Presentations: Computer Media Presentations: Monday August 13: •1:30- 2:40: Taina Litwak: Digital Entomological Illustration Using Adobe Photoshop •2:45- 4:00: Didier Geffard: How to Exchange Data Between Adobe and Macromedia Web Products Tuesday August 14: •8:30- 9:50: Eugene Wright: The "Virtual Roach": An Interactive CD-ROM on insect anatomy, created with Macromedia Director •10:00- 11:30: Marie Mullet: Elements of Adobe Illustrator Combined With Elements of Adobe Photoshop To Create Realstic Natural Science Images. •2:00- 3:20: Donald Gambino: Adobe Illustrator 9.0 Demonstration •3:30- 4:50: Britt Griswold: Image Preparation for the Web TraditionalMedia Presentations: MondayAugust 13: •1:30- 2:20: Karen Ackoff : Basic Design Principles asApplied to Scientific Illustration •2:30 - 3:25: MarleneHill Donnelly : Applied Color Theory for Natural Science Illustration • 3:30 - 4:50: CharlieFerden : From Art to Print, The Printer's Point of View 3:30- 4:55: Cathy Gaber: Precious Metal Clay TuesdayAugust 14: •8:30- 9:20: Shirley Beccue: Artist-in Residence: ConnectingInspiration and Images •8:30- 9:20: Dick Rauh: Plant Morphology: Fruits 9:30- 10:20: AlanMale: Profile of an Illustrator: Scientific Research from Children'sBooks to Advertising •10:30- 11:30: Amy Bartlett Wright: Scientific Images in Large Scale •10:30- 11:20: Alvin Zilz : Fine Art: Illustration andPricing •2:00- 2:50: Forrest Hart: Animal sculpting •2:00- 3:20: Educators Round Table •3:00- 3:50: Paul Mirocha: Annual Trip to Malaysia •3:30- 4:50: Gary Hoyle: Creating Plant Models with Waxesand Plastics •4:00- 4:50: John Cody: The Cataracts of Iguazu Auditorium

Presentations:

Monday August 13:

This presentation describes the methods she uses to produce full colordigital habitus illustrations of insects using Adobe Photoshop. Tainawill demonstratethe use of some of Adobe Photoshop's tools, including layers, channels,and creation of custom brushes. Beginning with a microscope andcamera lucida drawing and proceeding through the refining, scanning andelectronic painting process, this presentation is a step-by-step walkthrough the production of a full color, dorsal view of a fly.

-Introduction
-Quick presentation of the tools: Adobe Golive, PageMill, ImageStyler, ImageReady, Illustrator, Photoshop, Macromedia Dreamweaver, Flash (Shockwave), Fireworks. (5 mns)
- The pictures and illustrations. Several useful formats : GIF89a (216 colors and not 256), JPG, Raster formats (Illustrator and Flash), Quicktime 5 movies, critical point of view about Flash technology. (6 mns)
- Examples of scientific digital illustrations. How to create illustrations fully compatible for both Macromedia and Adobe products. (4 mns)
- Main differences between Adobe and Macromedia generated html codes structure, necessity to include easily understandable comments lines, how to clean and purge the html code, how to include properly Java applets compatible for the most known available browsers. (10 mns)
- Example: How to prepare a translation and how to operate it, transformation of a website from Adobe softwares (PageMill, GoLive) to Macromedia (DreamWeaver, Flash) ones. Use of an html editor. Add of a graphic Java applet. Add of a QT movie. (10 mns)
- Conclusion, Comments and Questions. (5 mns

There are many interesting aspects of the project besides the subject itself. The most exciting part is the participants which include three professors from the University of Georgia, and multiple graduate students of Entomology and undergraduates from natural science illustration. The management of the project is a presentation in itself and certainly something that Eugene will touch on as part of his presentation. Other interesting topics are the funding, dynamics of its use, the process, the formative review, and the intended audience.

"How to use elements of Adobe Illustrator (vector program) combined with the best elements of Adobe Photoshop (raster program) to create realistic natural science images"
Since Illustrator is a vector based program it is best to draw in......not best to colorize or render realistic objects, this is better done in a raster program such as Adobe Photoshop. Pixels blend in a way that can create the illusion of 3D objects. It is best in our line of business to use the correct program that will give the best and most reliable results in the least amount of time. By combining the two programs the users can achieve the best of both worlds in their illustrations.

Adobe Illustrator is a powerful Postscript drawing program with applications in illustration, graphic design, fine art, and technical drawings, able to include photos, scans, and typography. This demonstration will explore the tools, menu items, and floating palettes, such as the Styles and Brushes palette, and how you can customize them for your particular needs, effects, or the *look* that you want. You will also see how to create and edit objects using transformation tools, object alignment, grouping, gradients and how easy it is to use and edit typography. Additionally, we will see how to start with a scanned image or sketch, and import it into Illustrator for use a s a tracing template, as well as incorporating it as finished art into our illustration.

Join Britt Griswold for an demonstration of proper techniques for optimizing your art images for use on the web. This will be a synopsis of the process that will be used in Britt's Image preparation workshop, plus a big plug for Science-art.com!

Traditional Media Presentations:

In addition to communicating information effectively, a well-designed illustration can also appeal to our aesthetic senses. This presentation will identify and examine basic design principles, such as line, shape, color, contrast, balance, etc. We will look at how artwork can be enhanced by applying these basic principles. Examples of scientific and non-scientific art will be discussed.

Karen Ackoff has an MFA in Medical Illustration from the Rochester Institute of Technology, and a BFA in illustration from the Philadelphia College of Art. From 1987 & 1997 she worked as Scientific Illustrator for the Department of Anthropology at the National Museum of Natural History, Smithsonian Institution. She presently teaches and coordinates the Graphic Design Program at Indiana University South Bend.

The accurate color required by our specialized work need not be dull: hue is just a starting point. Simple, neurologically-based color theory principles will allow our work to vibrate with color while actually increasing accuracy. The use of the "Radiating Triad," the creation of interesting grays, and different approaches to mixing and glazing color will be discussed. Watercolor will be demonstrated, but the principles apply to all media, traditional and digital.

Marlene Hill Donnelly received a B.S. in Zoology from the University of Illinois and a degree in Graphic Arts from the American Academy of Art. She has taught scientific illustration and botanical painting at the Field Museum, the Chicago Botanic Garden and the Morton Arboretum. Her clients include the Field Museum (where she is a staff artist), HarperCollins, Scholastic, Encyclopedia Britannica, the Shedd Aquarium, the Brookfield Zoo and the Honolulu Zoo. Marlene's work has been honored by an Award of Excellence from the American Society of Botanical Artists, the "Best of Children's Illustration" from the Society of Illustrators and a "Best Children's Book" from the American Association for the Advancement of Science.

Charlie is the owner and chief salesman of Downeast Graphics, a local modern printing plant. Its rather small size is made up for by its reputation for quality. He will be taking us through a typical job as it goes through the various steps in his shop. He is planning on bringing along two of his technicians who will be able to field any questions you may have regarding the best way of preparing work for reproduction. This is a must see for any of us preparing work for the printer either traditionally or electronically, in this computer age.

Precious Metal Clay® (PMC), developed by Mitsubishi Materials, Inc. in 1995,has opened many new design possibilities for metalworking. GNSI members should note that this material has some interesting applications to scientific illustration. Because PMC can perfectly preserve an impression of any sample - a feather, a leaf, an insect, etc. - it can be usedeffectively in the studio or in the field for accurate depiction of even transitory specimens. It can also be used like clay for modeling.

In 1999 Cathy Gaber became one of the first 30 certified PMC instructors in the United States. She has taught PMC at the Wildacres Retreat in LittleSwitzerland, OR and the Gem Cutters Guild in Baltimore, MD. An article about PMC by Ms. Gaber has appeared in the autumn, 2001 issue of the Australian magazine Metal, Stone and Glass.

Artists have long been associated with the formation of National Parks.Through their words and images they have introduced the American public to the country's inaccessible wilderness. Today's Artists-in-Residencecontinue this tradition of connecting the public to our national treasures.

Shirley Beccue is the Assistant Chief of Interpretation at Acadia National Park. She has worked for the National Park Service for 22 years. Prior tocoming to Acadia she worked at Everglades National Park. Shirley manages thepark Artist-in-Residence program and a variety of interpretive projects. Her special interests away from the job are oil painting and birdwatching.

We tend to associate the word "fruit" with the succulent products we buy in the supermarket produce department. Botanically "fruit" has a much wider definition, referring to the mature ovary and its associated parts. Apples, oranges, tomatoes and their ilk are termed "fleshy fruits" but there is another whole spectrum of "dry fruits", such as nuts, that also employ the transformed floral ovary to enclose, protect and finally disperse the seeds.Some of them bear unfamiliar names like achenes, follicles, capsules and samaras, but all come under the general heading "dry fruit." Not only will we look at various fruits, but touch and taste them, and find out that mostof what we call berries, or nuts, aren't!

Dick Rauh has been teaching the required science course in the BotanicalIllustration Program at the New York Botanical Garden for the past seven years, and will be teaching a one-week intensive in Floral Morphology at the Los Angeles County Arboretum. More focused on science than art at themoment, Dick's current research is in the area of morphogenesis. Working with the Gesneriad Streptocarpus (the plant that sounds like a disease) hehas been able to induce changes in the early growth pattern by interfering with some of the normal chemical processes. If you're interested ask himabout it - if you have an hour or so to listen!

This presentation will provide an overview of Mr. Male's professional practice, including the broad and varied contexts to which the work of a natural science illustrator can be applied. Examples will include illustrating prehistory for scientific research papers, designing and illustrating children's natural history books, producing images for advertising campaigns and creating illustrations for reference books and encyclopedias. Case studies will focus on issues of context and subject matter, clients and audiences, processes and methods.

Alan Male holds a Master of Philosophy Higher Degree from the Royal College of Art in London and has 27 years of experience as a professional illustrator, with clients from the UK, USA and Europe. He has illustrated 28 complete books. His clients include Scholastic, Macmillan, McGraw Hill, Little Brown, and Discover magazine. He is represented in New York by American Artists, Inc. He has exhibited the Royal College of Art and the Society of Illustrators in New York (where he is a member.) Currently, Mr. Male is Head of Illustration at the Falmouth College of Arts in England.

Amy will show slides of her daily progress while painting a 1,200 square foot mural of one continuous habitat (including wildlife) in wrap-aroundscenery --four walls! -- at Buttonwood Park Zoo in New Bedford, MA. How aspects of scientific illustration apply to large paintings and how toquickly transfer a small preliminary drawing to scale on a wall will be discussed.

Amy Bartlett Wright has been a scientific illustrator for over 20 years and also paints murals for public educational facilities. Her clients include the National Geographic Society, the U.S. Fish and Wildlife Service, and the Buttonwood Park Zoo.

Mr. Zilz will define "fine art" and "illustration", in both historical and contemporary contexts, and examine the pricing results of such categorization. As references for his presentation, Mr. Zilz consulted archival, university departments and commercial organizations as well as individual artists, illustrators and artisans.

Mr. Zilz received B.S. and M.B.A. degrees from New York University and has pursued studies in art at the Rhode Island School of Design and the New York Botanical Garden. Until retirement, Mr. Zilz was an active member of several commodity and stock exchanges - spending the greater part of his career as a specialist on the American Stock Exchange, where he retains a membership.

- he will talk about his work as an animal sculptor

Lauretta Jones will chair an informal round table for educators and all those interested.

Annual Trips to Malaysia - including a discussion of organizing and operating an international rain forest workshop for artists and scientists.

Accurate three-dimensional models of plants are important elements in museum wildlife displays. However, they can also serve as valuable references for the natural science illustrator. Using slides, finished andpartially-completed models and plaster and rubber molds, methods of producing realistic plants, fruits, vegetables and nuts will be discussed.

B. Gary Hoyle has worked as a curator and exhibits artist for 28 years atthe Maine State Museum. He has designed and constructed numerous exhibits ranging in size from a 750 square foot wildlife coastal display to anintimate underground scene of burrowing creatures. In 1990, shortly after completing a permanent exhibit of edible plants, Gary was invited todocument his work in the International Journal of Museum Management and Curatorship, published in Oxford, England. Gary also works as an exhibit consultant and contractor for museums and corporations across the northernUnited States.

Photographic images of the 275 huge waterfalls at Iguazú, Argentina, the most beautiful of natural tropical paradises, will be accompanied by music of the Argentine. This presentation will thus constitute a "right-brained"break from the traditional lecture format!

John Cody was born and raised in Brooklyn, NY. He received his training in medical illustration at the Johns Hopkins University, and practiced for sixyears as head of the medical art department at the University of Arkansas Medical Center. As staff artist for the New York Zoological Society, Johnaccompanied Dr. William Beebe on a 6-month expedition to Trinidad, where he painted everything from hummingbirds to the retina of a boa constrictor. Hereceived his MD in 1960, but retired from the practice of medicine in 1986. Since that time he has focused his energies on a passion held since childhood: drawing and painting the Saturniid moths. John's watercolors have been reproduced in the book Wings of Paradise: The Giant Saturniid Moths, and clearly establishes his reputation as "the Audubon of moths."

• Adobe Photoshop as a Painting Medium - Beginner & Intermediate
This is a MUST program for any serious computer illustrator -
This is the same class Steve Buchanan offered at the
1999 GNSI Conference in Washington State, but more hands-on.

Beginner Class (1/2 day- Thurs. Morning)
Aimed at illustrators who are already comfortable using computers and have a rudimentary familiarity with Photoshop or some other photo editing or painting software.

Photoshop is such a large and feature-rich application that many artists are at first overwhelmed by its complexity. But a surprisingly small subset of its tools and functions are all that are needed to create illustrations with the flexibility and sensitivity afforded by traditional drawing and painting materials. This session will identify those features and offer some program settings and painting methods that will allow artists to transfer to the computer the skills they have already developed in other media.

Steve will introduce digitizing tablets and show how to assign the tablet's pressure function to drawing tools to obtain effects approximating traditional drawing tools (technical pens, crow quill pen, pencil/charcoal, paint, airbrush). Setup for brushes and palettes will be provided and specific values or settings will be suggested for every step involved in creating an illustration. Once the program is set up, the demonstration will proceed through the creation of some sample projects from first sketches through preparing the final file to send to a client.

Each participant will be provided with a CD containing all the palettes, intermediate steps, and other inputs for the examples used in the demonstrations. Students will be able to work on a computer with a tablet.

Intermediate Class (1/2 day- Thurs. Afternoon)
Designed for *graduates* of the morning session and for illustrators who are already familiar with the using the basic painting tools in Photoshop.

While only a few tools are indispensable for "painting" in Photoshop, there are many more features that add speed, flexibility or editability to the process. This session will introduce three additional categories of functions and demonstrate their uses in sample images: methods for image structuring and development (layers and such), filters for making global changes to images after they are painted, and the tools for photo editing that can be used locally like a paintbrush to alter selected properties--such as brightness, color characteristics, contrast, etc.--without disturbing already completed details and relationships. Although these features are less directly analogous to traditional materials, they all take advantage of an artist's ability to understand the visual structure of an image in a painterly way. Finally, we will look at a few simple formulas for using noise and texture masks to mitigate the flatness that is too often characteristic of digital art.

Each participant will be provided with a CD containing all the palettes, intermediate steps, and other inputs for the examples used in the demonstrations. Student will be able to work on a computer with a tablet.

• Adobe Photoshop - Advanced
(1/2 day- Fri. Afternoon)
Frank Ippolito will present a very advanced half day class in Photoshop. He says "...many of the folks who have taken the intermediate class in the past have voiced a wish for more an in-depth look next time around". Photoshop has been a "hot" computer workshop topic for years now, and many of our members at one time or another have taken a class. Most of the computer literate among us, would like something "extra" on this very popular software. Frank will deliver.

• 3D programs
(Full day- Wed.)
In this workshop we will start out with an introduction to 3D basics. All of the essential aspects of this process will be covered, including modeling, lighting, textures, and animation. Outputting your work and integrating it into the outside world will also be explained.

After the detailed primer, John Megahan will introduce Lightwave. Lightwave's model-building engine is especially effective for producing detailed organic structures. In addition it has a render engine that is capable of subtle, naturalistic lighting. This makes Lightwave an excellent tool for creating organic objects and natural looking scenes. Lightwave is a cross-platform program. And in this workshop we will be working with it in a lab full of Macintosh G4s.

In addition to learning about Lightwave, Frank Ippolito will introduce to us a number of other 3D programs including Truespace and 3D Studio MAX (PC only) as well as the cross-platform landscape rendering program, Bryce. He will compare and contrast the toolsets found in each and offer real world examples of how they can be used in scientific illustration.

By the end of the workshop, participants should have a firm handle on the fundamentals of working with 3D, as well as an understanding of how these digital tools might benefit their illustration work. To learn more specifics about Lightwave, please visit: http://www.ummz.umich.edu/staff/megahan/gnsi/lw.htm

• GoLive - Beginners & Intermediate
This software is as popular as Photoshop but for the creation of professional looking web pages. There are several major web page creation software packages on the market. Using one of the most popular, you will explore the fundamentals of web page preperation.

Beginner Class (1/2 day- Thur. Morning)
Britt Griswold will introduce the Adobe GoLive program to the beginners in a half day class. He will cover the basics of: what is HTML, what kind of images work on the web, setting up and organizing a site. Students will have examples to disect at their workstations. A maximum of 18 students sharing 9 computers. Britt Griswold has used GoLive for a number of web site projects, from portfolio sites to public web sites for NASA's Goddard Space Flight Center.

Intermediate Class (1/2 day- Thur. Afternoon)
Emil Huston will present a recent museum site done from A to Z using GoLive. This session will be geared toward intermediate students - also half day. Emil will describe the techniques used to make a museum art site come alive and keep the audience's interest. If you like to check Emil Huston's site out, here is the URL: http://romlx6.rom.on.ca/kane/ . A maximum of 18 students sharing 9 computers.

• Preparing Your Art for the Web
(Full day- Wed.)
Britt Griswold will guide participants through a how-to, hands-on, step-by-step process for converting your art to digital form, preparing it for the web, and loading it into an online database. Britt presented this workshop in Portugal, where it received high praise. Participants will receive a free 3 month subscription to the on-line art service Science-art.com, which features Stock and Portfolio art, controlled directly by the artist through a Web interface.

Students should bring several images they would like to load onto the web, if possible. Scans on CD, Zip, Floppy, PhotoCD, PictureCD are prefered. A scanner will be available in class for last minute hardcopy needs. If you are in bind, you can communicate with Britt before the meeting to arrange some method for digitizing your images.

• Digital Photography and QuickTime Virtual Reality Authoring
Learn how to create wraparound computer images. Emil Huston will give this class as 2 half day workshops.

Digital Photography for QuickTime VR (1/2 day- Fri. Morning)
In the morning, learn the skills for taking correct images with a camera - proper positioning to the object/scene, mistakes to avoid, etc. Students will go outdoors to photograph the beautiful island's scenery. For those interested in shooting a particular object we will arrange for a quiet, dry space also outside (in full daylight, so we won't need to worry about additional lighting systems and equipment) where we will have a simple table with a "lazy Susan" device to rotate objects for a full 360 degree photographing session.

QuickTime Virtual Reality (VR) Authoring (1/2 day- Fri. Afternoon)
Second half of the day is for teaching the QTVR program itself and for the creation of our VR panoramas/objects on the computer. URL sample to check out: http://www.artpole.net/VR/

The Art of Molecular Illustration
Bruce Gaber gave a one hour presentation last summer in Evora on the techniques of molecular illustration. Now he has upgraded it to a half day workshop. You can get your hands dirty as Bruce shows you how to take molecular data and create an illustration with it.

----Computer Lab Descriptions
There are 2 labs - one general purpose (Computer Lab), with 6 wintel/4 Mac systems; another lab (Graphics Lab) with Apple 10 G3/G4 loaded with graphics programs. Each system in the Graphics lab will have its own pen tablet (Wacom Intuos); all have browsers installed.

The PCs in the general purpose lab (6 PCs, 4 Macs) all have zip (100) drives. All have a minimum of 128MB RAM. The PCs are running WinNT, and are all PIII667. The Macs in the Graphics Lab all are running OS 9.0, and vary between G3/266 (4), G3/300, G3/400 (2) and G4/400 (3). All have a minimum of 198MB RAM. A couple of them have 19" monitors; the rest are all 17" monitors.

Traditional Media Workshops WEDNESDAY, August 15

Transparent Watercolor, Masking, Salt and Other Techniques John Cody MD • Full day This workshop introduces participants to the methods and materials that John Cody uses to render his natural science subjects in meticulous detail. His work and techniques differ from those of other watercolorists in several ways. Most paint their subjects by applying broader washes first, then building detail; John renders details first, then applies integrating washes. While few natural science artists use painted backgrounds, much of John's work is set against rich and brilliant backgrounds which are painted first. John will demonstrate techniques for creating backgrounds including masking, glazing, saran-wrap, and salt applications, as well as his "detail first" approach. Participants will have an opportunity to work on a painting of a simple natural object (shell, leaves, insects, flowers etc.) to try these techniques. John Cody is an M.D. and medical illustrator whose spectacular, award-winning paintings of moths have been exhibited nationally in one-artist shows, including the Smithsonian Institution, and featured in magazine articles. His knowledge of color is outstanding and reaches well beyond that of most natural science artists. He is widely traveled, completing much work on location. He has taught workshops for the GNSI and AMI.

Metalpointe Drawing Linda Funk • Full day Metalpointe drawing is both a classical and contemporary art form. The use of metalpoints for artistic purposes is a technique associated with the flourishing of drawing as an important art form during the early Renaissance period. Metalpointe drawing is a mysterious and beautiful medium, producing drawings of great delicacy and restraint, but of bold expressiveness, as well. Part of the mystery stems from a general lack of knowledge about how it is done. The technique combines the use of silver or other metal tools and prepared--or coated--paper; the metal is transferred from the stylus to the coated sheet, with a limited degree of change or correction possible. As a contemporary technique, experimentation with the various metals employed, in combination with ancillary mediums, such as pencil and watercolor, lifts the technique well beyond the classical example. And finally, as the drawing ages or matures over time, a subtle process of oxidation through exposure to the atmosphere takes place, resulting in deepening richness of tonal values and hues, depending on the various metals used, each creating subtle color differences in the finished drawing. Linda Heppes Funk is an artist with twenty-eight years experience in design and illustration. Specializing in pencil, drybrush watercolor, gouache, and metalpointe, she tutors private students and teaches at the New York Botanical Garden and College of the Atlantic in Maine. Her work is exhibited widely and appears in many publications. In addition to work as a fine artist, Ms. Funk designs furnishing fabrics and ceramic dinnerware. The artist has had one person exhibitions at Ursus Prints, New York; the Pennsylvania Horticultural Society, and Longwood Gardens, and has shown at the State Arboretum of Virginia; Sonnenberg Gardens; Delaware Center for Horticulture; Bartlett Arboretum; and the Denver Botanic Gardens, to name a few venues. Her drawings are included in the collection of the Hunt Institute for Botanical Documentation and the Shirley Sherwood International Collection.

Business Practices for the Artist Part 1: Portfolios & Marketing Roberta Rosenthal • Half day This workshop will cover: • How to create different portfolios for varied markets • Contacting potential clients -- How to find clients • Marketing tools -- How to reach clients Roberta Rosenthal, consultant, entrepreneur and artist, is the owner of RSR Designs, New York a professional design and illustration studio initiated in 1977. A professional artist for over thirty years Roberta balances fine art and commercial art careers. Roberta has been an instructor of Professional Business Practices at the New York Botanical Gardens for fifteen years and has given numerous workshops and seminars on Botanical Art and Business at the Horticultural Society, The Art Directors Club, Connecticut State College, Fashion Institute of Technology and many other venues. She is a former executive director of the Graphic Artist's Guilds job placement service, a member of GNSI, the Society of Illustrators, American Society of Botanical Artists and a graduate of the American Women's Economic Development Corporation's business program. She has won awards for her art as well as her efforts to educate artists in business.

Focus On Educating the Young Natural Science Illustrator Kris Kirkeby • Half day Join Kris for a hands-on workshop that will encourage and equip you to start teaching natural science illustration in the K-12 school systems. Many schools are not hiring art educators but all teach science. Many opportunities exist to help us prepare students in both subjects by teaching it as a multidisciplinary approach. The workshop will include modeling a program and a week's visit to a school, a drawing technique that teaches assessment, designing a lesson plan and a teaching collection. Time will be given to drawing stations applying the pointers learned in the workshop to actual projects. Kristine Kirkeby is a natural science illustrator with a background in biology and fine arts. Combining her two talents, she worked as Director of Biological Sciences Art Services at the University of Minnesota. During her fourteen years on staff, she served as illustrator, graphic designer, photographer, and teacher. She is currently a free-lancing as a natural science and children's book illustrator. Kristine teaches nature drawing and basic drawing classes in schools, colleges, and community art centers for students ages 4-74. She has extensive experience as a Residency Artist working in K-12 schools in Minnesota, Wisconsin, and Oregon. Kristine was the International President for the Guild of Natural Science Illustrators. She lives in Eugene, Oregon.

THURSDAY, August 16

Colored Media on Coquille Board Scott Rawlins • Full day Coquille board is a textured paper that reduces drawn lines to a stipple-like pattern resembling a mezzotint. Black and white drawings on coquille board are executed as tonal renderings but can be reproduced as line -- thus saving both time and money. It is possible, though less common to use coquille board as a ground for colored media. Participants in this workshop will experiment with both black & white and color on coquille board, and thus learn to appreciate the versatility of a surface noted for its fragile but uniquely textured qualities. Scott Rawlins is an Assistant Professor in the Fine Arts Department of Arcadia University in Glenside, PA where he teaches scientific illustration, drawing and design. In addition to his training as a medical and biological illustrator, Mr. Rawlins holds degrees in biology and museum education. A former museum curator, Mr. Rawlins maintains contact with the museum world through his work as a research assistant at the Academy of Natural Sciences in Philadelphia.

Creativity At Home and At Work Stephanie Cloes Engstrom • Full day Creativity is what makes life interesting whether we're servicing the car, cleaning the bathroom, devising an employee recognition plan, or doing pastel dust paintings. The keys are: see things differently, and most importantly, enjoy the process. The first creativity workshop I took was given by Dr. Pauline Falstrom, based on The Artist's Way by Julia Cameron. Pauline and I cofacilitated subsequent workshops (at Borders Books and Music in Torrance, CA) and discovered we wanted to expand beyond Julia's helpful book. During the workshop, we will identify our blocks, their sources, and ways to get beyond them. This will be an open and interactive workshop encouraging questions, comments and discussion of personal experiences. Some of the issues we'll address are: • How can I pinpoint causes of blocks and get past them? • How can I align personal and career goals? • How can I manage impossible work loads? • How do I handle success and face the next challenge? Come join the fun and share your successes and failures with us! Stephanie Cloes Engstrom is a native Californian whose realistic wildlife paintings and drawings reflect her deep appreciation of nature. She draws from a variety of sources -- ranging from plein air sketches on California beaches to field work in East Africa. Stephanie attended UCLA and studied at various colleges and universities in California and Washington, D.C. She has volunteered at the Smithsonian's National Zoological Park (NZP) where she met Warren Cutler, former Illustrator for NZP, who encouraged her to join the Guild of Natural Science (GNSI). Moon Dancer Gallery in Redondo Beach, California carries her work. She is currently President of GNSI, Southern California Chapter and teaches creativity workshops here and abroad. Her work is in private collections across the United States and in Kenya.

Bird Carving Wendell Jones • Full day (Will be held at the Gilley Museum) Mr. Jones will instruct the carving of an Atlantic Puffin. Carvers will be instructed in the handling of patterns, wood and tools. The class will start from rough block to intricate feathering. There will be a supply charge for the wood & glass eyes. He will also demonstrate the painting tec hniques he uses. There will be a supply charge for the wood & glass eyes. Wendell Jones (Guild member MJ Brush's father) started his carving career after retirement. Discovering the Gilley Museum, he enrolled in classes and has been carving for 15 years. A natural artist, his birds are in many collections throughout the country.

Professional Business Practices for Artists Part 2: Pricing Your Fine Art and Commercial Art Roberta Rosenthal • Half-day This workshop will demystifying how to price your art, and will include discussion of the following: • Copyrights -- What are they and how to use them. • Contracts -- How to read them, negotiation and usage. Roberta Rosenthal, consultant, entrepreneur and artist, is the owner of RSR Designs, New York a professional design and illustration studio initiated in 1977. A professional artist for over thirty years Roberta balances fine art and commercial art careers. Roberta has been an instructor of Professional Business Practices at the New York Botanical Gardens for fifteen years and has given numerous workshops and seminars on Botanical Art and Business at the Horticultural Society, The Art Directors Club, Connecticut State College, Fashion Institute of Technology and many other venues. She is a former executive director of the Graphic Artist's Guilds job placement service, a member of GNSI, the Society of Illustrators, American Society of Botanical Artists and a graduate of the American Women's Economic Development Corporation's business program. She has won awards for her art as well as her efforts to educate artists in business.

Sketchbook/Journal: Materials and Methods Jenny Keller • Half-day This workshop is devoted to the special materials and methods that Jenny has evolved over the years for creating a truly personal and memorable Journal/Sketchbook. Jenny will also be leading a 2 day field sketching trip at the end of the conference where those attending this session can practice what is preached.

Color Theory for the Natural Science Painter Louisa Rawle Tiné • Half-day Color theory and color mixing can often be confusing, and a frustrating, time consuming ordeal. Louisa Rawle TinÈ will de-mustify color theory and teach a simple and elegant process for accurate color mixing. This workshop is geared for all levels of artists. Through a series of structured exercises, she will show how to mix vibrant and subtle colors for the natural science painter. We will also discuss how to mix greens, greys and browns, and how to handle whites. We will be using transparent watercolors for all of the exercises. Louisa Rawle Tiné has taught color theory and botanical watercolor for the past 15 years. She teaches at the New York Botanical Garden, The Pennsylvania Horticultural Society and The Institute for Ecosystem Studies, as well as numerous workshops throught the Northeast. She has worked as a commercial and fine artist for thirty years.

FRIDAY, August 17

Painting with Acrylics and Color Pencils Dolores Santoliquido • Full day The use of acrylics and color pencils results in illustrations that have great reproductive quality. The combination of these media allow the artist to render minute detail and maintain extreme control over depicting subject matter. Instruction will emphasize specific techniques for producing transparent results. Work with your choice of natural science subject (shells, insect, plant, etc.). Supplies needed will include hot press 100% rag water color paper, tracing paper, basic set of acrylic paints, a good variety of color pencils, tracing paper, graphite pencil, eraser, paper towels, an enamel tray or small white plastic trays, water container and water color brushes (00, 2, 4, recommended, 6 optional). The instructor will bring supplemental supplies for participant use. During the past twenty-four years Dolores R. Santoliquido has made her career in commercial art. Dolores is an adjunct professor of fine art and illustration at Manhattanville College, Purchase, New York and has been an instructor in the Botanical Art and Illustration Certificate Program at the New York Botanical Garden, Bronx, New York for ten years. Dolores works in water color, graphite, pen and ink and specializes in working with mixed media acrylic and color pencil. Ms. Santoliquido's work has been published extensively in books and magazines for companies such as Taunton Press, Chanticleer Press and Reader's Digest Association. She has produced signage art for the New York and Brooklyn Botanical Gardens, The Conservation Trust of Puerto Rico and the Bronx and Central Park Zoos. Dolores' artwork has been shown in numerous group shows and one person exhibits and is included in private collections in the United States and Canada.

Scratchboard Trudy Nicholson • Full day Trudy's exquisite scratchboard drawings are unparalleled. In this workshop, slides and discussions will cover materials and tools, composition, creating pen and ink textures with ink lines on white and white line scratched from ink; creating dramatic effects; balancing lights and darks; corrections, and the use of color. There will be demonstrations of pencil and pen and ink working techniques. Each student will bring simple subjects (such as pinecones, shells, feathers, and fruit), from which they will sketch a composition using two or more subjects, transfer their sketches to scratchboard, and work toward completing a small illustration in either pencil or pen and ink. Trudy Nicholson graduated from Columbia University, majoring in fine art, and from Massachusetts General Hospital School of Medical Illustration. She worked as a medical illustrator at the National Institutes of Health for many years, also freelancing in other scientific fields. She is now freelancing in wildlife and scientific illustration.

Making Sketch Books Sally Thibault • Full day In this one day workshop you will learn how to make a multiple signature case binding. Excellent quality materials necessary to construct a sketchbook will be presented to you. A supply list of a few tools will be sent upon registration. You will leave with a good working knowledge to make the same book tailored to your needs. The class will consist of a detailed demonstration before each part of the book is made. Materials will be provided for a cost of $35. Sally Thibault has studied lettering arts since 1986 and the art of the handmade book since 1990. Each book created becomes an extension of her belief in good craftsmanship and the world of beauty around her. Her work is strongly influenced by her love of nature. Her ongoing study of natural science, drawing, lettering, and photography is an important aspect in her creative projects, which have included private commissions. Sally lives and works in Owl's Head Maine.

Watercolor Techniques • Half day The teacher will show examples of several different watercolor techniques that can be used in botanical, scientific, or "documentary" art. Materials (including brushes, paint, paper, erasers, brush soap, etc.) will be discussed. She will demonstrate how to transfer a drawing, mix colors, utilize various watercolor techniques (focusing on "moist brush" technique.) How to deal with mistakes will also be covered. Participants will practice the techniques and work on a small painting of a metal object. In addition to specializing in botanical subject matter, the teacher also concentrates on "documentary" paintings of hand-made metal and wooden tools and other old artifacts found houses, barns, and woodsheds. She is an active exhibitor in both solo and group shows. Her botanical watercolors have been exhibited at museums and botanical gardens.

All artwork is copyrighted and is property of the artists. Artwork may not be duplicated or reproduced without written permission from the artist. Back to Top Copyright © 2001 GNSI - Guild of Natural Science Illustrators All rights reserved. Last Updated: June 10, 2001.