.

 

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 Jude Wiesenfeld, posted by Deb Shaw

Magnolia grandiflora, gouache on paper, © Carrie Di Costanzo

Magnolia grandiflora, gouache on paper, © Carrie Di Costanzo

Carrie Di Constanzo will be teaching a BAGSC-sponsored workshop, entitled Creating Botanical Paintings with Impact Using Gouache.

Participants in this workshop will learn how gouache is used to create realistic and detailed botanical paintings. Explore the benefits of using gouache and the similarities and differences between gouache and watercolor. Demonstrations will include using light washes of gouache, layering of colors with a dry brush, mixing of colors, glazing, and using semi-transparent and semi-opaque gouache. The class will be encouraged to experiment with gouache using small botanical subjects.

This workshop is suitable for artists who have previous experience with gouache, as well as those who have always wanted to try this wonderful opaque medium. Gouache will be supplied by the instructor, and a small fee will be charged to participants to share in the cost of the supplies. The workshop will be held at:
The Huntington Library, Art Collections and Botanical Gardens,
Botanical Education Center, Allied Technical Lab
Wednesday – Friday, April 11 – 13, 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 Carrie Di Constanzo 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

Carrie Di Costanzo worked as a fashion illustrator before shifting her focus to botanical art. Group exhibitions include the 14th Annual International through the 20th Annual International with the ASBA/HSNY (receiving the Ursus Award in\2013); “Following in the Bartrams’ Footsteps” and “Weird, Wild, and Wonderful” and the 14th through 19th Annual Botanical Art Exhibit at Filoli (receiving the Roth Award in 2013 and the Jurors’ Award in 2014). Her work is held in the Botanical Collections at The Huntington Library, Art Collections, and Botanical Gardens, The Hunt Institute for Botanical Documentation, and private collections.

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 Jude Wiesenfeld, posted by Deb Shaw

If you were looking forward to taking botanical art classes in 2018, here is the preliminary line up:

Denise Walser-KolarRoots and Leaves on Vellum or Watercolor Paper
February 7 – 9, 2018
The Huntington Library, Art Collections, and Botanical Gardens
$300 members/$350 non-members
 
Carrie DiCostanzo, Introduction to Creating Botanical Paintings with Impact using Gouache
Dates to be decided: April 11 –13 OR April 18 – 20, 2018
Location to be decided   
$300 members/$350 non-members
Lesley RandallPen and Ink Drawing of the Aristolochiaceae including a Botanical Talk
May 10 – 12, 2018
Oak Room, Los Angeles County Arboretum 
$300 members/$350 non-members
 
Robert McNeil, subject to be announced
October 3 – 5, 2018
The Huntington Library, Art Collections, and Botanical Gardens
$300 members/$350 non-members
The workshops above have been posted on the BAGSC website under ‘Classes’; and on the calendar on the BAGSC ‘Members Only’ website page. Stay tuned for more information on the website, on this blog, and in email blasts to BAGSC members. Additional workshops, lectures, field trips and meeting programs will be announced soon.

by Gilly Shaeffer, posted by Deb Shaw

There are many workshops to be held before the California Native Plant Society 2018 conference begins on Tuesday, January 30, through Wednesday, January 31, at the LAX Marriott.

There will be two botanical art workshops given by BAGSC members:
Gilly Shaeffer will teach “Introduction to Botanical Art Techniques”
Tuesday, January 30, from 1:00 pm to 4:30 pm.

Olga Ryabtsova will teach “Black & White Drawing Techniques in Botanical Illustration”
Wednesday, January 31, from 8:30 am to 4:30 pm

See complete information about these two workshops below.

Deadline to register January 14, 2018. To Register, go to https://conference.cnps.org/registration/

Introduction to Botanical Art Techniques
Tuesday, January 30, 1:00 PM-4:30 PM
Instructor: Gilly Shaeffer, Botanical Artists Guild of Southern California, American Society of Botanical Artists
Registration: $50 Attending the Conference / $70 Not Attending the Conference

Matilija Poppy, Gilly Shaeffer, watercolor on paper, © 2017.

Matilija Poppy, Gilly Shaeffer, watercolor on paper, © 2017.

Botanical art starts with a good drawing. Through demonstrations and hands-on practice, participants will learn ways to create line drawings of plants. We will focus on the need for close observation when creating botanical art. Class will begin with an overview of the materials used to create botanical art and how they are used, including pencils, drawing paper, erasers, magnifiers, watercolor brushes, paints, and watercolor paper. Next participants will be introduced to shading from light to dark to create three dimensional forms. Exercises will further participants’ understanding of form through creation of their own three dimensional forms. An introduction to the importance of a light source in drawing plant forms will be included. Class will conclude with time to sketch from natural forms so that class participants can apply the concepts presented during the class to their actual plant drawings.

This workshop is designed for people who have an interest in learning more about how to draw and eventually paint plants, and will be taught at a beginner level.

Participants will receive a list of reference books for the beginning study of drawing. Handouts will be provided covering basic points made in the class which will include exercises that can be done at home. A variety of books that are highly recommended in the study of botanical illustration and watercolor will be available to look at during class, as well as recent exhibition catalogues.

Please plan to bring (more details will be provided to registered participants—the cost for these materials should be around $15 for those who do not yet own them):

  • Strathmore drawing paper pad 400 Series
  • Graphite drawing pencils 2H, HB, and 2B
  • Cretacolor brand kneaded eraser

Gilly Shaeffer’ s lifelong interest in art and love of nature drew her to the study of botanical art. Her work has been selected to appear in juried exhibitions at museums, galleries, and gardens throughout the United States. She has taught Botanical Illustration and Watercolor at Virginia Robinson Gardens and Otis College of Art and Design in Los Angeles. She also teaches Botanical Art Techniques at her home studio on Mount Washlngton in Los Angeles.

Black & White Drawing Techniques in Botanical Illustration
Wednesday, January 31, 8:30 am – 4:30 pm
Instructor: Olga Ryabtsova, Botanical Artist; Exhibition Chair of the Botanical Artists Guild of Southern California, American Society of Botanical Artists
Registration: $95 Attending the Conference / $125 Not Attending the Conference

Matilija Poppy seed pod, Olga Ryabtsova, watercolor on paper, © 2017.

Matilija Poppy seed pod, Olga Ryabtsova, watercolor on paper, © 2017.

This workshop will focus on black and white drawing techniques. We will review the materials required, and participants will learn about the perception of light, shadow, and contrast in drawing with a graphite pencil, metalpoint, pen and ink. Drawing with all mentioned materials will be demonstrated. Patricipants will draw a sketch from a living plant or fruit or a provided photo with graphite, and start an original work with matalpoint.

This worshop is open to anyone interested in botanical art and drawing techniques. All skill levels are welcome (beginner, intermediate, advanced artists who are interested in metalpoint).

Preliminary list of supplies that participants will need to bring (more details will be provided before the workshop):

  • Graphite pencils 2H, HB, 2B, 4B
  • Sharpener
  • Sketch paper
  • Tracing paper
  • Drawing paper
  • Eraser
  • Board to support paper and tape to hold it
  • Metalpoint wire and holder
  • Portable light lamp (optional)

Olga Ryabtsova was born in Russia, in the town of Dubna about 80 miles north of Moscow. After school, she moved to Moscow to study graphic design and illustration at the Moscow University of Graphic Arts, where she obtained a Master’s Degree. She worked as an Art Director for advertising agencies, and as a photojournalist and commercial photographer. After moving to California in 2015, Olga became fascinated with the native plants of Southern California, the botanical gardens in the area, and botanical art. She works in many different techniques, including watercolor, oil, etching, silverpoint and ceramic. Additionally, Olga teaches drawing to children and conducts workshops for adults.

by Beth Stone, posted by Deb Shaw

Martin Allen’s Techniques Showcase at the 2017 San Francisco ASBA Conference was a great introduction for the class he subsequently taught locally for BAGSC, October 24 – 26, at The Los Angeles Arboretum.

Martin’s method is to work directly from photographs. He takes great care to stage the photos for dramatic lighting and for color accuracy to the point where paint colors can be directly matched to the colors on a printed photo. Although Martin jokes about his limited pallet there is a wisdom to it. He promotes mixing small quantities of the desired color to create a more realistic appearance.

Painting from John Pastoriza-Piñol's BAGSC workshop, 2017. © 2017 Beth Stone.

Painting from John Pastoriza Piñol’s BAGSC workshop, 2017. The shiny, reflective areas are masking fluid that has yet to be removed. © 2017 Beth Stone.

My biggest take-away from Martin was the notion of placing “mostly the right color in mostly the right place” from the very beginning. Here are three examples of my paintings from classes within the past year. Hint: both of the Orchid specimens had deep red to nearly black areas.

I call the one from mid-point of John Pastoriza Pinol’s class “my pretty pony” , the other is my first attempt at vellum from Carol Woodin’s class. I eventually finished each of these about two months later.

Painting from Carol Woodin's BAGSC workshop, 2017. © 2017 Beth Stone.

Painting from Carol Woodin’s BAGSC workshop, 2017. © 2017 Beth Stone.

Contrast these to the depth of tone achieved on this dandelion bud (~15x) in Martin Allen’s workshop.

The more classes I take, the more convinced I am that there is no right or wrong method. To me the secret is to keep an open mind and amass a tool kit of knowledge that can be applied where it suits the subject matter.

Painting from Martin Allen's BAGSC workshop, 2017. © 2017 Beth Stone.

Painting from Martin Allen’s BAGSC workshop, 2017. © 2017 Beth Stone.

by Deb Shaw

Artwork from the "Visual Voyages" exhibition at The Huntington Library, Art Collections and Botanical Gardens.  José María Carbonell, Loranthus, Royal Botanical Expedition to the New Kingdom of Granada led by José Celestino Mutis (1783–1816), tempera on paper, approx. 21¼ × 15 in. Archivo del Real Jardín Botánico- CSIC (Madrid).

Artwork from the “Visual Voyages” exhibition at The Huntington Library, Art Collections and Botanical Gardens.
José María Carbonell, Loranthus, Royal Botanical Expedition to the New Kingdom of Granada led by José Celestino Mutis (1783–1816), tempera on paper, approx. 21¼ × 15 in. Archivo del Real Jardín Botánico- CSIC (Madrid).

Join BAGSC and The Huntington Library, Art Collections, and Botanical Gardens for an innovative seminar, held in conjunction with The Huntington’s exhibition “Visual Voyages,” part of the Getty’s Pacific Standard Time: LA/LA initiative.

BAGSC and The Huntington are co-sponsoring this exciting weekend in November, and are experimenting with a new seminar format. Participants can register for one or more (or all) of the seminar components. BAGSC members have first options on spaces. Each of the seminar components are open to BAGSC Members, their guest(s), and the public. Individual prices are listed with each description; the price for the complete seminar package is listed below.

See full details about the seminar on BAGSC’s website, along with information about how to register for some or all of the events described below.

Friday, November 3
Wine and cheese reception: 4:00 pm – 5:00 pm
Join us for a private exhibition tour and discussion of “Visual Voyages” led by Lugene Bruno and Alice Tangerini: 5:00 pm – 7 pm. This seminar will be a discussion of the artwork of images of Latin American Nature in the exhibition and will compare and contrast the works to contemporary botanical art.
BAGSC Members: $50/person
Non-members: $60/person
Limited to a maximum of 30 participants

Saturday, November 4
Round Table Discussion and Tour of “In Pursuit of Flora: 18th-Century: Botanical Drawings from The Huntington’s Art Collections.” Go from Latin America in the Boone Gallery Friday evening to British artists in the Huntington Art Gallery — Works on Paper room. “In Pursuit of Flora” pulls work from The Huntington’s collection to reveal 18th-century European appreciation for the beauty of the natural world. Lugene Bruno and Alice Tangerini will lead a tour of this exhibition and discussion of the artwork, as it compares to the “Visual Voyages” exhibition and contemporary botanical art.
9:30 am – noon
BAGSC Members: $30/person
Non-members: $35/person
Limited to a maximum of 30 participants

A practical (and fun!) demonstration of pressing and preserving plants for future drawing and painting, and secret recipes for “restoring” preserved samples to use for drawing and painting. Learn how to press plants to preserve specimens for future drawing and painting, as well as how to “bring them back” to view for drawing and painting.
Alice Tangerini: 1:00 pm – 4:00 pm.
BAGSC Members: $30/person
Non-members: $35/person
Limited to a maximum of 30 participants

Individual Portfolio Reviews. Lugene Bruno will provide private portfolio critiques by appointment, one-half hour each: 1:00 pm – 4:00 pm. Reviews will be scheduled on a first-come, first-served basis for the best time possible for your schedule, and for Lugene’s.
BAGSC Members: $50/person (not available to non-members)

Gymnanthemum koekemoerae, © 2017 Alice Tangerini.

Gymnanthemum koekemoerae, © 2017 Alice Tangerini.

Sunday, November 5
Botanical Scientific Illustration Workshop. Pencil and watercolor on film, Alice Tangerini: 10:00 am – 2:15 pm. A hands-on workshop using pressed, “revived” and live specimens. Workshop will break for lunch. Lunch will not be provided; please bring your own, or feel free to purchase lunch at one of The Huntington’s cafés. Please be advised that the cafés can be crowded on the weekends.
BAGSC Members: $30/person
Non-members: $35/person
Limited to a maximum of 16 participants
Please note: the workshop costs above do not include materials. BAGSC will purchase some of the materials in bulk to save money for participants; we will post materials costs as soon as possible.

Individual Portfolio Reviews. Lugene Bruno will provide private portfolio critiques by appointment, one-half hour each: 10:00 am – 2:00 pm. Reviews will be scheduled on a first-come, first-served basis for the best time possible for your schedule, and for Lugene’s. Please only request an appointment within the allotted time frame; we may not be able to accommodate other times due to other scheduled seminar activities.
BAGSC Members: $50/person, (not available to non-members)

Dudleya rigida Rose, Crassulaceae, watercolor on paper by Frederick A. Walpole (1861–1904), 1897, 35.5 x 25.5 cm, on indefinite loan from the Smithsonian Institution, Hunt Institute for Botanical Documentation accession no. 4304.

Dudleya rigida Rose, Crassulaceae, watercolor on paper by Frederick A. Walpole (1861–1904), 1897, 35.5 x 25.5 cm, on indefinite loan from the Smithsonian Institution, Hunt Institute for Botanical Documentation accession no. 4304.

“Hidden Treasures: The rediscovery of art treasures in our collections” Public Lecture with Alice Tangerini, Smithsonian Institution and Lugene Bruno, Hunt Institute for Botanical Documentation, Carnegie Mellon: 3:00 pm – 4:00 pm in Rothenberg Hall.
Lugene Bruno and Alice Tangerini will present an illustrated lecture on missing artworks that were rediscovered in and curated for their museum collections. These art pieces represent historical events and important discoveries or were created for publications in the realm of science and art. They may have been stored in places where their presence was not easily detected; sometimes amongst old boxes of artifacts, in the files of herbarium specimens or even catalogued as another kind of object. Artists such as Frederick Walpole (1861–1904), Paulus Roetter (1806–1894), Isaac Sprague (1811–1895) and Mary Emily Eaton (1873–1961) portrayed each plant subject with aesthetic beauty and scientific accuracy. Walpole divided his time between Washington D.C. for the USDA and field trips to the Northwest as far as Alaska, during which time he made field drawings, watercolors and exquisite ink drawings that resemble fine line engravings. His talent was extinguished at 43 when he died of typhoid while working in California. Isaac Sprague, a self-taught artist, and one-time assistant to John James Audubon, was one of the most prolific illustrators of the 19th century and, from his home in Massachusetts, he drew in pencil and ink illustrations for published descriptions of native floras and plants collected during exploring expeditions and railroad surveys by some of the most important botanists of the period. Paulus Roetter, an émigré from Germany went on to create some of the finest drawings of the cactus family while accompanying the botanist George Engelmann on one of the government boundary surveys in the Southwest from 1853–1854. Engelmann named the cactus Cereus roetteri in honor of this artist’s skill. Mary Emily Eaton contributed drawings and watercolors for a four-volume opus, Britton’s The Cactaceae (1919–1923), while working as a scientific illustrator for the New York Botanical Garden. She lost her job during the depression and returned to England where she exhibited her work over the years. Each artwork has a storied past, and the history and the images of the artist’s field studies and finished drawings and paintings that were rediscovered in the collections will be featured in this presentation. By curating, cataloging and imaging these art works the Smithsonian Institution and the Hunt Institute preserve for the future a part of American history.
BAGSC Members: FREE
Non-members: FREE
Maximum of 250 participants

The Works

Want to participate in the entire weekend? Sign up for “The Works!” Complete Seminar Cost (everything included, except individual portfolio reviews)
BAGSC Members: $150
Non-Members: $175

Questions? Contact the BAGSC Education Chair.

About the Instructors

Lugene Bruno, Curator of Art & Senior Research Scholar at the Hunt Institute for Botanical Documentation, Carnegie Mellon University, Pittsburgh, PA.

Lugene Bruno, Curator of Art & Senior Research Scholar at the Hunt Institute for Botanical Documentation, Carnegie Mellon University, Pittsburgh, PA.

Lugene Bruno, Curator of Art & Senior Research Scholar at the Hunt Institute for Botanical Documentation, Carnegie Mellon University, Pittsburgh, PA. Since 1996, Lugene Bruno has held a position at the Hunt Institute for Botanical Documentation where she has immersed herself in the collection. She is responsible for all activities of the Art Department, including the curation of the art collection and twice-yearly exhibitions in the Institute’s gallery (most notably the triennial International Exhibition of Botanical Art & Illustration). She designs the exhibitions and companion catalogues; provides talks and tours related to collection items on site and at botanical conferences; responds to research requests; and makes available for study selections of the art collection to visiting scholars, students and artists. She is an honorary member of several botanical art and florilegia societies in the United States and abroad. Bruno is also a practicing artist working with the concepts of gestural abstraction and employing the mediums of photography and graphite drawing.

Alice Tangerini, Staff Illustrator and Curator of the Botanical Art Collection at the National Museum of Natural History, Smithsonian Institution in Washington, DC.

Alice Tangerini, Staff Illustrator and Curator of the Botanical Art Collection at the National Museum of Natural History, Smithsonian Institution in Washington, DC.

Alice Tangerini, Staff Illustrator and Curator of the Botanical Art Collection at the National Museum of Natural History, Smithsonian Institution in Washington, DC.  As a Staff Illustrator for the Botany Department at the National Museum of Natural History, Smithsonian Institution, Alice Tangerini has been specializing in drawing plants in pen and ink and graphite since 1972 and now her illustration media includes digital color.She has illustrated at least 1000 species of plants appearing in scientific periodicals, floras, and botanical and nature books. Most of her subjects are based on the Department’s extensive collection of over 4 million herbarium specimens.Alice also teaches classes in illustration techniques, presents lectures on botanical illustration and juries shows in botanical gardens and in academic institutions.She has exhibited her botanical artwork in numerous shows connected with the botanical and scientific illustration societies of which she is also a member. Her responsibilities in the department also include managing and curating an extensive collection of botanical illustrations, both historical and contemporary, which are available for viewing on the Department of Botany website.

by Deb Shaw

"Every Berry", watercolor, © 2017, Martin J. Allen.

“Every Berry”, watercolor, © 2017, Martin J. Allen.

Following the 2017 ASBA Conference in Northern California, Martin J. Allen will arrive in Southern California to teach a BAGSC-sponsored workshop, entitled Larger than Life
Tuesday – Thursday, October 24, 25 & 26, 2017
9:30 am – 3:30 pm each day
Los Angeles County Arboretum and Botanic Garden, Oak Room

Cost, BAGSC Members: $250
Non-Members: $275
Maximum Registration: 16 students

There are still a few seats available in Martin’s workshop. If you were unable to get into his workshops at the ASBA conference, now is your chance to enjoy a focused workshop with Martin, close to home.

Registration deadline is Tuesday, October 10, 2017. Please see the BAGSC website for details about how to register, materials list, and other workshop information. Questions? Contact the BAGSC Education Chair.

Workshop Description

This three-day workshop with Martin Allen looks at how to take digital reference photographs and use them to enlarge small parts of plants to create an exciting new image. Martin will cover how to take useful photographs and the practical challenges of translating that photograph into a realistic image on paper using a straight-forward painting technique.

About the Instructor

Martin J. Allen

Martin J. Allen

(Please read the full text about Martin Allen on the BAGSC website.) I began painting plants in the autumn of 1992 whilst recovering from illness, studying with Colin Swinton. What was intended initially as therapy, quickly turned into a serious interest.

In early 1995 my first Royal Horticultural Society (RHS) exhibit was awarded a Gold medal (the second in 1997 also gained Gold) and in the same year RHS Enterprises Limited commissioned three autumn flower designs as part of their Collectors’ Plate Series. Awards at The Society of Botanical Artists’ exhibitions followed in 1996 and 1998.

I became a member of the then newly formed Chelsea Physic Garden Florilegium Society in 1995, taking part in their 1999 RHS Gold medal group exhibit, becoming a Fellow in 2000 and regularly writing articles on botanical art for their newsletter. I am now honoured to be an Emeritus Fellow.

I am represented in America by Susan Frei Nathan, Fine Works on Paper, and Forum Botanische Kunst in Germany.

By Janice Sharp and Beth Stone, posted by Deb Shaw

On September 6 – 8, 2017, Marjorie Leggitt taught at BAGSC-sponsored workshop entitled “Fresh Art: Pencil and Paint in the Garden” at The Huntington Library, Art Collections and Botanical Gardens. Marj expertly led us on a scary path down the road of fast drawing and minimal supplies.

This class presented a unique opportunity to escape the classroom and venture out into the gardens. We were all grateful that it was cooler than previous weeks, so we enjoyed being outside.

It was great, challenging and yes, frustrating, to use quick techniques: modified blind contour drawing; big wet brushes and simple pallets. Each designed to shift our focus away from the tools and back to observation of our subject. We came away with good tips which we can apply to making thoughtful studies or even initial drawings for a full botanical rendering.

Click on any one of the circles to see the images in a slide show format:

by Deb Shaw

Paphiopedilum ‘Hideki Okuyama', © 2017, Carol Woodin, watercolor on vellum, all rights reserved.

Paphiopedilum ‘Hideki Okuyama’, © 2017, Carol Woodin, watercolor on vellum, all rights reserved.

Carol Woodin will be teaching a workshop entitled “Painting Orchids in Watercolor on Vellum” at The Huntington Library, Art Collections and Botanical Gardens, June 2, 3 and 4, 2017, from 9:30 am – 4:00pm each day. There are still some spaces available in this coveted workshop, with subject specimens specially selected from The Huntington’s prized Orchid collection.

In addition to teaching about painting on vellum, and all about orchids, Carol will demonstrate how to select, cut and stretch vellum over a board.

The cost to BAGSC Members for the three-day workshop is $250; the cost for Non-Members is $275. Payment should be received by BAGSC by Saturday, May 27. Participating artists can provide their own vellum for the workshop, or can purchase a piece from the instructor, who will provide a 10” x 13” piece of vellum for $50, payable at the workshop.

Details about the workshop, enrollment, directions and a materials list can be found on the BAGSC website.

See you there!

By Jude Wiesenfeld, posted by Deb Shaw

Lee McCaffree (left) and Pat Mark (right); photo by Jude Wiesenfeld, © 2017.

Lee McCaffree (left) and Pat Mark (right); photo by Jude Wiesenfeld, © 2017.

BAGSC held a one day class with botanical artist (and BAGSC member), Lee McCaffree, at The Huntington Library, Art Collections and Botanical Gardens on May 6, 2017 on “Leaf Detail: Start to Finish, Veins and Edges”.

Susan Jackson; photo by Jude Wiesenfeld, © 2017.

Susan Jackson, enjoying her leaf studies; photo by Jude Wiesenfeld, © 2017.

Lee stayed with Pat Mark, who also acted as her assistant in the class, arranging for specimens, distributing hand-outs, etc. We brought our lunch, which was a very good idea, as there turned out to be a special film event at The Huntington that took over the Brody side parking lot and added to the crowd.

Lee is a very affable teacher and took time with every student checking their work on the assignments. She began showing us examples of different leaf vein patterns and margin (edges) patterns. We divided our watercolor paper into sections and worked on different techniques in an effort to decide which ones we preferred.

I liked leaving the whites of the veins, rather than “lifting” or “masking” the veins. Lee also suggested tools that would best suit rendering our veins and edges for the best results.

We hope Lee will join us again in future. All of us enjoyed meeting her and enjoyed the class very much.

Class members, © 2017.

Class members, © 2017.

Kat Powell (left) and Estelle De Ridder (right); photo by Jude Wiesenfeld, © 2017.

Kat Powell (left) and Estelle De Ridder (right); photo by Jude Wiesenfeld, © 2017.

Jude Wiesenfeld, © 2017.

Jude Wiesenfeld, © 2017.

by Jude Wiesenfeld and Lee McCaffree, posted by Deb Shaw

BAGSC will be sponsoring a one-day Leaf Detail workshop with Lee McCaffree, on:

Saturday, May 6, 2017
9:30 am – 4:00 pm

The Huntington Library, Art Collections and Botanical Gardens, Botanical Education Center

Cost, BAGSC Members: $100
Non-Members: $120
Maximum Registration: 16 students

Roger's Red Grape, watercolor by Lee McCaffree, © 2017.

Roger’s Red Grape, watercolor by Lee McCaffree, © 2017.

Leaves form the background for most botanical paintings. It is important to spend the time to make them accurate. We will work to make the veins and margins realistic in their finishing touches while following the form and texture of  several leaves. This workshop will cover leaf-painting techniques using dry brush work, masking fluid, lifting and leaving the white paper.

For more information about the workshop, sign-up, and the materials list, please see the BAGSC website “Classes” and “Class Details” page.

About the Instructor

Lee McCaffree is a botanical illustrator in watercolor. She shares the coordination and implementation of the Filoli Botanical Art Certificate Program and is a primary instructor. She served on the Board of Directors of The American Society of Botanical Artists. She gives regular private classes in the Bay area and instructed at the ASBA Annual meetings and the UC Berkeley Botanical Garden. She supports botanical artists by participating in coordinating teams for art exhibits and jurying.

Lee McCaffree

Lee McCaffree

She began her career in London, England studying under Christabel King of Kew Gardens. She received Medals for showing her “Pinus” series and “Plants in Peril” series at the Royal Horticultural Society exhibitions in London. Her works are in the permanent collections of the Royal Botanic Gardens at Kew Collection, London, the Filoli Florilegium and Hunt Institute of Botanical Documentation; Lee won Best of Show at the Northwest ASBA Exhibition in Portland, OR. Her showings include juried exhibitions at Contemporary Art Center, MOMA-New York; Longwood Gardens; Hunt Institute, Pittsburgh; Seattle Science Center; Flinn Gallery Greenwich, CT; Horticultural Society of New York; Missouri, Chicago, Denver and UC Berkeley Botanical Gardens; Strybing Arboretum, CA; Arizona Desert Museum, New York State Museum; Johnson & Johnson Headquarters; Oakland Museum; Loveland Museum (Colorado); Filoli exhibits and Florilegium; Northern California Society of Botanical Artist’s Alcatraz Florilegium and other venues. She created the poster for the California Native Plant Sale for the East Bay for ten years. Her work is published in Curtis’s Botanical Magazine, England and Today’s Botanical Artist. Her work was included in “Losing Paradise”, an exhibit of endangered species illustrations which traveled throughout the U.S and to the Shirley Sherwood Gallery at Kew Gardens, London. Currently, she is exhibiting in the Weird, Wild and Wonderful Traveling Exhibit from the New York Botanical Gardens.

Lee’s work concentrates on native plants which she hopes will increase their visibility and use in public and private landscaping. Her skill as a botanical artist allows her to focus her creativity on the finest details of each plant she paints. Her enthusiasm inspires her students to develop their own skills and enjoy the creative process.

%d bloggers like this: