PREVIOUS WORKSHOPS & CLASSES
Deborah Shaw, Juglans California S. Watson
Not Just Pencil and Paper (Graphite Workshop) with Deborah Shaw
In two consecutive Saturday Zoom sessions, Deborah introduced us to a variety of applications with traditional graphite pencils, she introduced participants to new graphite media, including water soluble graphite in several forms, graphite dust, liquid graphite, to name a few. Prior to the workshop, Deborah mailed each participant a small “goody” bag of samples of the various forms of graphite she presented in class as well as a selection of papers and aids to use in applying the materials. We learned such techniques as creating deep ranges of tonal values, light veins and hairs on dark petals and leaves, creating large areas of smooth, even tones, as well as detailed textures.
Deborah provided tips on surfaces that work well with graphite, which differ from choices more appropriate for watercolors. Deborah demonstrated the application of the various forms of graphite beyond pencils and their unique uses with excellent illustrations and demonstrations that strengthened her instructions.
In two consecutive Saturday Zoom sessions, Deborah introduced us to a variety of applications with traditional graphite pencils, she introduced participants to new graphite media, including water soluble graphite in several forms, graphite dust, liquid graphite, to name a few. Prior to the workshop, Deborah mailed each participant a small “goody” bag of samples of the various forms of graphite she presented in class as well as a selection of papers and aids to use in applying the materials. We learned such techniques as creating deep ranges of tonal values, light veins and hairs on dark petals and leaves, creating large areas of smooth, even tones, as well as detailed textures.
Deborah provided tips on surfaces that work well with graphite, which differ from choices more appropriate for watercolors. Deborah demonstrated the application of the various forms of graphite beyond pencils and their unique uses with excellent illustrations and demonstrations that strengthened her instructions.
Watercolor on Kelmscott Vellum with Jean Emmons
Jean began by talking about Kelmscott and how working on it is different than other types of vellum and watercolor paper. Jean demonstrated many techniques including her method of dry brush, layering colors, and various ways of removing pigment via dry methods. Jean also discussed building an interesting composition, how to create focus on the center of interest, and understanding how light and dark values can create interest. She led the class through a series of exercises allowing individuals to gain practice and confidence working with Kelmscott vellum, then with additional demonstrations, apply this to create a painting of a chosen subject.
Jean Emmons came to botanical art through a love of gardening and a career in book and magazine illustration. Formally trained in color and abstraction, Jean feels plants afford the perfect subject matter for studying light on form. Jean’s paintings can be found within prestigious botanical art collections, including the Royal Horticultural Society Lindley Library, the Hunt Institute for Botanical Documentation, and the Shirley Sherwood Collection. Jean received her second gold medal and the “Best Painting of Show” award from the Royal Horticultural Society in London (2011). In the United States, she has won the prestigious ASBA “Diane Bouchier Founder’s Award for Excellence in Botanical Art” (2005) and the “Jurors’ Award” (Filoli 2018). She has also received the “Best in Show” award two times at the ASBA International Conferences that were held in 2007 and 2018.
Jean began by talking about Kelmscott and how working on it is different than other types of vellum and watercolor paper. Jean demonstrated many techniques including her method of dry brush, layering colors, and various ways of removing pigment via dry methods. Jean also discussed building an interesting composition, how to create focus on the center of interest, and understanding how light and dark values can create interest. She led the class through a series of exercises allowing individuals to gain practice and confidence working with Kelmscott vellum, then with additional demonstrations, apply this to create a painting of a chosen subject.
Jean Emmons came to botanical art through a love of gardening and a career in book and magazine illustration. Formally trained in color and abstraction, Jean feels plants afford the perfect subject matter for studying light on form. Jean’s paintings can be found within prestigious botanical art collections, including the Royal Horticultural Society Lindley Library, the Hunt Institute for Botanical Documentation, and the Shirley Sherwood Collection. Jean received her second gold medal and the “Best Painting of Show” award from the Royal Horticultural Society in London (2011). In the United States, she has won the prestigious ASBA “Diane Bouchier Founder’s Award for Excellence in Botanical Art” (2005) and the “Jurors’ Award” (Filoli 2018). She has also received the “Best in Show” award two times at the ASBA International Conferences that were held in 2007 and 2018.
Greater Spotted Woodpecker © Sarah Morrish
Creating the Depth and Detail of Lichens in pen & ink with Sarah Morrish
Sarah first discussed lichen biology, reproduction, and ecology; she then showed examples of reference materials in her sketchbook including sketches, photos and sometimes even a specimen pressed and preserved. She demonstrated creating a detailed graphite drawing, then used a variety of pens as well as various mark making techniques to depict the shape and character of the lichen. Sarah reviewed the various pen and ink options, explaining the advantages and disadvantages of each. She also showed us how to create various backgrounds with india inks or watercolors in the range of hues of the forest.
Sarah Morrish has been teaching botanical and natural history art for over 15 years using a variety of media. She has taught independently and for a variety of organizations including Wellesley College Botanic Gardens, Royal Botanic Garden Edinburgh, Irish Society of Botanical Artists, and many conservation organizations.
Sarah first discussed lichen biology, reproduction, and ecology; she then showed examples of reference materials in her sketchbook including sketches, photos and sometimes even a specimen pressed and preserved. She demonstrated creating a detailed graphite drawing, then used a variety of pens as well as various mark making techniques to depict the shape and character of the lichen. Sarah reviewed the various pen and ink options, explaining the advantages and disadvantages of each. She also showed us how to create various backgrounds with india inks or watercolors in the range of hues of the forest.
Sarah Morrish has been teaching botanical and natural history art for over 15 years using a variety of media. She has taught independently and for a variety of organizations including Wellesley College Botanic Gardens, Royal Botanic Garden Edinburgh, Irish Society of Botanical Artists, and many conservation organizations.
Carrie Di Constanzo, Apple in egg tempera
Cherry in Dry Brush - workshop with Carrie Di Costanzo
We timed our one-day June workshop with the award-winning botanical artist, Carrie Di Costanzo, to run during our Northwest cherry season. Carrie’s Zoom workshop focused on using dry brush watercolor to replicate the colors, form, and texture of cherries.
Carrie Di Constanzo is an award-winning artist whose lovely paintings can be found in the Botanical Collections at the Huntington Library in San Marino, CA, at The Hunt Institute for Botanical Documentation in Pittsburgh, PA, and numerous private collections.
We timed our one-day June workshop with the award-winning botanical artist, Carrie Di Costanzo, to run during our Northwest cherry season. Carrie’s Zoom workshop focused on using dry brush watercolor to replicate the colors, form, and texture of cherries.
Carrie Di Constanzo is an award-winning artist whose lovely paintings can be found in the Botanical Collections at the Huntington Library in San Marino, CA, at The Hunt Institute for Botanical Documentation in Pittsburgh, PA, and numerous private collections.
Phormium sp., Carol Woodin
Composition in Botanical Art with Carol Woodin
Carol is the author of an extensive chapter on the subject of composition in the newly published ASBA book, Botanical Art Techniques. During the workshop she covered many of these elements of composition, illuminating the principles and techniques using botanical artworks by acclaimed botanical artists from around the world. She shared her own art and also discussed some of our own works, in the context of composition.
Carol is the author of an extensive chapter on the subject of composition in the newly published ASBA book, Botanical Art Techniques. During the workshop she covered many of these elements of composition, illuminating the principles and techniques using botanical artworks by acclaimed botanical artists from around the world. She shared her own art and also discussed some of our own works, in the context of composition.
Black-capped Chickadee,
Colored Pencil by Crystal Shin
Colored Pencil Workshop with Crystal (Soojeong) Shin
In this workshop, Crystal shared her techniques and experiences, including building undertones and layers to achieve depth and color saturation; blending and burnishing; incising tool techniques; and approaches to different paper surfaces (e.g. smooth paper vs hot pressed watercolor paper).
Crystal Shin is a talented botanical artist, well known to PNBA members.
In this workshop, Crystal shared her techniques and experiences, including building undertones and layers to achieve depth and color saturation; blending and burnishing; incising tool techniques; and approaches to different paper surfaces (e.g. smooth paper vs hot pressed watercolor paper).
Crystal Shin is a talented botanical artist, well known to PNBA members.
Fritillaria imperialis 'Rubra' © Dianne Sutherland
"Watercolor Techniques, from the Washes to Dry Brush and Detail: Painting Leaves" with Dianne Sutherland
Dianne’s workshop centered around teaching the techniques used for her process for botanical painting with a focus on leaves as subjects. Dianne shared her 4-step watercolour process which allowed you to maintain highlights while building form and texture enabling you to create realistic and beautiful leaves.
Dianne is an acclaimed botanical artist is highly regarded as a skilled instructor. In addition to her series of online botanical art courses, she has taught classes in the United States, New Zealand, Russia and throughout the UK.
Dianne’s workshop centered around teaching the techniques used for her process for botanical painting with a focus on leaves as subjects. Dianne shared her 4-step watercolour process which allowed you to maintain highlights while building form and texture enabling you to create realistic and beautiful leaves.
Dianne is an acclaimed botanical artist is highly regarded as a skilled instructor. In addition to her series of online botanical art courses, she has taught classes in the United States, New Zealand, Russia and throughout the UK.
|
“Nature's Textures” Workshop with Kathleen McKeehen
Kathleen McKeehen's two-day watercolor workshop focused on techniques to create the various textures found in nature. Whether the subject was something as seemingly simple as dirt, sand, and rocks, to intricate sea shells and tree bark samples, Kathleen showed us many ways to re-create the patterns, details, and beauty of these objects. Kathleen is a talented artist and member is a very popular botanical art instructor throughout the greater Seattle area. She is well known for her skill at sharing her impressive knowledge of botanical art techniques in a very clear and supportive manner to artists at all levels. |
Herb Companion Cover by Kathleen McKeehen
|
Spanish olives: Olea europaea on calfskin vellum © Shevaun Doherty
“Farmers Market Harvest” Watercolor Workshop with Shevaun Doherty
The focus of Shevaun's workshop was form, color and surface texture. A confirmed “colorholic,” Shevaun showed us how to create vibrancy by using subtle colors in the underlayers and shared her method for developing successful color harmony throughout a painting.
Shevaun is an award-winning artist and an art tutor for the SBA, and regularly exhibits her botanical paintings in Dublin, London, and Frankfurt. Shevaun is passionate about using her art to raise awareness about conservation issues and was recently commissioned to design a set of Irish postage stamps featuring her paintings of endangered native Irish bees.
The focus of Shevaun's workshop was form, color and surface texture. A confirmed “colorholic,” Shevaun showed us how to create vibrancy by using subtle colors in the underlayers and shared her method for developing successful color harmony throughout a painting.
Shevaun is an award-winning artist and an art tutor for the SBA, and regularly exhibits her botanical paintings in Dublin, London, and Frankfurt. Shevaun is passionate about using her art to raise awareness about conservation issues and was recently commissioned to design a set of Irish postage stamps featuring her paintings of endangered native Irish bees.
Lupinus argenteus © Susan Rubin
Colored Pencil on Mylar with Susan Rubin
The surface and translucence of Mylar (drafting film) takes colored pencil well and allows for a whole new way to work. Susan taught us pencil application and layering techniques and methods for using the back of the surface to enhance the front.
Susan Rubin has been an instructor at the Denver School of Botanical Art and Illustration since 1998. She exhibits nationally and her work is included at the State Museum of New York, at the Hunt Institute for Botanical Documentation in Pittsburgh, as well as many private collections.
The surface and translucence of Mylar (drafting film) takes colored pencil well and allows for a whole new way to work. Susan taught us pencil application and layering techniques and methods for using the back of the surface to enhance the front.
Susan Rubin has been an instructor at the Denver School of Botanical Art and Illustration since 1998. She exhibits nationally and her work is included at the State Museum of New York, at the Hunt Institute for Botanical Documentation in Pittsburgh, as well as many private collections.
Nuts © Catherine Watters
Mastering Textures and Details -- woody, hairy, pillowy, fuzzy, bumpy and prickly! with Catherine Watters
Catherine enthusiastically shares her passion for botanical art with a clear and supportive teaching style that works well with all ability levels. She has been one of the primary instructors for the Filoli Botanical Art Certificate Program in Woodside, CA since 1999. For the past six years Catherine has taught botanical art classes in France and at Wellesley College near Boston. She also teaches regularly at the annual ASBA conferences.
Catherine enthusiastically shares her passion for botanical art with a clear and supportive teaching style that works well with all ability levels. She has been one of the primary instructors for the Filoli Botanical Art Certificate Program in Woodside, CA since 1999. For the past six years Catherine has taught botanical art classes in France and at Wellesley College near Boston. She also teaches regularly at the annual ASBA conferences.
Camellia japonica Chandleri Elegans © Akiko Enokido
Painting Shiny Leaves
with Akiko Enokido
“As botanical artists, painting leaves is one of the most critical techniques we must learn. Size, shape, color and surface texture are very important factors for the identification of the plant." Akiko Enokido
Akiko was awarded a Gold Medal at the RHS London Botanical Art Show Flora Japonica exhibition for her paintings of the heritage Camellia japonica.
with Akiko Enokido
“As botanical artists, painting leaves is one of the most critical techniques we must learn. Size, shape, color and surface texture are very important factors for the identification of the plant." Akiko Enokido
Akiko was awarded a Gold Medal at the RHS London Botanical Art Show Flora Japonica exhibition for her paintings of the heritage Camellia japonica.
Plum © Denise Walser-Kolar
Painting Beautiful Fruits on Vellum, or Paper
& Painting Leaves with Denise Walser-Kolar
Denise Walser-Kolar returned to teach two PNBA workshops. The first on Painting Beautiful Fruits on Vellum, or Paper. The second workshop on Painting Leaves.
Denise is a talented botanical artist and a popular instructor. She is well-known for her skill at effectively sharing information in an enjoyable and supportive manner.
& Painting Leaves with Denise Walser-Kolar
Denise Walser-Kolar returned to teach two PNBA workshops. The first on Painting Beautiful Fruits on Vellum, or Paper. The second workshop on Painting Leaves.
Denise is a talented botanical artist and a popular instructor. She is well-known for her skill at effectively sharing information in an enjoyable and supportive manner.
Kinglets on Vine Maple © Kathleen McKeehen
Painting the Beauty of Birds with Kathleen McKeehen
Birds make natural partners to botanical subjects, and are in themselves intriguing and satisfying to study and paint. Dry-brush watercolor is an excellent technique with which to capture their beauty and detail.
Birds make natural partners to botanical subjects, and are in themselves intriguing and satisfying to study and paint. Dry-brush watercolor is an excellent technique with which to capture their beauty and detail.
Painting Mushroom Portraits with Alexander Viazmensky
Viazmensky’s extensive work studying and painting fungi for 35 years has made him one of the most accomplished mushroom painters in the world. His artwork can be found in museums and private collections around the globe.
Viazmensky’s extensive work studying and painting fungi for 35 years has made him one of the most accomplished mushroom painters in the world. His artwork can be found in museums and private collections around the globe.
Peony by Karen Kluglein
Watercolor Workshop with Karen Kluglein
New York botanical artist, Karen Kluglein, taught a PNBA watercolor workshop on the weekend of April 9 & 10, 2016. Karen is an award winning artist who teaches at the New York Botanical Gardens.
On the left is Karen's beautiful Peony painting.
New York botanical artist, Karen Kluglein, taught a PNBA watercolor workshop on the weekend of April 9 & 10, 2016. Karen is an award winning artist who teaches at the New York Botanical Gardens.
On the left is Karen's beautiful Peony painting.
BUGS and BEETLES and BUTTERFLIES - Oh My!
Insect painting workshop with Kathleen McKeehen. This was an introduction on how to order, prepare and illustrate insects.
Insect painting workshop with Kathleen McKeehen. This was an introduction on how to order, prepare and illustrate insects.
