2011 Conference and Annual Meeting

Discovering Scratchboard

Participants will discover the potentials and excitement of ink or pencil on scratchboard, where contrasts produce dramatic, luminous effects.  We will review tools and materials, using them to create a vast range of textures to form accurate details.  Pen and blade will make black and white lines, deep shading and striking highlights.  On scratchboard, ink is correctable and therefore no longer intimating.  Each artist will be encouraged to experiment in approach and style. With subjects from nature, we’ll create compositions to sketch, transfer, and render in ink or pencil on white scratchboard, conveying shape, textures and spatial placement of each element, and will work toward completing one ink and/or graphite pencil illustration.  We will all immerse ourselves in scratchboard art.

MATERIALS LIST

For all techniques:

Scratchboard will be available in the class for each participant to purchase
x-acto blade(s) #16 and blade holder (There will be #16 blades in the class to purchase.)
Soft eraser (suggested brands: Magic Rub, Artgum)
Tracing paper
Pencils (1 soft for sketching and 1 hard for transferring)
Kleenex
We will make a transfer sheet in the class, or bring one if you wish.
Optional: Small desk lamp or high intensity lamp

For pen & ink technique

All of the above.
Good quality waterproof drawing ink (suggested brand – Higgins Black Magic Ink)
Round watercolor brush (#1 or #2) for ink – NOT the best quality.
Pen nibs (suggested brands: Hunt 100, Gillott 290, 291 or Speedball 103 or other good quality flexible pen nibs with a fine point).  There will be pen nibs in the class to purchase.
Pen holder for nibs
Optional: mechanical pen(s): (suggested brand Rapidograph Koh-i-noor, finer points 3x0, 00, 0, 1, or if you bring only one, I’d suggest 00 or 0)

For Graphite Pencil Technique

All of the first list (For all techniques)
High quality drawing pencils 4H through 6B (suggested brands: Schwan-Stabilo 8000,     Staedtler Mars Lumograph 100, or Faber-Castell 9000).  There are other good brands.
Extra fine 3M 220 sandpaper will be in the class for all to use.

Students will need to bring their own nature subjects to work from. These could include fruit, feathers, sea shells, plants or parts of plants such as pine cones, acorns, dried leaves, and any other not too complex items from nature that will remain stable for at least one day.  You may make a sketch before the class if you wish, but there will be time to make a sketch during the workshop.

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Replicating Antiquities

Scott Rawlins
Level: General
Prerequisite: none
Maximum class enrollment: TBA
0.80 Art CEUs

Polymer clay has long been employed to simulate other materials.  In fact, it was first used by artisans as a substitute for porcelain.  In this workshop, participants will experiment with polymer clay – using different color and texture combinations, adding various non-clay substances, and molding and baking it to create artificial jade, ivory and amber.  These models will then be treated to suggest age.

Supply list:

Sculpey III modeling compound, 2 packages of translucent (2 oz each)
Fine sandpaper -- one small piece
Travel-size container of baby powder
Palette knife or equivalent (in case these are not allowed on a plane, I will have something to substitute)
Acrylic paints -- brown (such as red oxide) and black -- 2 oz each will be more than enough
2 Round watercolor-type brushes (soft bristles), # 2 or #3 -- can be in poor condition
Sculpting tools -- a few of the following, or substitutes:
Popsicle stick
Toothpick
Dental tools
Gelato spoon

Watercolor: Create That Glow with Transparent Layers

Janeen Schissler
Level: General
Prerequisites: None
Maximum Class Enrollment:  12
0.40 Art CEUs

Layering or glazing in watercolor is about as old as scientific illustration itself. In the sixteenth century a specific type of painting done with water-soluble paints was developed: the botanical watercolor. In this workshop Janeen will take you through the centuries old watercolor technique where thin, transparent washes of color are laid on each other in consecutive, dry layers. This glazing technique allows the light to pass through and reflect off of the underlying colors and the paper. Choosing the right pigments is important and will be reviewed since some pigments are more transparent than others. The correct layering technique and good pigments result in the three-dimensional, glowing effect artists and illustrators desire.

Participants in this workshop will practice painting glazes and produce a small watercolor painting using the glazing technique. Students will need basic watercolor supplies. Illustration board will be provided. Student supply list upon request.

Supply List:

Paints:
                Phthalo Blue or Windsor Blue
                Ultramarine Blue
                Quinacridone Red
                Permanent Alizarin Crimson
                Cadmium Red
                Azo Yellow
                 Quinacridone Gold or Indian Yellow
                Burnt Sienna
                Burnt Umber    
                Raw Umber
                Prussian Blue
                Indigo

Brushes:
Large Round Watercolor Brush,  (Any size from 12 to 16)
Medium Round Watercolor Brush, (Any size from 8 to 10)
Small Round Watercolor Brush, (Any size from 000 to 2)

Watercolor Paper or Illustration Board*
High quality watercolor paper, 300 lb. hot press or cold press
Or
Illustration Board, Stratmore 500 Series Heavy Weight
*Cut the watercolor paper or illustration board into 8” x 10” pieces.

Water container
Paper towels
Pencils, #2
Kneaded eraser
Pallet with large mixing area (I prefer a John Pike Pallet)
Artist tape
Gador Board or Drawing Board to tape your watercolor paper on
Hair dryer
Notebook for taking notes

Optional Supplies:
Small spray bottle or medicine dropper
Table watercolor easel

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Chokusetsu-ho Gyotaku
An introduction to Japanese Fish Printing

Stephen DiCerbo
Level: Beginner
Prerequisites: none
Maximum class enrollment: 10
0.80 Art CEUs

Learn Chokusetsu-ho, the direct method of Gyotaku, Japanese fish printing. A relatively new art form, Gyotaku came to America in the 1950s and its history can be traced back a couple hundred years. Used to identify species of fish and record size of catches, gyotaku is often seen as a parallel to Taxidermy. It has evolved into an art form and unique type of illustration, and techniques and methodology continue to be refined today. A form of relief printmaking, it allows for an intimate familiarity with the morphology of the fish. 

Not only are Gyotaku images popular in gallery art and editorial illustration, the process is a great tool for art and science educators to expose students to ichthyologic identification and morphology, as well as relief printing. After a brief introduction to the history and the art, by demonstration, you will learn to prepare a specimen for printing, then prepare your own fish and create Gyotaku prints experimenting with various techniques and approaches. All materials provided, but bring any preferred brushes for working with ink washes.  $20 Materials fee.

Digital: Advanced Photoshop Rendering

Frank Ippolito
Level: beginner to intermediate
Prerequisites: Basic understanding of computers (MAC or PC) is required.
Basic understanding of Photoshop required.
Maximum class enrollment: 16
0.80 Art CEUs

In this full day workshop, we will take a look at features on Photoshop CS Extended that allow the artist to take their renderings to the next level. We will go deep on the newest brush engine, exploring ways to work with both tablet and mouse to achieve the greatest range of expression. We will work with smart objects, custom brushes, new layer techniques, as well as Adobe’s exciting new 3D workspace. Participants will work with scanned art and Wacom pen & tablet to establish a working sketch and proceed to paint and manipulate to a final rendering.

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Discovering the Landscape in Pastels

Marjorie Leggitt/Patricia Savage
Level : General
Prerequisites: none
Maximum class enrollment: 10
0.8 Art CEUs

Discovering a landscape is always a challenge. This workshop leads students through the steps from sketch to a final a pastel painting. In the morning session, students learn how to find compositions in a complex landscape. Using a viewfinder, they investigate many possibilities and create line sketches. Simple value patterns studies represent space, lighting and weather, and color value. Students select one sketch and transfer it to a prepped substrate.

In the afternoon, using the field sketches as guides, students paint the landscape “ plein air” with chalk pastels. Instruction includes how to use warm and cool colors, how to create a harmonious palette and prevent mud, and how to use complementary colors.

Supplies or special items to bring:

Morning:       sketch pad, pencil, eraser, viewfinder
Afternoon:    pastel set that includes a wide variety of colors and values

                        1 sheet of tracing paper 10” x 13”
                        2 pieces of cardboard 10” x 13” (for transporting painting back home)
                        2 plastic bags

•  While traveling, wrap pastel container in a plastic bag to keep the dust out of your luggage and to keep them dry.
•  To sit on and to wrap around your finished painting wind-proof jacket and pants 
•  Bug repellent & sunscreen
•  Large brimmed hat that doesn’t reflect color back down into your eyes
What will be provided; any extra cost:
$5.00 board with sanded surface
$15 to rent pastel set for afternoon

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Parallel Line Illustration

Nancy Halliday
Level: General
Maximum number of students: 15
0.40 Art CEUs

The use of parallel lines for shading and defining form was a classic technique in medical and scientific illustration. With the increasing popularity of computer artwork, this technique is disappearing, as software programs cannot duplicate it. Those attending this workshop will learn which subjects lend themselves to linear shading, how to plan a preliminary drawing for line shading, and will experiment with difference pen points. Students should have finished at least one illustration by the end of the workshop. We will conclude with a group critique and discussion to realize successes and identify areas for improvement.

Supply List For Parallel Line Illustration Workshop
GNSI Conference
Presenter: Nancy Halliday

If you wish to bring technical pens, do so. However, the purpose of this workshop is to learn to vary widths of lines for shading and dimensional expression, so the emphasis will be on metalpoint pens (often called “dip pens”). Each person’s touch with the pen and preference for specific pens is different; experimentation is encouraged, so bring as many pen nibs as you can (they’re small and relatively in expensive).

Supplies
-pencils
-blue non-reproducing pencil (optional)
-erasures
-measuring devices- rulers, dividers, etc.
-scissors
-bond or ledger paper for initial sketch (size depends on object drawn)
-tracing paper for over lays and/or transferring (Clearprint 1000 HP)
-inking surface
(bring enough for experimentation and finished works) :

1. for those who prefer a paper surface, 2-ply Strathmore, Bristol board (500 series, plate, or high finish) is recommended. The will require transferring the final drawing to the board.
2. For those who prefer a sulfite tracing paper (eliminating the transfer step), Beinfang Satin Design `50H is recommend. Other brands are canson Vidalon and Arches Forsdite.
3. Some may wish to ink on film, such as Mylar or Duralar (matte finish). Do not use cellulose acetate.

-a variety of metalpoint nibs.
Hunt nos. 22, 56, 99, *100, 101, 102, 103, *104, *107, *108,
Gillott nos. *659, 1950, *303, 404, 170, 290, 291, 850
(*bring at least these; you are welcome to bring any others not listed
-appropriate holders for pen points
-India inks (for technical pens, use only the ink recommended for your brand):
-for dip pens for paper- Pelikan yellow label or Higgins Black Magic or Rapidograph Ultradraw
-for dip pens for film-Pelikan blueor green label or Rapidograph Rapidraw
-dry cleaning pad or powder (optional)
-X-acto knife with no. 11 blade (bring extra)
-ink erasures. I find a typist’s whisk erasure works well. Some may prefer electric erasures or imbibed erasures.
-erasing shield (an inexpensive but important item)
-lint-free rag for wiping pens
-drafting brush (optional)
-small bar of (Ivory) soap for washing pen points
-red sable brush (no. 2) optional for those proficient enough to render ink line with a brush

A word of caution: for those of you flying secure well the tops of your inkbottles or you may be wearing black clothing to the conference! Technical pens also leak during flight.

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Watercolor: Iridescence and Hummingbirds

Irene Horiuchi
Level: All
Maximum class enrollment: 12
0.40 Art CEUs

Hummingbirds of Ecuador painted in watercolor and gold leaf. The Iridescence of a hummingbird is like a small jewel and 23K gold leaf is used as an accent. Several methods will be included in the workshop. Sketching hummingbirds on watercolor HP paper and then applying watercolor, gold leaf and iridescence.
Supply List:

HP watercolor paper 5-7 sheets of 8" X 10"
Graphite pencil
1 leaf of 23K gold leaf Double Ducate 3 3/8" x 3 3/8" ( If needed I can supply)
gold leaf adhesive size 1 bottle
2 #0 round brushes ( one to paint & one for sizing)
1 #2 watercolor brush with fine tip
white french chalk
"Trans. Mix Media" "Brilliant Ink" by Kohinoor colors:
Cyan, Prussian, Ultramarine ,Light Green Deep Green, Scarlet, Magenta, Orange, Black

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Watercolor Workshop
“From Wet-in-wet to Dry-on- dry”

John Cody
Level: General
Prerequisites: At least minimal experience with watercolor
Maximum class enrollment: 25
1.60 Art CEUs

First Day: Demonstration of a method of creating a perfectly graded background wash going from one edge of the paper to the other (and over a masked drawing of some object) proceeding from the lightest tint to the deepest possible value of the same color. Participants will then do this for themselves with constant guidance from the instructor.

Second Day: Using the graded background done the day before participants will remove the frisket from the object (shell, flower, gourd, insect etc.), which will then be executed in excruciating detail.

Please note: John will select a photograph that is optimally conducive to the teaching of his techniques, and each participant will be given a copy. All will work from the same photograph.

Supplies Needed:
*Hair dryer
*Fullsize (22 X 30) sheet of Arches 300 wt. cold pressed paper
*Hake brush, 2/12 inch size or larger, and assorted smaller rounds
*Assorted watercolors
*Paper towels
*Photograph (good size) of the object to be painted will be provided by the instructor.
*Scrap paper (cheap drawing paper will do.)
*Masking tape, scissors.
*The "Incredible Nib" is useful for applying masking fluid to edges.
*A cheap throw-away brush for applying the masking fluid *Winsor Newton Art Masking fluid, or Incredible masking fluid

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Digital: An Introduction to E-on Vue's 3D Landscaping

Nicolle Rager Fuller
0.80 Art CEUs

Level Intermediate Digital: No 3d experience needed, but some digital experience suggested, ie a knowledge of compositing layers in Photoshop.

The 3d software, Eon Vue, is used by big Hollywood studios for backdrop landscapes in movies like Indiana Jones and Avatar. Discover how it can be a useful tool for the science illustrator in geological cutaways, ecological illustrations, astronomy, and more. To get you started we'll walk through the basics of sculpting a terrain, setting up your atmosphere (sky), choosing from preset materials and ecosystems, and an overview of exporting and compositing in Photoshop. More advanced features like creating custom materials, ecosystems and plants, and rendering optimization will be addressed according to interest from attendees. Work along with my suggested terrain, or bring our own photo or sketch to work from.

Live Animal Drawing: Raptors

Linda M. Feltner
Level: All
Limit: no limit
0.40 Art CEUs

Remind yourself why you love drawing animals. Enjoy live models that are educational animals that are accustomed to people. This year we will investigate drawing raptors. A variety of hawks, falcons or owls will be brought for our close examination and drawing opportunity. Hone your drawing skills using both strength and delicacy, with pen, pencil, or any media you prefer. This is an opportunity to observe details or study the whole body form. We will discuss details of the relationship with and adaptations to the animal's environment. Materials: Basic necessities are paper (sketchbook) and pencils. The medium is open, bring whatever you are comfortable with.

Materials:
Basic necessities are paper (sketchbook) and pencils. The medium is open, bring whatever you are comfortable with.
Optional:
• Digital Camera
• Color pencils or Watercolors (plus the appropriate paper) as per your preference. Our primary goal is to draw, but to add color notations will be a benefit. Bring what you are comfortable with.
• Tracing Paper 

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