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

by Kirsten Rindal, posted by Deb Shaw

“Using Light to Create Realism in Botanicals”, taught by Robert McNeill at The Huntington Library, Art Collections and Botanical Gardens, October 3-5, 2018 was an amazing 3-day workshop!

Robert began with a thought-provoking quote by Leonardo da Vinci: “A painter should begin every painting with a wash of black, because all things in nature are dark except where it is exposed to light.” We were all inspired by the meticulous approach and techniques, and how he used light to reveal the drama, depth, form, transparency and detail of the subject.

Snapshot's from Robert McNeil's workshop.

Snapshot’s from Robert McNeil’s workshop.

He discussed the importance of capturing the effect of light, how it requires controlled tone/value to describe the relative lightness or darkness of color, creating an illusion of form. When we perceive tones/values, they are always relative to each other and never seen in isolation. Therefore, simultaneous contrast is always at work. Being able to create and control tonal/value gradation in watercolor is an important skill to acquire, along with the ability to see them and record them accurately. This controlled effective tone/value can take your work to a higher level by creating “enhanced relations through convincing volume”. Robert’s painting of the Cardiocrinum gigantum was a perfect example of how a painting encourages the viewer to look closer by revealing detail that has been made more apparent by light.

During the workshop, Robert shared examples of his work to illustrate the process and techniques of using light to create realism. He stressed the importance of constantly analyzing the process as one worked. Generous with information, patient in answering every question, his enthusiasm, interest and support were always encouraging.

Lighting:
Robert reviewed ways to light your subject, explaining that correct intensity and direction of light for the subject is important to reveal aspects crucial to capturing its essence. He usually uses overhead lighting that is controlled. He noted that it is not always helpful to place subjects in strong light, as extreme contrasts can create more problems than it solves. His painting of Abies koreana ‘Carron’ beautifully illustrates how studying the play of light across all aspects of his subject creates a sense of drama. We were encouraged to think about lighting in the subject’s natural habitat, and what would be typical of natural lighting. It was suggested that we avoid overhead lights in a room, and also light from windows, keeping light consistent on the subject you are painting.

Documenting Stage:
Thorough and objective observation of the subject is key. Observe the subject from all angles to ascertain which angle would convey the most convincing nature of the subject. Carefully look for overlapping and foreshortening. (Taking photos as a reference is OK, but best not to rely on photos.) For details use eyes, and measure subject for 1:1 scale, carefully documenting information, as subject will change by growing, wilting or drying out. Observe the difference that the angle of light source makes upon subject for revealing visual strengths. Fifteen minutes were given to make three quick loose, linear drawings of our subject, the rose. Fifteen more minutes were given to make three more quick, linear/tonal drawings. Color matching was made at this part of the documenting process. He asked us to be mindful of the way colors are affected by the color next to it. Robert uses Winsor Newton transparent paints only, and always mixes his own greens and oranges.

Development Stage:
We began this part of the process by producing a full size 1:1 scale drawing, referring to documenting stage material to ensure accuracy. Robert shared examples of his work showing meticulous detail to be used as a reference for final painting. Next we were to make an accurate tracing from the drawing of our rose. The tracing was placed in a variety of positions before making a final decision and transferring it to watercolor paper. After transfer, it was advised to always re-work to produce more accurate drawing. He cautioned us about erasures on watercolor paper that can cause paper’s surface to breakdown. Robert also gave a tip about using a piece of silk and an agate to smooth a ruffled paper surface.

Demonstrations:

Lifting Preparation.

  • Winsor Newton Lifting Preparation may be used for ease in lifting paint for veins, etc.
  • Use 3 layers of lifting prep, allowing 2 hours of drying time in between each layer.
  • You may use lifting prep over layer of wash.
  • Best to only use in small areas, and be extremely careful not to go over pencil lines.

Ox Gall Liquid.

  • Mix 3 drops of Winsor Newton Ox Gall in ¼ cup water. Keep small marked water jar with this mixture separate from other water.
  • This mixture helps paint to flow easily.
  • You may use Ox Gall and water wash on paper first, and when slightly damp, add paint wash. Or, you may use Ox Gall and water and paint all at the same time.
  • Never use paint with Ox Gall for dry brush work. Keep paints and brushes used for dry brush separate.

Dry Brush Technique.

  • Using a Spotter, WN 000, Robert demonstrated stipples and tiny fine lines.
  • Robert used a separate plate with tiny dots of dry paint, moistening his brush with a damp sponge.
  • For texture, only hit the high points of the paper.
  • Can use damp brush on top of stipples very carefully.
  • It is important to avoid using one technique, rather use a combination of wash and dry brush. Continually analyze the process you are using.
  • Indian Yellow may also be used as a light glaze over finished painting…very carefully.

During the three days, we all talked about Robert’s useful ideas and techniques that made an impression on us. At the end of the class, works in progress were placed on a table for sharing. Robert emphasized the importance of seeing all work within the group as a valuable learning experience. Following are ideas and techniques that resonated with members of the class:

“I very much enjoyed learning how to make fast, free sketches while not looking for details, but instead seeing the overall shape.”
“Learning how to focus on the contrasts, especially the dark and light.”
“Watching Robert using a scalpel to release bits of dried paint from the paper surface.”
“Experimenting with Ox Gall as a wetting agent in the water jar, and learning how to use WN lifting preparation was very interesting and highly useful information.”
“Hearing the words: ’Slow down, think, organize and plan’ was a reminder to always approach work with pre-planned thought.”
“Importance of continually analyzing the process.”
“Reactivate the line after a trace to create depth as a reminder while painting.”
“Remembering to soften outside edges while keeping them sharp, yet light.”
“Using a damp sponge for moisture control when using dry brush techniques.”

The time flew by far too quickly! We are all grateful to Robert McNeill, both as a brilliant artist and as an excellent teacher. His meticulous attention to detail and thorough observation of his subjects are reflected in the light and form he achieves in his paintings. He inspired us to see the subtleties and nuances of light as we create art. Thank you also to the Education Committee for bringing him here, to Tania Norris for supplying the subjects, and treats, to The Huntington for hosting us, and to BAGSC.

by Jude Wiesenfeld, posted by Deb Shaw

Tacoma stans 'Yellow elder’, watercolor by Jude Wiesenfeld on 140 lb. Arches 11” x 14”, © 2018. Completed July 2018.

Tacoma stans ‘Yellow elder’, watercolor by Jude Wiesenfeld on 140 lb. Arches 11” x 14”, © 2018. Completed July 2018.

It’s not too early to start planning for next year!

Join BAGSC member Jude Wiesenfeld for her three-day Botanical Art Workshop: Watercolor on Paper, at the Desert Art Center in Palm Springs, California, January 25, 26, and 27, 2019. The cost for the three-day workshop is $200US.

This workshop will be an introduction to botanical art for everyone with some prior experience with watercolor. All participants will begin a painting while learning about the history of botanical art, basic plant and leaf shapes, creating studies and notes about a subject, and masking and composition.

Nandina domestica, Nandina, Sacred Bamboo, by Jude Wiesenfeld. Watercolor on 140 lb. Arches, 18.5" X 15”, © 2017.

Nandina domestica, Sacred Bamboo, by Jude Wiesenfeld. Watercolor on 140 lb. Arches, 18.5″ X 15”, © 2017.

This is not a BAGSC-sponsored workshop—enrollment is directly through the instructor. To enroll: email Jude Wiesenfeld and send a $50 non-refundable deposit (address will be supplied upon sign-up) by January 18, 2019 to reserve your spot. Payment balance will be collected the first day of the workshop.

Caesalpinia pulcherrima 'Pride of Barbados' by Jude Wiesenfeld. Watercolor on Kelmscott Vellum, 9" X 12", Completed March 2018.

Caesalpinia pulcherrima ‘Pride of Barbados’ by Jude Wiesenfeld. Watercolor on Kelmscott Vellum, 9″ X 12″, Completed March 2018.

The materials list is available on the workshop flyer, downloadable here.

The Desert Art Center is located at: 550 N. Palm Canyon Dr., Palm Springs, CA 92262, 760 323-7973. Directions and hours can be found on their website.

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 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

"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 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 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.

by Melanie Campbell-Carter, posted by Deb Shaw

John Pastoriza-Piñol demonstrating ellipses.

John Pastoriza-Piñol demonstrating ellipses. Photo by Melanie Campbell-Carter, © 2016.

The renowned Huntington Library, Art Collections and Botanical Gardens provided fourteen BAGSC members with a three-day Master Class with John Pastoriza-Pinol on November 8 – 10, 2016. The Huntington offered us exquisite Paphiopedilum specimens from the Conservatory and greenhouses for our subjects. Kudos to Melanie Thorpe of The Huntington, and BAGSC Education Chair Jude Wiesenfeld, for flawless organization on this long-anticipated workshop.

Quoting participant Arillyn Moran-Lawrence, “We learned so many new techniques:

  1. Using ellipses to find the proper placement of a plant on the paper.
  2. Using abundant masking fluid to keep the areas between washes pristine.
  3. Using many layers of pale colors to build to unique darker colors.
  4. Using brushes like blenders, spotters and a Neef comb to complete the painting.”

Reactions to the experience by participating artists included,

Using abundant masking fluid. Photo by Melanie Campbell-Carter, © 2016.

Using abundant masking fluid. Photo by Melanie Campbell-Carter, © 2016.

“Combing is my new favorite thing!” Cynthia Jackson

“Watching John develop the orchid painting was truly an inspiration.” Gilly Shaeffer

“(John) will rewet six or seven times before he starts dry brush work and a total of maybe 30 layers to the final work. I am so happy to have learned about his methods.” Leslie Walker

“I never named my orchid but after all those pastel washes I named my painting…my pretty pony!” Beth Stone

John Pastoriza-Piñol demonstrating to class participants. Photo by Melanie Campbell-Carter, © 2016.

John Pastoriza-Piñol demonstrating to class participants. Photo by Melanie Campbell-Carter, © 2016.

The students coordinated a “paint share” for John’s materials list, courtesy of BAGSC member/artist Beth Stone. As an unexpected bonus, Robert Hori of The Huntington graciously shared several prints from the Estate of Rory McEwen with the class. BAGSC member/artist Mitsuko Schultz shared several books, including the new publication, Flora Japonica, from the current exhibition at the Shirley Sherwood Gallery at the Kew Gardens, which she attended two months ago.

John is currently enjoying an extended stay in the US on a grant from the Australian Arts Council, and will be in New York City through the end of the year in an association with the Horticultural Society of New York. Seeing the American national election process through his eyes was an interesting experience! We are gratified that he so enjoyed his time at The Huntington that he expressed a heartfelt wish to return soon.

A few of the participants in class with John. L to R: Photo by Melanie Campbell-Carter, © 2016.

A few of the participants in John’s class. (L to R:) Teri Kuwahara, Gilly Shaeffer, Jude Wiesenfeld, John Pastoriza-Piñol, Gayle Uyehara, Sydney Tanner, Cynthia Jackson, Leslie Walker, and Kat Powell. Photo by Melanie Campbell-Carter, © 2016.

by Jude Wiesenfeld and Janice Sharp

Last April Alexander Viazmensky (Sasha) and his students held their first Botanical Art Exhibition in St. Petersburg, Russia (see the article on page 9 of The Botanical Artist, the journal of the American Society of Botanical Artists (ASBA) for June 2016, Volume 22, Issue 2, ISSN 1523-5165*).

Sasha Viazmensky demonstrating initial watercolor technique for painting a mushroom.

Sasha Viazmensky demonstrating initial watercolor technique for painting a mushroom.

This October 19 – 21, 2016, Sasha came to teach a workshop about painting mushrooms for BAGSC artists. Held at the Los Angeles County Arboretum and Botanic Garden in Arcadia, California, Sasha brought with him a wealth of knowledge on his speciality. His technique is largely wet on wet. He reiterated often that we should get ready to put the paint on the paper, then STOP and think about where we will place the paint before proceeding.

One thing we learned to observe is how many more gills appear at the edge of the mushroom that are thinner and closer together than the ones near the stem.

Sasha was an excellent and affable teacher. Each day we watched him demonstrate the techniques for different types of mushrooms. He spent a great deal of his time individually guiding each of us.

* The Botanical Artist is a quarterly publication for members of ASBA. Back publications are available to members for purchase. View a sample of  The Botanical Artist.

Sasha demonstration of a Polypore Mushroom (fungi that grow on tree trunks).

Sasha demonstration of a Polypore Mushroom (fungi that grow on tree trunks).

Those in attendance were (from left to right): Beth Stone, Gilly Shaeffer, Olga Eysymontt, Sasha, Cynthia Jackson, Janice Sharp and Bonnie Ash (missing from the photo are Pat Mark, Kathy Morgan and Jude Wiesenfeld).

Those in attendance were (from left to right):
Beth Stone, Gilly Shaeffer, Olga Eysymontt, Sasha, Cynthia Jackson, Janice Sharp and Bonnie Ash (missing from the photo are Pat Mark, Kathy Morgan and Jude Wiesenfeld).

These are examples of our work!

These are examples of our work!

Anne-Marie Evans.

Anne-Marie Evans.

The Virginia Robinson Gardens will have Anne-Marie Evans in November, 2016:
November 7th – 11th
November 14th – 18th

Anne-Marie added to her lengthy list of credentials when she was awarded an MBE (Member of the British Empire) for her services to Botanical Art and Education in the New Year Honours List in December, 2015.

Anne- Marie is in a large way responsible for the renaissance of botanical art in the twentieth and twenty-first centuries. Her classes cover the five-step method she developed for producing a botanically correct and beautiful portrait of a floral subject in watercolor.

Anne-Marie welcomes beginners and experienced artists.

Please save the dates for this very special opportunity to be taught by one of the best!

Tuition:  $595 members/$625 non-members each week
$100 non-refundable deposit due upon registration, with balance due one week prior to scheduled class.

On-line registration: Make checks payable to Friends of Robinson Gardens – memo:  Botanical
Classes begin at 9:30 AM and end at 3:30 PM. Please bring your lunch.

Details and supply list will be emailed to all registrants prior to the class.

For additional information please call Friends of Robinson Gardens at 310.550.2068

The Virginia Robinson Gardens is located at: 1008 Elden Way, Beverly Hills, CA  90210.

by John Pastoriza-Piñol, Jude Wiesenfeld and Deb Shaw

Tulipa x hybrida, watercolor by John Pastoriza-Piñol, © 2016.

Tulipa x hybrida, watercolor by John Pastoriza-Piñol, © 2016.

BAGSC will be offering a Masterclass with Australian botanical artist John Pastoriza-Piñol in November, 2016. Students will learn the intricacies of achieving fine detail with watercolour masking fluid and NEEF ¼ Comb, invaluable tools for contemporary botanical artists. As a result, your paintings will be brought to a new level of realism and detail. Students should have skills in drawing and watercolor. Over three days, John will assist you with painting the chosen class subject. John will show how masking fluid can be used to achieve very fine detail and will instruct students how to use the NEEF ¼ Comb.

November 8, 9 and 10, 2016
9:30 am – 4:00pm each day
The Huntington Library, Art Collections, and Botanical Gardens
Cost: BAGSC Members: $300; Non-Members: $330
Maximum Registration: 16 students

To register:
Send a check for your $50 non-refundable deposit fee (or payment in full), made out to BAGSC, to BAGSC Education Chair, Jude Wiesenfeld. Please write “JohnPP” on the memo line of the check. Payment in full is due by Monday, October 25, 2016.

Bring your lunch, or purchase lunch at The Huntington Cafes, at The Huntington.

Questions about the Workshop? Contact the BAGSC Education Chair.

Fragaria x ananassa, Strawberry, watercolor by John Pastoriza-Piñol, © 2016.

Fragaria x ananassa, Strawberry, watercolor by John Pastoriza-Piñol, © 2016.

Learning Objectives:
Students who enroll in this workshop would have completed some level of introduction to Botanical Art and be at an intermediate to advanced level. The structure of the class involves a three-day painting project and the demonstrator assists each student with composition, painting techniques, colour theory which will be offered in class and assigned for homework.

Download a PDF of the materials list: John Pastoriza Pinol Materials list 2016

About the Instructor:
Rich luminous hues and gorgeously exotic and rare botanical specimens epitomize John’s work, however his are much more than mere flower paintings:closer inspection reveals a certain ambiguity of form and intent directing us towards a complex narrative.

John Pastoriza-Piñol, © 2016.

John Pastoriza-Piñol, © 2016.

A master of his medium, his perfectly executed watercolours remain true to the accuracy that is vital to botanical illustration yet they have a fluidity and sensuality that stirs the viewer to experience more than a mere marveling of technique.

The artist suggestively urges us to look beyond the aesthetic and move into slightly more uneasy territory as his work inhabits a territory somewhere between scientific analysis and symbolic realism, prompting a reading that goes beyond the purely representational and literal. The artist intends for literal and subversive elements to coexist uneasily on the same plane, while the aesthetics will remain true to the fundamental principle of objective observation of the natural world.

Location:
The workshop will be held at The Huntington Library, Art Collections, and Botanical Gardens, in the Botanical Education Center. The Huntington is located at: 1151 Oxford Road, San Marino, CA 91108.

 

by Jude Wiesenfeld and Deb Shaw

"Forest Bouquet, Russian Choice," watercolor by Alexander Viazmensky, © 2016, all rights reserved.

“Forest Bouquet, Russian Choice,” watercolor by Alexander Viazmensky, © 2016, all rights reserved.

Alexander (Sasha) Viazmensky will be returning to Southern California from St. Petersburg, Russia to teach a three-day, BAGSC-sponsored workshop, Mushroom Portraits in Watercolor.

Wednesday, October 19 – Friday, October 21, 2016
9:30 am – 4:00 pm each day
Los Angeles County Arboretum, Oak Room
$300 for BAGSC members; $330 for non-members
Class limit: 16 students

Workshop Description:
Mushroom hunting is a passionate, national pastime in Russia, and Sasha’s paintings capture the spirit of the fungi and the forest. Painted life sized, he calls his paintings “Portraits of Mushrooms.” The class will consist of the following steps:

  1. Composition.
  2. How to properly place your subject: lights, shadows, reflections.
  3. Creating the shape from light to dark.
  4. Creating various textures with dry brush.
  5. Using white gouache.
  6. Final details.

Download the materials list: sashaMaterialsList

To Register:
Send a check for your $50 non-refundable deposit fee (or payment in full), made out to BAGSC, to BAGSC Education Chair Jude Wiesenfeld. Please write “Sasha” on the memo line of the check. Payment in full is due by Monday, October 3, 2016.

Bring your lunch, or purchase lunch at the Peacock Café, on the Arboretum grounds.

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

"Forest Bouquet, Russian Choice," watercolor by Alexander Viazmensky, © 2016, all rights reserved.

Alexander Viazmensky in the woods. © 2016.

About the Instructor:
Sasha Viazmensky was born and lives in St. Petersburg, Russia, and specializes in painting fungi. Although he has a Master’s Degree in Electrical Engineering, he has devoted his life to painting, studying, and picking mushrooms. His work is included in the collections of the Hunt Institute for Botanical Documentation in Pittsburgh, the Minneapolis Institute of Arts, the Shirley Sherwood Collection and the Komarov Botanical Institute in St. Petersburg, among others, and in private collections all over the world. You can read an article Sasha wrote about picking mushrooms in Russia, published in MUSHROOM, The Journal of Wild Mushrooming, here.

by Deb Shaw

Akiko Enokido at the RHS Exhibition.

Akiko Enokido at the RHS Exhibition with a few of her watercolors of heritage Camellia japonica.

Congratulations to Akiko Enokido for her Gold Medal at the RHS London Botanical Art Show, for her paintings of heritage Camellia japonica in watercolor on vellum.

Akiko sends a big hello to BAGSC members from London!

As Akiko explained, one of the oldest camellias among her paintings is ‘Masayoshi’. This camellia was carried to the Netherlands by Dr. Siebold in 1829 and named ‘Doncklaeri’. This is the plant that became the basis for the cultivation of many new types of Camellia in Europe during the 1800’s.

Congratulations to all the winners, including ASBA members:
Julie Nettleton (Best Botanical Painting)
Julie Nettleton (Australia), gold medal
Akiko Enokido (Japan), gold medal
Esmee Winkel (Netherlands), gold medal
Betsy Rogers-Knox (USA), silver-gilt

by Diane Daly and Deb Shaw

The Opuntia cactus in the courtyard at the entrance to Bowers Museum. Another beautiful Fall day in Southern California. Photo © Deborah Shaw, 2015.

The Opuntia cactus in the courtyard at the entrance to Bowers Museum. Another beautiful Fall day in Southern California. Photo © Deborah Shaw, 2015.

BAGSC members Diane Daly, Deb Shaw, and new BAGSC member Linda Carpenter spent a gorgeous Fall day at the Bowers Museum on November 22, demonstrating botanical art and talking with visitors to the Museum. BAGSC members are demonstrating in conjunction with the Bowers exhibition “The Red that Colored the World,” on display through February 21, 2016.

Cochineal (Dactylopius coccus) is a scale insect that lives on Opuntia cacti. The insect produces carminic acid, from which carmine dye is derived. The females and their nymphs secrete a waxy, white web to protect them from the sun and predators. Photo © Deborah Shaw, 2015.

Cochineal (Dactylopius coccus) is a scale insect that lives on Opuntia cacti. The insect produces carminic acid, from which carmine dye is derived. The females and their nymphs secrete a waxy, white web to protect them from the sun and predators. Photo © Deborah Shaw, 2015.

There is a huge Optuntia (Prickly Pear) growing in the courtyard at the entrance to the Bowers, serendipitously covered with Cochineal. We were lucky to have a large pad that had fallen to the ground, and, in addition to botanical art, we were able to show visitors the Cochineal scale insect, the color, and even some Mealybug Ladybird (ladybug) larvae who were feasting on the Cochineal. It was a whole world on one cactus pad. Visitors to the museum were fascinated (as were we!).

Live Cochineal (under the white on the Opuntia cactus paddle); dried Cochineal; and paint from the crushed insects. Photo by Diane Daly, © 2015, all rights reserved.

Live Cochineal (under the white on the Opuntia cactus paddle); dried Cochineal; and paint from the crushed insects. Photo by Diane Daly, © 2015, all rights reserved.

Diane Daly teaches at the Bowers Museum Treasures Program, which reaches out to senior centers, community centers, libraries, social service agencies and residential communities, engaging older adults who may be feeling isolated through art. The Thursday program focused on Cochineal as well, complete with demonstrations of crushing the bugs and using them to make paint. The seniors then painted an Aztec design using the paint. They could add lemon juice to some of the paint, which made it a lighter, warmer red.

Deborah Shaw will be teaching a a two-day color mixing class, “What’s Cool (and Warm) about Red” (with paint from the art supply store) on Saturday, December 12 and Sunday, December 13 at Bowers. Registration is through the Bowers website.

Additional BAGSC demonstration days in conjunction with the exhibition will be held in January and February. Come join us and learn about a color that changed the history of the world, that’s still in use today. (You’ll be amazed at how much Cochineal is still used in food, make-up and clothing dyes.) Email Deb to sign up!

by Tania Norris, posted by Deb Shaw

Hybrid Bearded Flag Iris, watercolor on vellum and in the artist's private collection. © 2015 Jenny Phillips, all rights reserved.

Hybrid Bearded Flag Iris, watercolor on vellum and in the artist’s private collection. © 2015 Jenny Phillips, all rights reserved.

Jenny Phillips, internationally renowned botanical artist and teacher, is returning to Southern California to teach watercolor. Sponsored by the Virginia Robinson Gardens, Jenny will be teaching two workshops in two locations: one at the Virginia Robinson Gardens in Beverly Hills; the other at The Huntington Library, Art Collections and Botanical Gardens in San Marino. Participants may sign up for one or the other, or both.

Jenny runs the Jenny Phillips School for Botanical Art in Melbourne, Australia, and has taught in America, Europe and Africa. Jenny is known for her attention to detail and in her teaching, shares her expertise in helping everyone — from beginning to advanced students. She furthers understanding of the art of botanical painting by giving demonstrations of her methods, tips and the benefits of her experience. Her magic with a paintbrush, her techniques for correcting “mistakes” are well known and her enthusiasm is contagious. All who take her classes come away with a renewed energy and thrill of painting nature.

“Water color techniques and tips for all artists, with an emphasis on botanical art”

Session I: September 21 – 25,  The Huntington, Frances The Frances Lasker Brody Botanical Center
1151 Oxford Road San Marino, CA 91108
Monday through Friday, 9:30am – 3:30pm
For more information, contact Tania Norris.

Session II: September 28 – October 2, Virginia Robinson Gardens
1008 Elden Way, Beverly Hills, Ca 90210
Monday through Friday, 9:30am – 3:30pm
For more information contact, Friends of Robinson Gardens

Jenny Phillips discussing techniques at Virginia Robinson Gardens.

Jenny Phillips discussing techniques at Virginia Robinson Gardens.

Fee PER WEEK $595. for Virginia Robinson Garden and Botanical Artists Guild of Southern California members.
Non-members $625. per week. A $100 non-refundable deposit or payment in full will reserve a seat in the class. Remainder payable in full, one week before scheduled class.

A supplies list will be sent to all registered participants. Coffee, tea and water will be provided, but please bring your own lunch. Lunch at The Huntington may be purchased from the Café or coffee shop.

To make reservations for the class held at Virginia Robinson Gardens, visit the Virginia Robinson Gardens online; call 310.550.2068; or mail a check to: Friends of Robinson Gardens, 1008 Elden Way, Beverly Hills, CA 90210.

Jenny Phillips demonstrating techniques at the Virginia Robinson Gardens.

Jenny Phillips demonstrating techniques at the Virginia Robinson Gardens.

To make reservations for the class held at The Huntington, please mail a check made out to Tania Norris: 137 N. Larchmont Boulevard, Los Angeles, Ca 90004.

For more information about either session, please contact Tania Norris.

About the instructor:
Jenny Phillips, a Gold Medalist from The Australian National Print Awards 1998, The Royal Horticultural Society, London 1993, and recipient of the Celia Rosser Award, has focused her drawing, watercolour skills, and love of gardening on botanical art since 1971. She is a renowned botanical artist and one of the most popular and experienced teachers. She has her own Botanical Art School in Melbourne, Australia, and has her paintings in many notable collections, including that of H.R.H. Prince Charles. Jenny’s teaching always includes effective ways to achieve maximum effect with ease and her wit is always evident.

%d bloggers like this: