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This month, we have the opportunity to learn from several artists in a group-style Q&A session.

Please join me in welcoming our Feature Group for October, the Birmingham Society of Botanical Artists!

The Birmingham Society of Botanical Artists (BSBA) was created by the first graduating class of the certificate program in botanical art offered by the University of Birmingham, England. Having worked alongside each other for two years, this class of 12 students wanted to continue to meet regularly so they could continue to learn from each other. They formed the BSBA and now members of the original group, as well as graduates from other classes, meet monthly at the Winterbourne Botanic Garden. Since its creation in 1999, the BSBA has grown to include 50 members, all of whom are actively painting and exhibiting their work.

The certificate program responsible for uniting this dedicated group of botanical artists was cancelled in 2005 because of university budget cuts. Fittingly today, this two-year university program has been replaced with two one-year programs taught by the Birmingham Society of Botanical Artists.

The one-year Certificate Program is a program leading students through the sequence of steps artists complete while creating a botanical painting. Students learn plant morphology, how to create accurate line drawings, how to create three-dimensional forms, and how to work in the field. They also learn how to work in a variety of media. Regular homework assignments and a final project reinforce what has been learned, as does sharing work with fellow students. According to BSBA member & tutor Jeni Neale, the certificate program encourages students to find their own style and to develop their own specialty.

The second program developed by the BSBA is called Aspects of Botanical Illustration. It can be viewed as either a continuation of the certificate program or as a standalone program for individuals who want to learn about botanical art, but who do not have the time to dedicate to the certificate program. The Aspects program is a one-year program composed of a series of monthly classes dedicated to a specific theme (e.g., leaves and stems in graphite, painting shine on leaves, etc.). Neale states the Aspect program “enables students to work on developing their own skills in botanical illustration or to adapt what they have learnt to their own particular area of interest.”

This month we have the opportunity to learn from eight members of the Birmingham Society of Botanical Artists in a group-style Ask The Artist Q&A. Each artist has their own specialty and their own approach to botanical art. You are invited to ask questions about their respective specialties or about how they approach drawing and painting plants.

Artists participating in this month’s group Q&A are:

  • Jan Beesley – Specializes in detailed illustration using graphite pencils.
  • Julia Blower – New to the world of botanical illustration.
  • Dawn Burford – Specializes in illustrating books for publishers in pen and ink.
  • Jenny Major – Loves illustrating foliage and non-flowering plants. Dislikes big blousy flowers.
  • Jeni Neale – Specializes in colour mixing using just six colours and printing cards of her paintings on her home computer.
  • Audrey Richards – Prints her own cards from her colourful paintings.
  • Bridget Rochford – Specializes in illustrating wild flowers combining watercolour with graphite in the background.
  • Sue Wilson – Loves wet-in-wet for both leaves and flowers. Dislikes drawing, so often does minimal lines and goes straight in with the paint.

Do you have questions about printing or selling note cards featuring your botanical paintings? Looking for insight into how to become a book illustrator? Have questions you have not yet had the chance to ask? Use this opportunity to ask your question(s) and to learn from this diverse group of artists.

Please send questions to education@artplantae.com or type your questions in the comment box below. If you type your questions below, please know they will not be published to the Web automatically. Your questions will be added anonymously to the list of questions submitted to the BSBA.

All questions are due October 10, 2011.
Replies from our visiting artists and tutors will be posted on October 24, 2011.


What do you want to learn?



UPDATE
: Go to The Birmingham Society of Botanical Artists Answers Your Questions

Intended to serve as an example about how to incorporate the arts into the classroom, Why Arts Integration Improves Long-Term Retention of Content written by Luke Rinne, Emma Gregory, Julia Yarmolinskyaya and Mariale Hardiman is an informative guide to research addressing how the arts can aid the retention of information. Citing studies from 1932 through 2010, Rinne et al. (2011) describe how the arts can be used as a methodology that can enhance learning in the classroom.

In their paper, Rinne et al. (2011) explain “long-term memory effects” and how the arts can be used to take advantage of these effects. What follows is a brief review of each effect.


    The Effect of the Repeated Rehearsal of Information on Retention

    It has been demonstrated that the “repeated rehearsal of information” has a positive effect on long-term retention (Rinne et al., 2011). Rehearse more, remember more. Well, almost. Some researchers think it isn’t how often one rehearses information that matters, but instead how information is elaborated upon or how it is linked to other information (Craik & Watkins, 1973), as cited in Linne et al., 2011). Rinne et al. (2011) make the case that activities from the arts can be integrated into classroom content and used as prompts to “elaborate rehearsal” thereby generating “sustained attention” and motivating students to learn.


    The Effect of Elaboration That Adds Meaning on Retention

    Help learners think deeply. Rinne et al. (2011) suggest teachers call upon students to write a story, a poem, a song or create a piece of art incorporating the information they want students to learn. Placing information in some sort of context requiring learners to process information at a deeper level aids memory because it establishes a more “elaborate memory trace” (Rinne et al., 2011).


    The Effect of Generating Original Information on Retention

    When learners are prompted to generate information in response to some sort of cue, they remember the generated information better than if they only read the same information (Rinne et al., 2011). There are many thoughts about why this is the case. Some think custom-generated information requires a deeper level of processing and more cognitive effort, while others think it is the uniqueness of the information generated that aids retention (Rinne et al., 2011). Whatever the reason, the authors suggest teachers encourage students to generate their own information — both verbal and visual — to aid their retention of new content.


    The Effect of Enactment on Retention

    Acting out is a good thing. Evidence suggests translating material into actions helps learners recall information. There are a couple ideas about why this might work. One has to do with motor encoding and the fact that acting out requires learners to use motor encoding and verbal encoding during physical movement (Rinne et al., 2011). The other idea cites the “unusualness” of the actions that makes information easier to remember (Rinne et al., 2011). The value of using the performing arts as a learning tool is proposed and Rinne et al. (2011) suggest teachers pair “novels, stories, or poems with (the) enactment of key segments” to enhance student learning about the literature or topics discussed in class.


    The Effect of Oral Presentation on Retention

    Talk to yourself. Speaking words aloud results in better retention than reading words in silence. This works because when reading aloud, the spoken words are made distinctly different from the words that are read in silence (Rinne et al. (2011). The authors recommend that arts activities requiring students to write songs or take part in some type of theatrical performance be used as learning tools to take advantage of this effect.


    The Effect of Effort on Retention

    When a certain amount of effort is required for a learner to make sense of new information, retention of this information is enhanced (Rinne et al., 2011). The interesting thing about this effect is that learners are not consciously aware of the fact that they will have achieved comprehension after exerting effort because all they tend to see is another learning goal before them (Rinne et al. (2011). To turn ho-hum learning goals into activities requiring some effort to comprehend, Rinne et al. (2011) suggest teachers turn to the arts and call upon students to find content embedded in some type of art form. The aim is to present learners with an art form “that requires interpretation or ‘decoding’ by the observer” Rinne et al. (2011). One of the examples Rinne et al. (2011) offer is the use of Andy Warhol’s Campbell’s Soup Cans to bring attention to commercialism in American culture. The thinking here is that effort spent on interpreting will lead to better retention. Some researchers, however, think it isn’t the amount of effort exerted, but the uniqueness of the effort. Are you beginning to see a trend? The distinctiveness of a thought or action appears to be central to the arguments made by some neuroscience researchers.


    The Effect of Emotional Arousal on Retention

    Emotionally charged content is easier to remember than content linked to events that leave emotions parked in neutral (Rinne et al., 2011). To take advantage of this, Rinne et al. (2011) recommend teachers replace “fill-in-the-blank” type of activities with activities from the arts promoting the “expression of emotional content.”


    The Effect of Pictures on Retention

    Information presented as pictures is retained better than the same information presented as words (Rinne et al., 2011), so the authors recommend teachers use images when images can be used to convey information that could just as well be presented as words. Using pictures as a learning tool will lead to better retention in older children and adults (Rinne et al. (2011)). However, this appears not to be the case with young children. The authors cite a study where researchers (Defeyter et al. (2009), as cited in Rinne et al., 2011) found that content retention is not achieved in children age 7 and younger. Defeyter et al. (as cited in Rinne et al., 2011) hold the opinion that image use does not result in content retention in young children because their “capacity for recollection” is still being developed.

Why Arts Integration Improves Long-Term Retention of Content is a concise practical reference and is recommended to educators who want to incorporate the arts into their curriculum and to parents, artists and advocates of the arts wishing to articulate the value of the arts to others.




THOUGHT FOR THE DAY
:

How can botanical artists take advantage of these effects
to encourage public interest in plants?



Literature Cited

    Craik, F.I.M. & M.J. Watkins. 1973. The role of rehearsal in short-term memory. Journal of Verbal Learning and Verbal Behavior. 12(6): 599-607.
    [buy online or visit local library]

    Defeyter, M.A., R. Russo and P.L. McPartlin. 2009. The picture superiority effect in recognition memory: A developmental study using the response signal procedure. Cognitive Development. 24(3): 265-273.
    [visit local library]

    Rinne, Luke and Emma Gregory, Julia Yarmolinskyay and Mariale Hardiman. 2011. Why arts integration improves long-term retention of content. Mind, Brain, and Education. 5(2): 89-96.
    [buy online or visit local library]

Click to download itinerary

Experience Italy in 2012!

Imagine yourself in Tuscany in Spring 2012, in a restored medieval village, drawing or painting the seasonal displays of flowers such as red poppies, azaleas, wisteria or the native blue iris. Or if you prefer, depicting the local fruit and vegetable offerings such as asparagus, strawberries, fennel or peas found in the market place.

Imagine also your artistic endeavors being guided by a renowned teacher in a stunning historical indoor/outdoor studio setting. Join Margaret Best, botanical artist and teacher, and an expert Italian-speaking cultural guide, on a memorable 8-night visit to Italy.

Outside the studio you will visit an organic kitchen garden and join the owner for a sumptuous gourmet meal. And there is more…you will be able to experience truly authentic Chianti region by mingling with the local residents and visiting a boutique wine estate to sip their vintages. You will also savor the culture of Rome and Siena.

Your Instructor
Margaret Best is an internationally recognized botanical artist and teacher offering tuition in graphite, color pencil and watercolor. She has taught workshops to all levels of experience from rank beginners, intermediates to advanced levels in Canada, UK, USA and Bermuda. These workshop venues include respected botanical gardens and institutions such as The Huntington Library, Art Collections and Botanical Gardens, San Marino, CA; Santa Barbara Botanical Gardens; San Diego Natural History Museum; Filoli, San Francisco, CA; Dow Learning Center, Calgary Zoo Conservatory, Calgary; Bermuda Art Center, Hamilton, Bermuda.

Margaret’s watercolors have been exhibited globally in New York; Weisman Art Museum, Minneapolis; Hunt Institute for Botanical Documentation, Carnegie Mellon University, Pittsburgh; Los Angeles, Denver, Bermuda, Toronto, and San Francisco. Her work is found in many private and corporate collections around the globe. Recently the Royal Canadian Mint released a wild rose coin designed by Margaret.

For the past six years, Margaret has painted regularly with her mentor Pandora Sellars who is widely regarded by experts as the leading contemporary botanical artist of our time. She has also completed master classes with Katie Lee, Lizzie Sanders and Anne Marie Evans.

A professionally qualified art teacher, Margaret is known for her nurturing style and her ability to readily identify student skill level in order to steer advancement. This is what her students have to say:

That was a wonderful, wonderful workshop. Margaret creates a level playing ground where everyone could learn regardless of their skills. Thank you for helping to get me launched and I look forward to another workshop.”

Diana Platt, Santa Barbara, USA

Not only does Margaret have her own amazing works of art and technical skill beyond anything I have ever experienced, she is also an inspiration. Her classes are always supportive, informative, challenging, and stimulating. Margaret holds nothing back and shares her skills and life experiences freely.  By the end of each class Margaret has successfully instilled the desire and provided the tools to create, not only art, but to become our best selves.  I aim to take as many classes from Margaret that I am able and would recommend to anybody that she offers an opportunity that should not be missed.

Nancy Berreth, Calgary,Canada



Painting Tour of Italy with Margaret Best

April 26 – May 4, 2012
Cost: Euro 3,190 (convert currency)

Please direct all travel questions to Quench Travel Design, Ltd., a Toronto-based travel design group.


You May Also Enjoy Reading…

Margaret Best Discusses Color in Botanical Art, Provides Tips for Informal Science Educators

The Making of a Botanist: Joseph Dalton Hooker, 1817-1911

Lloyd Library and Museum
www.lloydlibrary.org
Oct. 8 – Dec. 30, 2011

This special exhibition celebrates the famed 19th-century botanist and explorer, Joseph Dalton Hooker, and reveals how and why he became the great botanist that he was.

The son of William Jackson Hooker (confidant to Charles Darwin and former Director of the Royal Botanic Gardens, Kew), Joseph Dalton Hooker explored India and the Himalayas and made significant contributions to rhododendron and orchid research.

Throughout the exhibition, Hooker’s relationships with 19th-century naturalists such as Charles Darwin, Thomas Huxley, Alfred Russell Wallace, and Charles Lyell will be explored. Exhibition highlights include the first edition of Darwin’s On the Origin of Species by Means of Natural Selection (1859), Victoria regia, or the Great Water-Lily of South America (1847) by William Jackson Hooker, and The Rhododendrons of Sikkim-Himalaya (1849) by Joseph Dalton Hooker.

The opening reception will be held on Saturday, October 8, 2011 (4-7 PM). During the reception, Gene Kritsky, noted author and professor at the College of Mount St. Joseph, will speak about the relationship Joseph Dalton Hooker had with Charles Darwin. Kritsky’s presentation begins at 4:30 PM.

In November, Michael A. Flannery (Associate Director of Historic Collections at the University of Alabama, Birmingham and the former Director of the Lloyd Library & Museum), will discuss his new book, Alfred Russel Wallace: A Rediscovered Life. This special event will occur on November 30, 2011, from 7-9 PM and includes a coffee and dessert reception.

The Lloyd Library and Museum has designed a poster to commemorate the life and career of Joseph Dalton Hooker. Featuring one of the plants documented by Hooker while he was in India and the Himalayas, this poster is available exclusively at the museum store for $10 (click on image).

The Lloyd Library and Museum, located at 917 Plum Street in downtown Cincinnati, is a local and regional cultural treasure. The library was developed in the nineteenth century by the Lloyd brothers — John Uri, Curtis Gates, and Nelson Ashley – to provide reference sources for Lloyd Brothers Pharmacists, Inc., one of the leading pharmaceutical companies of the period. Today the library is recognized worldwide by the scientific community as a vital research center. The library holds, acquires, and provides access to both historic and current materials on the subjects of pharmacy, botany, horticulture, herbal and alternative medicine, pharmacognosy, and related topics. Although the library’s collections have a scientific focus, they also have relevance to humanities topics, such as the visual arts and foreign languages. The Lloyd is open to anyone with an interest in these topics. Free parking is available for patrons and visitors behind the library building. For more information, visit the Lloyd website at www.lloydlibrary.org.


Related

Gene Bauer: The Golden Natives, 1972-1974
Theodore Payne Art Gallery
www.theodorepayne.org

Gene Bauer, the first chair of the California Garden Clubs’ Native Flora Committee, created a remarkable series of 27 screen-printed booklets from 1972-1974. As the first Chairman of California Native Flora for the California Garden Clubs, Inc., she launched this project to educate and stimulate an interest in native plants among the club’s membership. Ultimately, she created 27 unique booklets, each profiling a California native plant. Thirty nine years later, these booklets are being recognized for their creativity.

Beginning October 1, 2011, the Theodore Payne Art Gallery will host Gene Bauer: The Golden Natives 1972-1974, a three-month exhibition of Bauer’s work.

“The complexity and artistic quality of Gene Bauer’s work cannot be overstated,” said Pamela Burgess, board member of the Theodore Payne Foundation for Wild Flowers and Native Plants and the Theodore Payne Arts Council. “When you consider that it was created by hand without the advantage of today’s technology, it makes you appreciate her work all the more.”

Visitors will be able to view the booklets themselves and see the different elements that make up each booklet. Elements such as a cover with a serigraph of a plant printed on heavy paper, a tissue paper insert printed with a slightly different version of the cover serigraph, a written description with scientific and folkloric information, and a map showing where a plant grows. The custom-designed envelopes used to mail the booklets to Garden Club members will also be on exhibit.

In 2010, ESRI Press published Botanical Serigraphs: The Gene Bauer Collection, a book containing all of Bauer’s serigraphs. A reception and book signing with Ms. Bauer will occur Saturday, October 8, 2011 from 2:30 – 4:30 PM during the Foundation’s annual plant sale and Fall festival.


Related

Book review, Botanical Serigraphs: The Gene Bauer Collection

Details about Cynthia Padilla’s new trip to Guatemala can be found below and at Classes Near You > Texas and Classes Near You > Guatemala:


Cynthia Padilla, Dallas

http://fruitflowerinsect.blogspot.com
Cynthia Padilla teaches painting and drawing classes at prestigious universities, major museums, arboreta, art societies across the US, Canada, Central America and internationally. She curates exhibitions, serves as a juror of exhibitions, lectures and conducts demonstrations, and leads painting retreats worldwide. Cynthia is also the founder of the Botanical Art & Naturalist Illustration group on Yahoo!

    Botanical Arts/ Nature Sketching the Tropical Flora and Fauna of Guatemala with Cynthia Padilla – October 27 – November 5, 2011. Central America, Guatamala – Antiqua. Join popular instructor Cynthia Padilla for a week submerged in the beauty of the tropical flora and fauna of Guatemala. Spend unhurried time, working en plein air, lulled by the gentle breezes of “the land of eternal spring.” Days begin with an introduction to materials and demonstration of technique. Participants are welcome to document whatever catches their eye and imagination — ancient structures, tropical landscapes, colorful markets.

    Class will be based in lovely Antigua, a delightful bougainvillea-draped town with an international ambiance of internet cafes, art galleries, artisan crafts and warmhearted, welcoming people.

    Participants will also head into the highlands where volcanoes rise out of early morning mist and spend 3 days on Lake Atitlan.

    Begin a lifelong habit of journaling in nature and return home with a collection of sketches, tiny vignettes, notes & notations, measurements and musings, and works of art ready to frame. All media and all levels welcome.

    Registration/Information: Liza Fourré, Director, Art Workshops in Guatemala, call 612-825-0747 or contact Liza Fourré, Director.

America’s Parks Through the Beauty of Art celebrates the original artwork of artists who have captured scenes and images depicting parks in the United States, Canada and Mexico. Subject matter may be from any park be it a national, state, provincial, county or a city park.

Jurors are M. Stephen Doherty, editor of PleinAir Magazine; Susan T. Fisher, past president of the American Society of Botanical Artists & director of the Arizona-Sonora Desert Museum Art Institute; and Todd Wilkinson, managing editor of Wildlife Art Journal.

The inaugural exhibition of America’s Parks Through the Beauty of Art will be held in Bolivar, Missouri at the Ella Carothers Dunnegan Gallery of Art,
March 17 – April 14, 2013. Additional exhibitions are planned for 2014 and 2015.

Complete details can be viewed in the prospectus for the inaugural exhibition. Here is quick look at some important information:

  • Eligibility: Open to all artists
  • Eligible Subject Matter: Original artwork of subject matter found in any national, state, provincial, county or city park or any park of any other such unit in Canada, Mexico, and the United States.
  • Eligible Media: Original, two-dimensional art completed in 2010, 2011 or 2012. See prospectus for more details, including ineligible media.
  • Entry Fees: Early-entry Fee is US$30 for one entry, US$50 for two entries and US$20 for each additional entry. Standard Deadline Fee is US$40 for one entry, each additional entry US$25.

Download the “America’s Parks” Prospectus for the 2013 Inaugural Exhibition to read all details and to obtain an entry form.