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Do you teach classes in botanical art, natural science illustration, the book arts, sketchbook journaling, or botany?

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In the second part of his series about the history of botany education in America, professor Marshall D. Sundberg takes a look at how botany textbooks, classroom instruction and student learning evolved in the 19th century. Part Two in this series focuses on textbook authors, teachers and America’s first professional botanists.

Botany textbooks were big business in the 1800s as educators, botanists and botany enthusiasts strived to carry out two things: 1) Teach botany to the public, and 2) Turn botany into a professional discipline.

The author of the first bestselling botany book in the U.S. was the female “botanophile” (i.e., botany enthusiast), Almira Hart Lincoln Phelps (Sundberg, 2012). Phelps taught botany at a seminary and it is her experiences as a teacher that made her realize the need for a botany book for beginners. So she wrote a book based upon her lecture notes and published Familiar Lectures on Botany: Including practical and elementary botany with generic and specific descriptions of the most common native and foreign plants and a vocabulary of botanical terms for the use of higher schools and academies (1929). Phelps, who became the second woman elected to the American Association for the Advancement of Science in 1859 (Sundberg, 2012), had some competition in the textbook market. Competitors included her teacher Amos Eaton, Alphonso Wood (a popular author of taxonomy textbooks for all grade levels), and America’s first professional botanist, Asa Gray (Sundberg, 2012). Between them they published several textbooks for elementary schools, secondary schools and universities.

The growth of botany programs in the U.S. increased as the number of colleges and universities increased (Sundberg, 2012). Many firsts occurred during this period of growth. For example, in 1847 Asa Gray taught the first one-month intensive botany class that would become the precursor to upper division botany labs and graduate programs (Sundberg, 2012). In 1871, Gray taught the first summer workshops in botany for U.S. high school teachers (Sundberg, 2012). At Iowa Agricultural College professor Charles E. Bessey started the first botany lab for undergrads in America in 1873 and, one year later, introduced students at the University of California to laboratory methods in botany (Sundberg, 2012).

Today we take for granted the availability of journal articles about all aspects of teaching and learning in biology. There was a time, however, when they didn’t exist. This changed in 1880 when Bessey’s graduate student, J.C. Arthur, wrote the first teaching paper in a botanical journal (Sundberg, 2012). What was his article about? It was about how the stem of a pumpkin is a good laboratory example of a dicot stem (Sundberg, 2012). Two years later, Bessey wrote an article suggesting teachers use Asparagus stems as their laboratory example of a monocot stem (Sundberg, 2012).

As for teaching methods in botany, this was a new topic area too. William J. Beal described his approach to teaching botany in an article published in the Botanical Gazette a journal serving, as Sundberg (2012) describes it, as “the mouthpiece of the younger generation of botanists”. Beal’s pedagogical approach to teaching botany emphasized observation and the recording of written and visual descriptions (Sundberg, 2012).

And let’s not forget the first textbook about plant dissection. Written by J.C. Arthur, the Handbook of Plant Dissection was published in 1886 and in addition to all that you’d expect to find in a dissection manual, includes commentary about the value of drawing what one observes in lab.

Sundberg’s article about the development of botany education in this country sheds light on the origins of the different philosophies within the discipline, as well as different philosophies in biology education. Take for example, the 19th century conversation surrounding the value of biology education over botany and zoology education. Sundberg’s discussion of opposing philosophies brought back memories of grad school and the tensions within the biology department where I went to school. Back then there was much conversation about the development of a new curriculum that would change how botany and zoology classes would be taught. It was the “cell squishers” against the “lizard chasers” — this is how grad students saw it, anyway. One day a faculty member on the cell and molecular side used the word “archaic” to describe the department’s curriculum. Folks on the organismic side had their own opinions. It was interesting to read that riffs such as this one go back to the 1800s.

Sundberg’s series about the history of botany education is very interesting and I encourage you to read Part One and Part Two.

Some of the references Sundberg refers to throughout his article are available online. Below are links to two of the books. Enjoy!

    Gray, Asa. 1858.How Plants Grow: A simple introduction to to structural botany with a popular flora or a description and arrangement of common plants both wild and cultivated. New York: American Book Company.
    View online

    Henslow, Reverand Professor. 1858. Illustrations to be employed impractical lessons on botany. Adapted to beginners of all classes. Prepared for the South Kensignton Museum. London: Chapman and Hall. View online



Literature Cited

Sundberg, Marshall D. 2012. Botanical education in the United States: Part 2, The nineteenth century – Botany for the masses vs. the professionalization of botany. Plant Science Bulletin. 58(3): 101-131. Fall 2012. Web.
<http://issuu.com/botanicalsocietyofamerica/docs/psbseptember_-_58__3__2012> [accessed 13 September 2012]

Now for a topic I first wondered about when I was a kid…


ArtPlantae
: How do you fix a pop-up book? Do you have any tips for parents or teachers? What should one be mindful of when they sit down to repair a child’s book?


Shawn
: Attempting an at-home repair is a great opportunity to explore the structure of the piece, and perhaps reveal its weak points. Using thin, strong acid-free paper (kozo sheets are great and can be purchased from many online retailers) and an acid-free glue (PVA, a.k.a. book binder’s glue or Jade) is best.

Many of these books are ephemeral — they’re not meant to last forever. It’s easier and cheaper to replace most contemporary books. Torn books can be taken apart and explored to learn structure.

However, if one has a book that can’t be easily replaced, or has historical value, then I’d recommend hiring a professional to do the repair. Many home-executed repairs end up doing additional damage in the long run. Online searches for book conservators or repair specialists will yield lots of great options.


Have questions for Shawn?
Join the conversation…

The American Society of Botanical Artists launches the 15th Annual International Juried Botanical Art Exhibition at The Horticultural Society of New York later today with an opening reception that begins at 6 PM.

One of the world’s premier venues for botanical art, this exhibition showcases the artwork of both established and emerging botanical artists. Artists from the United States, Australia, Brazil, Canada, Japan, and the United Kingdom submitted 192 works to jurors Patricia Jonas, Kathie Miranda, and Derek Norman. Forty-three artworks were selected for the exhibition and these pieces will be on view through November 21, 2012.

Visitors will be inspired by artwork created in watercolor, graphite, ink and colored pencil, as well as in media seen less often in botanical art exhibitions (hand-colored aquatint etching, silverpoint, polymer plate etching, and oil).

Workshops and painting demonstrations will be held during the exhibition.
Add these dates to your calendar!

The Gallery at The Hort is free and open to the public Monday through Friday, 10 AM to 6 PM. The Horticultural Society of New York is located at 148 West 37th Street, 13th Floor, New York, NY 10018-6909. (Map)

A color catalog about the exhibition is now available at ArtPlantae Books ($20).

Shawn Sheehy looks at nature a bit differently than many of us. I asked him…


ArtPlantae
:
I can’t help but think that you look at the world through the eyes of a paper engineer. When you look at plants, animals and landscapes, do you think pull strips, flaps and foundation shapes?


Shawn
:
You are correct, but it’s the other way around: when I look at an interesting engineering structure, I think about what sorts of plants or animals I could build and move using that structure.


Follow this conversation already in progress…

Following a recommendation from Shawn, I purchased Pop-Up Design and Paper Mechanics: How to Make Folding Paper Sculptures by Duncan Birmingham so that I could learn more about how pop-up books were constructed.

When I began to read this book, I became instantly intrigued by both the simplicity and the complexity of the engineering behind pop-ups. The word “engineering” is used because it’s the only word that really fits. Don’t be intimidated by the word, however. There are only three rules to pop-ups and these are explained in Birmingham’s book.

Birmingham reveals the science behind pop-up books very clearly. His instructions are supported by visuals, so it’s easy to follow the steps he describes. He tells you exactly where each fold needs to go.

Birmingham reviews foundation shapes, the “building blocks of pop-ups”, and provides very clear descriptions of 18 foundation shapes. He also explains nine building techniques that can be used to build a three-dimensional scene. Birmingham tells you when to cut away parts, when to stick pieces on, how to add extra creases, when to create multiple folds, how to create slots, how to bend planes, how to make straps, and how to make a pop-up interactive.

Included in this book are templates for 14 projects. The templates are in color so you can print them out as-is without investing in colored paper to create the elements of each structure. This is a huge plus for those just beginning to explore paper engineering.

Birmingham’s book is an interesting and enlightening introduction to pop-up structures.

So is it easy to build a pop-up scene?

No, not even close. To immerse yourself in the process and to receive guidance along the way, consider taking one of Shawn’s upcoming classes.

Pop-Up Design and Paper Mechanics: How to Make Folding Paper Sculptures is available at ArtPlantae Books.

A new course in botanical illustration begins this month at Central Oregon Community College.

See what’s new at
Classes Near You > Oregon:


Jeanne Debons Studio, Bend

www.jeannedebons.com
Botanist and botanical illustrator, Jeanne Debons, teaches small student-focused painting workshops at her Oregon studio. Dr. Debons received her Ph.D. in the Department of Botany and Plant Pathology at Oregon State University. She graduated from the diploma course in Botanical Painting at the English Gardening School in 2005. Dr. Debons invites you to join her painting workshops this Fall.

    Botanical Illustration – Tuesdays, September 25, 2012 – October 30, 2012; 6:30 – 9:30 PM. Learn the fundamental techniques of botanical drawing and painting in straightforward steps. Be introduced art supplies used by botanical illustrators, drawing techniques, color mixing techniques and more. Art supplies are included. A materials list for additional supplies will be distributed at the first class meeting. Cost: $99. Non-credit. Limit: 8. Location: Central Oregon Community College (COCC). Go to the COCC registration page and enter the words “botanical illustration”.


    Botanical Painting
    – The weekend class is for beginners and advanced students in botanical art. Beginners will learn how to begin a botanical drawing and painting. Advanced students have the option of beginning a new project or working on an existing project. Supplies will be provided for beginners. Cost: $120 for the two-day workshop; $70 for a one-day workshop. For more information and to register, contact Jeanne. This workshop will be held on the following dates:

    October 20-21, 2012 in Bend, OR
    November 304, 2012 in Portland, OR