OBA Archived Articles
ASBA Annual Meeting, Pittsburgh
In October, OBA member Barbara Schoeberl attended the annual meeting of the ASBA (American Society of Botanical Artists). Here is the video from the event in Pittsburgh, PA. Thanks for sharing, Barbara!
Click here to watch the YouTube video:
youtu.be/Mb1Y0Fo-t9A?si=5RCpnGB3Jkttj7UY
Click here to watch the YouTube video:
youtu.be/Mb1Y0Fo-t9A?si=5RCpnGB3Jkttj7UY
OBA Artist Winter 2024 Spotlight: Janet Parker
Janet Parker has worked as an editorial art director and graphic designer since 1987. She worked for several magazines in New York over 23 years there, including Time, Newsweek, Art & Antiques, and Premiere. Ultimately, she moved to book design at Workman Publishing and later Tin House in Portland. She earned a BFA from Parsons School of Design and a certificate in Botanical Art at the New York Botanical Garden (NYBG). She has taught classes in botanical drawing in and around Portland since 2013.
After attending her first annual conference of the American Society of Botanical Artists (ASBA) in 2012, she returned to Portland, eager to find “her people” (other botanical artists living in the Portland area). That same year, she and four other local members of ASBA formed an Artists’ Circle that has now grown to more than 50 members and celebrates its 12th year in 2024. Janene Walkky, Jane Levy Campbell, Laurie Griff, Gina Anzaldo, and Janet Parker are the original founders.
OBA: You've had a long career in the arts. Did you always have a love of drawing? What did you study in art classes at the University of Kansas?
Janet: Like so many artists, yes, I've always loved drawing. All I ever wanted to be was a fine artist -- a painter in particular. But, I only completed 3 semesters at the University of Kansas. There, I studied life drawing, etching, lithography, painting, and art history before leaving school to move with friends to New Orleans, where I stayed for the next 11 years.
OBA: You studied watercolor in New Orleans. Didn’t you take a workshop in New York with the renowned designer Milton Glaser, when you lived in New Orleans?
Janet: I had no idea how I would ever be able to make a living as an artist, and couldn’t really even afford school at that time. I had a series of menial jobs and was pretty rudderless for a while. Ultimately, I started taking painting and drawing classes again in my spare time, and got a job working in the advertising department of K&B Drugstores, having started working as a cashier in one of their drugstores. Looking back now, K&B was almost like a divine intervention in my life, though it certainly didn’t feel like that at the time. Sydney Besthoff, the owner of the company was a serious patron of the arts, ultimately the most avid art collector in the city. Their headquarters at Lee Circle was a beautifully designed building with an enormous plaza featuring a monumental water sculpture by Isamu Noguchi. During the eight years I worked in that building, the plaza became filled with contemporary sculpture by world-famous artists, and the interior offices and public spaces featured works by local, regional, and internationally known painters and sculptors. My surroundings were an art education in itself -- also something I didn’t fully appreciate at the time.
An old friend from KU contacted me in the early 1980’s and we decided to try to take a graphic design workshop together in NYC taught by Milton Glaser. I was accepted, but my friend had to back out due to an illness in the family. Gulp. I was going to New York by myself and I was filled with anxiety. That week in New York completely changed my life.
OBA: You ultimately completed a BFA at Parsons School of Design in 1989. New York had a vibrant art scene in the 1980s. Did you find yourself connected with that art world?
Janet: I moved to New York in 1986, having decided to go back to school to finish my BFA there. I was 10 years older than the typical Parsons student at that time -- the Rodney Dangerfield of Parsons! And I always had jobs while in school. Honestly what little I knew of the fine art scene at the time, was kind of a blur. But I did get to meet some art heroes of mine during that time!
OBA: After years of art direction and design for books and magazines, including work at the famous WBMG studio of Walter Bernard and Milton Glaser, you now focus on drawing and painting, particularly botanical art. How did you become interested in the NYBG Certificate program?
Janet: Over lunch with a friend who I had worked with at Time Magazine, we discovered we both had an interest in the classes being offered at the New York Botanical Garden. They hosted an open house around that time, and we took the train up there to check it out together. One thing we learned is that the garden had satellite campuses outside of the Bronx, and one of those was at Cooper Union, near NYU, and a block away from Workman Publishing where I was working at the time. I started the class thinking it would just be something to pass the time for a while. Wendy Hollender taught the second class I took there and several classes following that one. After about the 4th or 5th class I was absolutely hooked.
OBA: You’ve had much lovely botanical work in galleries and exhibitions. Your website shows that you are also interested in pastels and subject matter other than plants. Do you plan to continue exploring media and subjects beyond botanical illustration?
Janet: Thanks, I do. In fact, I’m currently taking an online class in abstract painting. But I’m still drawing and painting botanical subjects and I don’t expect to ever get tired of studying botanical and other natural science subjects. I also continue to do freelance book design and consulting.
OBA: Recently, you stepped back into the role of president for OBA. What is your vision for the group during the next few years? Do you have any plans to teach future workshops or classes?
Janet Parker has worked as an editorial art director and graphic designer since 1987. She worked for several magazines in New York over 23 years there, including Time, Newsweek, Art & Antiques, and Premiere. Ultimately, she moved to book design at Workman Publishing and later Tin House in Portland. She earned a BFA from Parsons School of Design and a certificate in Botanical Art at the New York Botanical Garden (NYBG). She has taught classes in botanical drawing in and around Portland since 2013.
After attending her first annual conference of the American Society of Botanical Artists (ASBA) in 2012, she returned to Portland, eager to find “her people” (other botanical artists living in the Portland area). That same year, she and four other local members of ASBA formed an Artists’ Circle that has now grown to more than 50 members and celebrates its 12th year in 2024. Janene Walkky, Jane Levy Campbell, Laurie Griff, Gina Anzaldo, and Janet Parker are the original founders.
OBA: You've had a long career in the arts. Did you always have a love of drawing? What did you study in art classes at the University of Kansas?
Janet: Like so many artists, yes, I've always loved drawing. All I ever wanted to be was a fine artist -- a painter in particular. But, I only completed 3 semesters at the University of Kansas. There, I studied life drawing, etching, lithography, painting, and art history before leaving school to move with friends to New Orleans, where I stayed for the next 11 years.
OBA: You studied watercolor in New Orleans. Didn’t you take a workshop in New York with the renowned designer Milton Glaser, when you lived in New Orleans?
Janet: I had no idea how I would ever be able to make a living as an artist, and couldn’t really even afford school at that time. I had a series of menial jobs and was pretty rudderless for a while. Ultimately, I started taking painting and drawing classes again in my spare time, and got a job working in the advertising department of K&B Drugstores, having started working as a cashier in one of their drugstores. Looking back now, K&B was almost like a divine intervention in my life, though it certainly didn’t feel like that at the time. Sydney Besthoff, the owner of the company was a serious patron of the arts, ultimately the most avid art collector in the city. Their headquarters at Lee Circle was a beautifully designed building with an enormous plaza featuring a monumental water sculpture by Isamu Noguchi. During the eight years I worked in that building, the plaza became filled with contemporary sculpture by world-famous artists, and the interior offices and public spaces featured works by local, regional, and internationally known painters and sculptors. My surroundings were an art education in itself -- also something I didn’t fully appreciate at the time.
An old friend from KU contacted me in the early 1980’s and we decided to try to take a graphic design workshop together in NYC taught by Milton Glaser. I was accepted, but my friend had to back out due to an illness in the family. Gulp. I was going to New York by myself and I was filled with anxiety. That week in New York completely changed my life.
OBA: You ultimately completed a BFA at Parsons School of Design in 1989. New York had a vibrant art scene in the 1980s. Did you find yourself connected with that art world?
Janet: I moved to New York in 1986, having decided to go back to school to finish my BFA there. I was 10 years older than the typical Parsons student at that time -- the Rodney Dangerfield of Parsons! And I always had jobs while in school. Honestly what little I knew of the fine art scene at the time, was kind of a blur. But I did get to meet some art heroes of mine during that time!
OBA: After years of art direction and design for books and magazines, including work at the famous WBMG studio of Walter Bernard and Milton Glaser, you now focus on drawing and painting, particularly botanical art. How did you become interested in the NYBG Certificate program?
Janet: Over lunch with a friend who I had worked with at Time Magazine, we discovered we both had an interest in the classes being offered at the New York Botanical Garden. They hosted an open house around that time, and we took the train up there to check it out together. One thing we learned is that the garden had satellite campuses outside of the Bronx, and one of those was at Cooper Union, near NYU, and a block away from Workman Publishing where I was working at the time. I started the class thinking it would just be something to pass the time for a while. Wendy Hollender taught the second class I took there and several classes following that one. After about the 4th or 5th class I was absolutely hooked.
OBA: You’ve had much lovely botanical work in galleries and exhibitions. Your website shows that you are also interested in pastels and subject matter other than plants. Do you plan to continue exploring media and subjects beyond botanical illustration?
Janet: Thanks, I do. In fact, I’m currently taking an online class in abstract painting. But I’m still drawing and painting botanical subjects and I don’t expect to ever get tired of studying botanical and other natural science subjects. I also continue to do freelance book design and consulting.
OBA: Recently, you stepped back into the role of president for OBA. What is your vision for the group during the next few years? Do you have any plans to teach future workshops or classes?
OBA Group Project 2024: Seasonal Plant Journal
Check back here for updates on your journal orders. (Orders were due by Nov. 2nd.)
Pickup: Pick up at the OBA meeting at Taborspace on December 7th, OR pick them up at Alice's house, OR have your order shipped and pay Alice for shipping if you are out of the area. Please try to pick up if you are nearby.
Pickup: Pick up at the OBA meeting at Taborspace on December 7th, OR pick them up at Alice's house, OR have your order shipped and pay Alice for shipping if you are out of the area. Please try to pick up if you are nearby.
Artist Spotlight: Hollye Maxwell & Robin Phillips Occhipinti
For our spring OBA Artist Spotlight, we're talking with Hollye Maxwell and Robin Phillips Occhipinti, two OBA members who are pursuing the New York Botanical Garden (NYBG) Certificate Program in Botanical Art & Illustration, as well as the Natural Science Illustration Certificate Program at the Rhode Island School of Design (RISD).
With two degrees in art and architectural history, Hollye Maxwell has been principal artist since 1997 at Maxwell Studios offering interior design, garden design, murals, and graphic design.
Robin Phillips Occhipinti has an extensive fine arts background, beginning with a Bachelor of Fine Arts and has been a professional artist, graphic and web designer for 25 years. Robin Phillips Studio (RPS) offers fine art, illustration, graphic and web design, workshops and creativity coaching.
OBA: You are both well-established artists with successful businesses, and you both already have degrees in art. What led you to the decision to take on the very rigorous studies at NYBG and RISD?
Hollye: I wanted to hone my practice with in-depth and rigorous studies at RISD for a Natural Science Illustration Certificate.
Robin: I chose to enroll in both of the certificate programs to grow as an artist -- to improve my skills, to expand into new markets for my work and to earn a credential for teaching botanical and natural science illustration. Both of these programs have long standing reputations, accomplished teachers, and great potential for making connections in the fields of botanical art or science illustration.
For our spring OBA Artist Spotlight, we're talking with Hollye Maxwell and Robin Phillips Occhipinti, two OBA members who are pursuing the New York Botanical Garden (NYBG) Certificate Program in Botanical Art & Illustration, as well as the Natural Science Illustration Certificate Program at the Rhode Island School of Design (RISD).
With two degrees in art and architectural history, Hollye Maxwell has been principal artist since 1997 at Maxwell Studios offering interior design, garden design, murals, and graphic design.
Robin Phillips Occhipinti has an extensive fine arts background, beginning with a Bachelor of Fine Arts and has been a professional artist, graphic and web designer for 25 years. Robin Phillips Studio (RPS) offers fine art, illustration, graphic and web design, workshops and creativity coaching.
OBA: You are both well-established artists with successful businesses, and you both already have degrees in art. What led you to the decision to take on the very rigorous studies at NYBG and RISD?
Hollye: I wanted to hone my practice with in-depth and rigorous studies at RISD for a Natural Science Illustration Certificate.
Robin: I chose to enroll in both of the certificate programs to grow as an artist -- to improve my skills, to expand into new markets for my work and to earn a credential for teaching botanical and natural science illustration. Both of these programs have long standing reputations, accomplished teachers, and great potential for making connections in the fields of botanical art or science illustration.
Datura shamonium, © H. Maxwell
OBA: Since you both have years of experience in drawing and painting, what do you find different or challenging about the courses at NYBG and RISD?
Hollye: I am finding I am learning some new techniques as well as revisiting and refining my practice.
Robin: Overall, the classes have really helped me boost my technical skills in illustration and learn how to observe living subjects much more closely. The instructors I have studied with push me to create my best possible work and give very precise feedback on how to improve a piece. I earned my art degree a long time ago, and traditional art education doesn’t typically include such precise training (especially in natural science) so the classes have been very valuable for me. For example, the NYBG program includes an entire class on the study of plant morphology, and RISD has an amazing collection of natural subjects for reference (accessible through digital library online also). Learning from a diverse range of instructors is also inspiring.
OBA: How are classes and critiques conducted in the online programs, as opposed to in-person learning? Do you have any plans to visit either location in person during your course?
Hollye: At RISD, we engage in online discussions, Zoom meetings with some of the instructors, and written critiques.
Robin: The NYBG program offers live 2-4 hour online classes via Zoom (with the option of taking in person workshops in NY at the garden as electives if you wish), and the RISD program is conducted via asynchronous learning online on the Canvas platform with no live classes. The course content includes videos, reading material, and message boards. In both programs, assignments are due weekly and the instructors give detailed feedback to everyone. At NYBG, feedback is given during class so all students can learn from each other as well. At RISD, assignment feedback is sent privately and students also post work in the message board forums for classmates to make comments on. I plan to visit NYBG in person for my graduation ceremony next year.
Hollye: I am finding I am learning some new techniques as well as revisiting and refining my practice.
Robin: Overall, the classes have really helped me boost my technical skills in illustration and learn how to observe living subjects much more closely. The instructors I have studied with push me to create my best possible work and give very precise feedback on how to improve a piece. I earned my art degree a long time ago, and traditional art education doesn’t typically include such precise training (especially in natural science) so the classes have been very valuable for me. For example, the NYBG program includes an entire class on the study of plant morphology, and RISD has an amazing collection of natural subjects for reference (accessible through digital library online also). Learning from a diverse range of instructors is also inspiring.
OBA: How are classes and critiques conducted in the online programs, as opposed to in-person learning? Do you have any plans to visit either location in person during your course?
Hollye: At RISD, we engage in online discussions, Zoom meetings with some of the instructors, and written critiques.
Robin: The NYBG program offers live 2-4 hour online classes via Zoom (with the option of taking in person workshops in NY at the garden as electives if you wish), and the RISD program is conducted via asynchronous learning online on the Canvas platform with no live classes. The course content includes videos, reading material, and message boards. In both programs, assignments are due weekly and the instructors give detailed feedback to everyone. At NYBG, feedback is given during class so all students can learn from each other as well. At RISD, assignment feedback is sent privately and students also post work in the message board forums for classmates to make comments on. I plan to visit NYBG in person for my graduation ceremony next year.
Gala Apple, © R. Phillips Occhipinti
OBA: You both have created beautiful botanical art in a variety of media. For botanical art, what is your favorite medium?
Hollye: Colored pencil and watercolor combined.
Robin: I am a multidisciplinary artist at heart. For botanical art, I enjoy watercolor and colored pencil the most perhaps. I also love to occasionally paint flora and fauna in acrylic and encaustic.
OBA: How long will each course take to complete? Are there deadlines? Or do you work at your own pace?
Hollye: RISD classes are broken into six-week sprints where we will take, for example, "Drawing From Nature Part A" with Part B in the second six-week timeframe. I take two courses per term at RISD and hope to complete the certificate by the end of spring term 2025.
Robin: In both programs, most classes are 6 weeks (1 quarter). NYBG runs a few 8 week classes, and some electives are workshops that meet just 3-4 times. Assignments are due weekly. NYBG classes also have a final project due at the end of each class which is due 2-3 weeks after the course has ended. At the end of both certificate programs, there is also a final project semester where students design their own project consisting of several pieces based on a particular theme. You can choose to take classes at your own pace, and take up to 5 yrs to complete the program. Many of these online classes and workshops are also open to the public, so you don’t need to be enrolled in the certificate program to try out a class.
OBA: Kudos to both of you for taking on these challenging programs! We look forward to seeing your future work.
To learn more about the programs at the New York Botanic Garden and the Rhode Island School of Design, here are the links:
NYBG https://www.nybg.org/learn/adult-education/certificate-program/
RISD https://ce.risd.edu/
And be sure to visit the websites of Robin and Hollye!
Robin Phillips Studio: https://www.robinphillipsstudio.com
Maxwell Studios: https://www.maxstudios.net
Hollye: Colored pencil and watercolor combined.
Robin: I am a multidisciplinary artist at heart. For botanical art, I enjoy watercolor and colored pencil the most perhaps. I also love to occasionally paint flora and fauna in acrylic and encaustic.
OBA: How long will each course take to complete? Are there deadlines? Or do you work at your own pace?
Hollye: RISD classes are broken into six-week sprints where we will take, for example, "Drawing From Nature Part A" with Part B in the second six-week timeframe. I take two courses per term at RISD and hope to complete the certificate by the end of spring term 2025.
Robin: In both programs, most classes are 6 weeks (1 quarter). NYBG runs a few 8 week classes, and some electives are workshops that meet just 3-4 times. Assignments are due weekly. NYBG classes also have a final project due at the end of each class which is due 2-3 weeks after the course has ended. At the end of both certificate programs, there is also a final project semester where students design their own project consisting of several pieces based on a particular theme. You can choose to take classes at your own pace, and take up to 5 yrs to complete the program. Many of these online classes and workshops are also open to the public, so you don’t need to be enrolled in the certificate program to try out a class.
OBA: Kudos to both of you for taking on these challenging programs! We look forward to seeing your future work.
To learn more about the programs at the New York Botanic Garden and the Rhode Island School of Design, here are the links:
NYBG https://www.nybg.org/learn/adult-education/certificate-program/
RISD https://ce.risd.edu/
And be sure to visit the websites of Robin and Hollye!
Robin Phillips Studio: https://www.robinphillipsstudio.com
Maxwell Studios: https://www.maxstudios.net
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Congratulations! ASBA Journal Features OBA Member, Janene Walkky
Janene Walkky, founding member of OBA, has a story to tell -- the story of the Liberty Hill Camas Bluff -- and she tells it beautifully with 44 botanical drawings of the flora found there. This natural area is threatened by a mining company, but Janene's work along with the Friends of Liberty Hill Camas Bluff has so far kept the flora protected. Read more in this article from the June 2024 issue of The Botanical Artist by ASBA. |
A page from the Liberty Hill Camas Bluff sketchbook, © J. Walkky
Spring 2024 Artist Spotlight: Janene Walkky
Janene Walkky is one of the founding members of OBA. After a career as a garden designer, she took the prestigious course in botanical illustration from the UK Society of Botanical Art. The image above is a "sketchbook" page from Janene's recent study of plants at the endangered Liberty Hill Camas Bluff. Read on for more information about this important work and Janene's journey in botanical art.
OBA: You grew up next to a nature preserve. What kind of plants and wildflowers do you remember seeing there? Can you recall the very first time that you sketched a flower or plant?
Janene: I remember my brother and I marveling at the huge, neon yellow flowers of skunk cabbage blooming in the wetlands that we often explored together. The flowers look like elegant lanterns glowing in the shade. Their name does not do them justice since I have never noticed a stench from them. The other plant I remember clearly is stinging nettle. We learned to identify it early on in our explorations, for obvious reasons.
I believe I was in my early 20’s the first time I sketched a plant. I was living in Amsterdam in crowded conditions on a canal barge which had been converted to housing. I felt the need for the comfort and solace of nature so keenly that one day as I passed a vacant lot I sat down and spent the afternoon drawing the only plant in sight, a weed. I still remember it with fondness, it was broadleaf plantain or Plantago major. I’ve since read that its leaves and seeds are edible and have nutritional value, but on that day, just drawing the plant was food for my soul.
OBA: Before serious study of botanical art, you had a successful career as a garden designer in Portland, Oregon. Did you design both private and public gardens? Are there any local gardens where we might experience your designed space?
Janene: I mostly designed private gardens so unfortunately, they would not be available to the public.
OBA: In 2013, you received a diploma with distinction from the Society of Botanical Art in the UK. Had you completed drawing and painting classes before taking on this very challenging program?
Janene: I took a few drawing or painting classes over the years but the biggest impact besides the SBA diploma program, was a sketching on location workshop taught by the artist and landscape architect, Richard Scott that I took in 2009. His method of a quick sketch in pencil or ink, then applying simple watercolor washes, gave me a way to improve my drawing skills and become more comfortable with watercolor, without the pressure of producing a finished ‘work of art.’ I started sketching regularly and posting urban sketches on my blog at least once a week. Later in 2009 I found out about a newly formed local sketching group which later became part of the worldwide organization, Urban Sketchers. Sketching on location each month with a group of fellow enthusiasts helped keep me inspired. The confidence gained through sketching gave me the courage to apply for admission to the SBA program.
OBA: Recently, you completed an important sketchbook project at the Liberty Hill Camas Bluff. Can you tell us about the project? Did you approach the Friends of Liberty Hill with your idea to illustrate the flora? How long did your project take? Are there plans to print a book of your drawings?
Janene: In March of 2020, I began a study of a threatened, rare wildflower meadow on Liberty Hill Camas Bluff located outside of St. Helens, Oregon. My goal was to use sketches to document the flora of the meadow and surrounding woodlands through the seasons over the course of a year. I wanted to illustrate the beauty and complexity of the meadow to raise public awareness of the importance of preserving it. I believe that images can move people more deeply than any number of facts and figures.
When the first European explorers arrived in this area, they were awe-struck of the vast wildflower meadows. An early survey documented over one million acres of meadows in the Willamette Valley alone. The predominant flower in early spring was Camassia quamash or Camas lily. The blue Camassia blossoms were so abundant that one explorer mistook the valley to be an immense lake from a distance. The Camassia bulb was an important food source for indigenous peoples. They maintained the meadows by using controlled burns, which prevented the encroachment of Douglas firs. Oregon white oak trees could withstand the fires, so their stately forms dotted the meadows.
Now only a few small meadows remain due to development and agriculture. The meadow on Liberty Hill Camas Bluff is a rare ecosystem due to the abundance of Camassia and other wildflowers. It is owned by a major corporation, which has leased it to a gravel mining company. This company was awaiting the approval of a permit to begin blasting at the site last year. The Friends of Liberty Hill led a campaign of letters to the permitting agencies to preserve the site. This is one of many attempts over the years to purchase or otherwise preserve this rare meadow. So far, the approval of the mining permits was delayed until the permits expired, but the permits can be reapplied very easily. I am a member of Friends of Liberty Hill, and the group has been very supportive of my project.
I’ve had the privilege of making a presentation of the story of the meadow, illustrated by my sketches and photos several times over the last couple of years. I have no plans to print a book of my drawings but am open to any publisher who has an interest!
OBA: What are your current projects? Will you be exhibiting your work anywhere this year?
Janene: Currently I am working on some paintings of native plants using the medium of watercolor on Kelmscott vellum. I have been fascinated by carnivorous plants in the Pacific Northwest, so plan to feature them in one of my paintings.
I am privileged to have work in the American Society of Botanical Artists’ exhibition named Abundant Future: Cultivating Diversity in Garden, Farm, and Field. The show has travelled to several venues over the past 3 years and is currently at the Oak Spring Garden Foundation in Virginia until the end of October.
You can see more of Janene Walkky's work at jswbotanicalart.com.
Janene Walkky is one of the founding members of OBA. After a career as a garden designer, she took the prestigious course in botanical illustration from the UK Society of Botanical Art. The image above is a "sketchbook" page from Janene's recent study of plants at the endangered Liberty Hill Camas Bluff. Read on for more information about this important work and Janene's journey in botanical art.
OBA: You grew up next to a nature preserve. What kind of plants and wildflowers do you remember seeing there? Can you recall the very first time that you sketched a flower or plant?
Janene: I remember my brother and I marveling at the huge, neon yellow flowers of skunk cabbage blooming in the wetlands that we often explored together. The flowers look like elegant lanterns glowing in the shade. Their name does not do them justice since I have never noticed a stench from them. The other plant I remember clearly is stinging nettle. We learned to identify it early on in our explorations, for obvious reasons.
I believe I was in my early 20’s the first time I sketched a plant. I was living in Amsterdam in crowded conditions on a canal barge which had been converted to housing. I felt the need for the comfort and solace of nature so keenly that one day as I passed a vacant lot I sat down and spent the afternoon drawing the only plant in sight, a weed. I still remember it with fondness, it was broadleaf plantain or Plantago major. I’ve since read that its leaves and seeds are edible and have nutritional value, but on that day, just drawing the plant was food for my soul.
OBA: Before serious study of botanical art, you had a successful career as a garden designer in Portland, Oregon. Did you design both private and public gardens? Are there any local gardens where we might experience your designed space?
Janene: I mostly designed private gardens so unfortunately, they would not be available to the public.
OBA: In 2013, you received a diploma with distinction from the Society of Botanical Art in the UK. Had you completed drawing and painting classes before taking on this very challenging program?
Janene: I took a few drawing or painting classes over the years but the biggest impact besides the SBA diploma program, was a sketching on location workshop taught by the artist and landscape architect, Richard Scott that I took in 2009. His method of a quick sketch in pencil or ink, then applying simple watercolor washes, gave me a way to improve my drawing skills and become more comfortable with watercolor, without the pressure of producing a finished ‘work of art.’ I started sketching regularly and posting urban sketches on my blog at least once a week. Later in 2009 I found out about a newly formed local sketching group which later became part of the worldwide organization, Urban Sketchers. Sketching on location each month with a group of fellow enthusiasts helped keep me inspired. The confidence gained through sketching gave me the courage to apply for admission to the SBA program.
OBA: Recently, you completed an important sketchbook project at the Liberty Hill Camas Bluff. Can you tell us about the project? Did you approach the Friends of Liberty Hill with your idea to illustrate the flora? How long did your project take? Are there plans to print a book of your drawings?
Janene: In March of 2020, I began a study of a threatened, rare wildflower meadow on Liberty Hill Camas Bluff located outside of St. Helens, Oregon. My goal was to use sketches to document the flora of the meadow and surrounding woodlands through the seasons over the course of a year. I wanted to illustrate the beauty and complexity of the meadow to raise public awareness of the importance of preserving it. I believe that images can move people more deeply than any number of facts and figures.
When the first European explorers arrived in this area, they were awe-struck of the vast wildflower meadows. An early survey documented over one million acres of meadows in the Willamette Valley alone. The predominant flower in early spring was Camassia quamash or Camas lily. The blue Camassia blossoms were so abundant that one explorer mistook the valley to be an immense lake from a distance. The Camassia bulb was an important food source for indigenous peoples. They maintained the meadows by using controlled burns, which prevented the encroachment of Douglas firs. Oregon white oak trees could withstand the fires, so their stately forms dotted the meadows.
Now only a few small meadows remain due to development and agriculture. The meadow on Liberty Hill Camas Bluff is a rare ecosystem due to the abundance of Camassia and other wildflowers. It is owned by a major corporation, which has leased it to a gravel mining company. This company was awaiting the approval of a permit to begin blasting at the site last year. The Friends of Liberty Hill led a campaign of letters to the permitting agencies to preserve the site. This is one of many attempts over the years to purchase or otherwise preserve this rare meadow. So far, the approval of the mining permits was delayed until the permits expired, but the permits can be reapplied very easily. I am a member of Friends of Liberty Hill, and the group has been very supportive of my project.
I’ve had the privilege of making a presentation of the story of the meadow, illustrated by my sketches and photos several times over the last couple of years. I have no plans to print a book of my drawings but am open to any publisher who has an interest!
OBA: What are your current projects? Will you be exhibiting your work anywhere this year?
Janene: Currently I am working on some paintings of native plants using the medium of watercolor on Kelmscott vellum. I have been fascinated by carnivorous plants in the Pacific Northwest, so plan to feature them in one of my paintings.
I am privileged to have work in the American Society of Botanical Artists’ exhibition named Abundant Future: Cultivating Diversity in Garden, Farm, and Field. The show has travelled to several venues over the past 3 years and is currently at the Oak Spring Garden Foundation in Virginia until the end of October.
You can see more of Janene Walkky's work at jswbotanicalart.com.
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OBA Members at Coos Art Museum Exhibit
Congratulations to the OBA members who were accepted into the Coos Art Museum exhibit "Changing Tides: The Art of Environmental Stewardship". Members with art in this show include Elise Bush, Kristine Mackessy, Hollye Maxwell, Amy O'Neill, Robin Phillips Occhipinti and Zebith Thalden. The exhibit also features art by The Guild of Natural Science Illustrators - Northwest Chapter and Pacific Northwest Botanical Artists. When: July 8 to September 22, 2023 Where: Coos Art Museum, in the Atrium Gallery, 235 Anderson Avenue, Coos Bay, OR 97420 Hours: Tuesday - Friday 11am-5pm, Saturday - Sunday 1-5pm Closed on Mondays and holidays. |
Wyeth's Buckwheat & Black-tailed Bee, © N. Sherwood
Spring 2023 Artist Spotlight: Nora Sherwood
Nora Sherwood joined the field of science illustration as a mid-life career change after many years in the world of high tech. She graduated from the University of Washington’s Natural Science Illustration certificate program in Spring 2014, and she is now a full-time, self-employed artist. You can see more art at norasherwood.com.
For this Artist Spotlight, Nora shares some information on her journey to scientific illustration and how she built her successful freelance business:
OBA: You were born in Colombia and traveled the world with your family, growing up. Were you interested in animals, plants, and bugs as a child? Do you have any memories of exotic species from South America or elsewhere?
Nora: To be honest, my early fascination was more with cartography, which lead to my first career (geographic information systems). My interest in natural history developed later and grew out of my concern with the human race’s destruction of our natural world. As a child, I took in the exotic species as yet another rich element (along with language, culture, geography, etc.) of the unusual way I was raised in the Foreign Service’s diplomatic corps.
OBA: After a successful career in tech, you decided to pursue the Natural Science Illustration Certificate at the University of Washington. How did you prepare for the switch to an art career? Did you take foundational art courses? Or did you self-study to learn basic drawing skills?
Nora: I had taken a few figure drawing and watercolor classes, but did not have much visual arts background. Soon after enrolling, I was told that my art skills were deficient, and I should enroll at the Gage Academy. That’s where I really got my foundation in the technical end of art (drawing, color theory, composition, etc.). So it was a very busy time, taking both programs at the same time, and I completely dedicated myself to learning that year. I still wasn’t a very good artist, but I’ve just continued to work at it.
OBA: Perseverance has paid off! Since studying art and science illustration, you now have an impressive portfolio of work for national agencies as well as local businesses. What was your first assignment after the UW Illustration program? How can emerging illustrators find clients when starting a business?
Nora: Thanks for thinking it’s impressive! An awful lot of the illustration work is now freelance, so the advice we were given at UW was “just get it out there, the work is going to find you.” I really did try to solicit work proactively, and got absolutely nowhere. On the other hand, getting a website up, getting work into galleries, getting a couple of solo shows, etc. did finally get me some work. My first projects were pretty dinky — a queen bee, a silly chicken illustration for an egg farmer, etc. but my first larger job was for an entomologist who was researching new blister beetle species (Nothing pretty, just ink diagrams of distinguishing anatomy). I did not (and still don’t) say no to anything. Frankly, it was the exact opposite of my experience in tech, but some of the business skills I had, like follow-through, defining the project’s scope, keeping the client informed, etc., were helpful.
OBA: In 2019, OPB's "Oregon Art Beat" featured your work -- congratulations! In the segment, you mentioned the "10,000 Hour Rule." Could you explain a bit about that concept and how it has worked for your career shift?
Nora: I was referring to Malcolm Gladwell’s rule (which has been shown to be overly simplistic, or course) that putting 10,000 hours into learning a skill is going to help you achieve mastery. For me, not being a “good artist” when I started out, it helped to keep me going when the results I was seeing on the page weren’t very good because I recognized that I was just going to have keep putting in the time and effort. Another idea along those lines was something my beloved Gage Academy teacher, Margaret Davidson, said many times: “You have to draw a thousand lousy drawings before you can draw anything good, so let’s get started on the lousy ones and get them out of the way.”
OBA: Your background includes a graduate degree in geography. Do you ever include these elements in illustration?
Nora: I have been able to call on my knowledge of geography, spatial analytics and cartography on occasion, but I leave the serious freelance GIS stuff to other folks.
OBA: You have created beautiful scientific art in many media such as scratch board, colored pencil, and watercolor. What is your favorite medium? Do you ever use Photoshop or other software?
Nora: Watercolor chose me, and it’s definitely the one I’d choose to take to a desert island if I could only take one. I have gotten better at colored pencils, but given the need to make a living, I’m faster at watercolor. I absolutely adore scratchboard, but there’s not much call for it in commercial work. I do use Photoshop on the front end to help with composition and on the back end to do any needed post-processing of scans. If I were in my 20’s and just starting out in an illustrating career, I would absolutely emphasize “non-traditional” media skills, as that’s how a lot of science illustration is being done these days.
OBA: In February, you are offering a Zoom-based workshop to "Paint Like Beatrix Potter." What can participants expect to learn in the class?
Nora: Ah, Beatrix Potter, my “patron saint”! She was an incredibly hard-working science illustrator who wandered into a career of writing and illustrating cute, little bunny books, became an amazing business woman, made a bundle, and pioneered land conservation. She is my hero! We’re going to learn about her in her historical context, and we’re going to learn about and copy some of her techniques — nature sketching, observation and gestural sketching of live (well, in this case, video) animals, “cute critter” anatomy, working from photography, etc., etc.!
OBA: That sounds like a great course! Is there anything else you’d like to tell us? What projects are you currently working on?
Nora: At the moment, I am working on book illustrations for a river ecologist, a private commission of an Oregon swallowtail butterfly in adult and caterpillar stages, and some grain illustrations for a distillery. I’m expecting some more jam jar work any moment. I am continuing to work on monetizing my artwork through putting it on consumer products, and also increasing my workshop catalog. Lots of legs to the stool of earning money in this field!
Nora Sherwood joined the field of science illustration as a mid-life career change after many years in the world of high tech. She graduated from the University of Washington’s Natural Science Illustration certificate program in Spring 2014, and she is now a full-time, self-employed artist. You can see more art at norasherwood.com.
For this Artist Spotlight, Nora shares some information on her journey to scientific illustration and how she built her successful freelance business:
OBA: You were born in Colombia and traveled the world with your family, growing up. Were you interested in animals, plants, and bugs as a child? Do you have any memories of exotic species from South America or elsewhere?
Nora: To be honest, my early fascination was more with cartography, which lead to my first career (geographic information systems). My interest in natural history developed later and grew out of my concern with the human race’s destruction of our natural world. As a child, I took in the exotic species as yet another rich element (along with language, culture, geography, etc.) of the unusual way I was raised in the Foreign Service’s diplomatic corps.
OBA: After a successful career in tech, you decided to pursue the Natural Science Illustration Certificate at the University of Washington. How did you prepare for the switch to an art career? Did you take foundational art courses? Or did you self-study to learn basic drawing skills?
Nora: I had taken a few figure drawing and watercolor classes, but did not have much visual arts background. Soon after enrolling, I was told that my art skills were deficient, and I should enroll at the Gage Academy. That’s where I really got my foundation in the technical end of art (drawing, color theory, composition, etc.). So it was a very busy time, taking both programs at the same time, and I completely dedicated myself to learning that year. I still wasn’t a very good artist, but I’ve just continued to work at it.
OBA: Perseverance has paid off! Since studying art and science illustration, you now have an impressive portfolio of work for national agencies as well as local businesses. What was your first assignment after the UW Illustration program? How can emerging illustrators find clients when starting a business?
Nora: Thanks for thinking it’s impressive! An awful lot of the illustration work is now freelance, so the advice we were given at UW was “just get it out there, the work is going to find you.” I really did try to solicit work proactively, and got absolutely nowhere. On the other hand, getting a website up, getting work into galleries, getting a couple of solo shows, etc. did finally get me some work. My first projects were pretty dinky — a queen bee, a silly chicken illustration for an egg farmer, etc. but my first larger job was for an entomologist who was researching new blister beetle species (Nothing pretty, just ink diagrams of distinguishing anatomy). I did not (and still don’t) say no to anything. Frankly, it was the exact opposite of my experience in tech, but some of the business skills I had, like follow-through, defining the project’s scope, keeping the client informed, etc., were helpful.
OBA: In 2019, OPB's "Oregon Art Beat" featured your work -- congratulations! In the segment, you mentioned the "10,000 Hour Rule." Could you explain a bit about that concept and how it has worked for your career shift?
Nora: I was referring to Malcolm Gladwell’s rule (which has been shown to be overly simplistic, or course) that putting 10,000 hours into learning a skill is going to help you achieve mastery. For me, not being a “good artist” when I started out, it helped to keep me going when the results I was seeing on the page weren’t very good because I recognized that I was just going to have keep putting in the time and effort. Another idea along those lines was something my beloved Gage Academy teacher, Margaret Davidson, said many times: “You have to draw a thousand lousy drawings before you can draw anything good, so let’s get started on the lousy ones and get them out of the way.”
OBA: Your background includes a graduate degree in geography. Do you ever include these elements in illustration?
Nora: I have been able to call on my knowledge of geography, spatial analytics and cartography on occasion, but I leave the serious freelance GIS stuff to other folks.
OBA: You have created beautiful scientific art in many media such as scratch board, colored pencil, and watercolor. What is your favorite medium? Do you ever use Photoshop or other software?
Nora: Watercolor chose me, and it’s definitely the one I’d choose to take to a desert island if I could only take one. I have gotten better at colored pencils, but given the need to make a living, I’m faster at watercolor. I absolutely adore scratchboard, but there’s not much call for it in commercial work. I do use Photoshop on the front end to help with composition and on the back end to do any needed post-processing of scans. If I were in my 20’s and just starting out in an illustrating career, I would absolutely emphasize “non-traditional” media skills, as that’s how a lot of science illustration is being done these days.
OBA: In February, you are offering a Zoom-based workshop to "Paint Like Beatrix Potter." What can participants expect to learn in the class?
Nora: Ah, Beatrix Potter, my “patron saint”! She was an incredibly hard-working science illustrator who wandered into a career of writing and illustrating cute, little bunny books, became an amazing business woman, made a bundle, and pioneered land conservation. She is my hero! We’re going to learn about her in her historical context, and we’re going to learn about and copy some of her techniques — nature sketching, observation and gestural sketching of live (well, in this case, video) animals, “cute critter” anatomy, working from photography, etc., etc.!
OBA: That sounds like a great course! Is there anything else you’d like to tell us? What projects are you currently working on?
Nora: At the moment, I am working on book illustrations for a river ecologist, a private commission of an Oregon swallowtail butterfly in adult and caterpillar stages, and some grain illustrations for a distillery. I’m expecting some more jam jar work any moment. I am continuing to work on monetizing my artwork through putting it on consumer products, and also increasing my workshop catalog. Lots of legs to the stool of earning money in this field!
OBA Archived Articles
OBA Artist at PAM Rental Sales Gallery
Wisteria, © Janet Parker
Gifts from Japan: A Horticultural Tale Told through Botanical Art
Exhibit in the Pavilion at the Portland Japanese Garden
611 SW Kingston Ave, Portland, Oregon 97205
May 14 - July 4, 2022
Several OBA members will have their work shown in this special exhibit organized in cooperation with the Huntington Library, Art Museum and Botanical Gardens in California and the Portland Japanese Garden.
“Gifts from Japan” illuminates the unique stories of many plants now widely grown throughout the world that originated in Japan. The exhibition invites visitors on a journey of evolving cultures, horticultural technologies, and botanical art from the turn of the 20th century to contemporary times, featuring richly rendered botanical illustrations from The Huntington Library, Art Museum, and Botanical Gardens (CA); guest botanical artists from Japan; and the following American Society of Botanical Artists chapters and artists' circles— the Botanical Artists Guild of Southern California, the Pacific Northwest Botanical Artists, and the Oregon Botanical Artists.
For more information: japanesegarden.org/events/gifts-from-japan/
To see an article about and photos from the exhibit: www.bagsc.org/post/gifts-from-japan-a-beautiful-exhibit-at-the-portland-japanese-garden-invites-contemplation
To see images of the art and more photos from the opening reception: www.bagsc.org/gifts-from-japan-exhibition-photos
Exhibit in the Pavilion at the Portland Japanese Garden
611 SW Kingston Ave, Portland, Oregon 97205
May 14 - July 4, 2022
Several OBA members will have their work shown in this special exhibit organized in cooperation with the Huntington Library, Art Museum and Botanical Gardens in California and the Portland Japanese Garden.
“Gifts from Japan” illuminates the unique stories of many plants now widely grown throughout the world that originated in Japan. The exhibition invites visitors on a journey of evolving cultures, horticultural technologies, and botanical art from the turn of the 20th century to contemporary times, featuring richly rendered botanical illustrations from The Huntington Library, Art Museum, and Botanical Gardens (CA); guest botanical artists from Japan; and the following American Society of Botanical Artists chapters and artists' circles— the Botanical Artists Guild of Southern California, the Pacific Northwest Botanical Artists, and the Oregon Botanical Artists.
For more information: japanesegarden.org/events/gifts-from-japan/
To see an article about and photos from the exhibit: www.bagsc.org/post/gifts-from-japan-a-beautiful-exhibit-at-the-portland-japanese-garden-invites-contemplation
To see images of the art and more photos from the opening reception: www.bagsc.org/gifts-from-japan-exhibition-photos
Amanita muscaria, © D. Haber-Lehigh
Winter 2023 Artist Spotlight: Dorota Haber-Lehigh
Dorota Haber-Lehigh holds a Diploma in Botanical Illustration from the Society of Botanical Artists in London. She also has degrees in Art and International Studies with a focus on indigenous cultures, and a master’s degree in teaching. She authored two ethnobotanical coloring books. You can view more art at www.dorotahaberlehigh.com
In the summer of 2022, Dorota was visiting and working on botanical art in her homeland of Poland, but she took a break for an interview with OBA.
OBA: As a child, you went mushroom hunting with your grandparents in Poland. And you have lovely mushroom drawings on your website. Do you also cook with mushrooms? Do you have a favorite mushroom recipe?
Dorota: Mushrooms are my favorite subject to draw and to cook with. Also, mushroom hunting is a great way to be outdoors and observe nature. In the Pacific Northwest, I see some of the similar species that grew in Poland such as King Boletes and other Boletes, Amanitas, Chanterelles, Oyster Mushrooms and Milk Caps. Other species only found here and not in Poland are Lobster Mushroom, Chicken of the Woods, Coral Mushrooms and Cauliflower mushroom to name a few. My favorite mushrooms to cook with are Chanterelles (which I don’t have luck finding, so I buy them at the farmers’ market), Oyster mushrooms, Cauliflower mushrooms, and Bolete mushrooms, which I have luck finding on the coast. My favorite way to cook mushrooms is with butter, leeks, garlic, salt, and chopped parsley. You can make plain white mushrooms taste amazing with that combo as well.
OBA: You have illustrated many native plants of the Pacific Northwest, including a series for the Columbia Memorial Hospital in Seaside, Oregon. Have you illustrated native plants of Poland? If so, what were some of your favorites?
Dorota: I love illustrating plants from my parents’ garden when I visit Poland in the summer. Some of my favorite subjects are berries such as gooseberries, black and red currants and fruit such as peaches, pears, apples, etc. I have started several flower projects while being in Poland and finished painting them while back in Oregon. Some my favorite flowers from Poland are Lilac, Lilies, Daylillies and Poppies. Several years ago, while hiking in Tatra mountains, I discovered that there are over 40 varieties of native orchids growing in Poland, many of them endemic to the Tatra mountains. I did many sketches in my sketchbook that year, and one day my dream is to go back to Tatra mountains and spend more time creating more detailed illustrations of the native orchids. Poland is not very well known for its orchids, and I think that would be a great project for me and a way to showcase such unique plants from Poland. I also like portraying butterflies and moths, and my favorite butterfly from Poland that I love depicting is a Peacock butterfly.
OBA: In 2019, you completed the diploma for the Society of Botanical Artists in London, England. How was it taking a correspondence course as opposed to in-person learning? Do you have any tips for someone who wants to apply and take the UK diploma?
Dorota: Correspondence course was great for me. In Oregon, there are not a lot of in-person opportunities for this kind of learning or programs. You are definitely on your own and need tons of self-discipline as the course requires a huge time commitment. There aren’t any video tutorials associated with the course so a lot of learning happened by reading books, sketching, drawing, researching and hours of practice. You need a little bit of background in your media (colored pencils or watercolor) before you begin the course -- it’s definitely not for beginners. The course was challenging, and with its deadlines, a bit stressful. There was no time for personal projects, just barely enough time for the assignments. The varied scope of the assignments helps to stretch your skills and abilities, teaches you to work under pressure, forces you to tackle different plant subjects, provides an opportunity to learn basic botany, and a chance to build a comprehensive portfolio. It was totally worth the time commitment.
OBA: You have created beautiful botanical art in graphite, pen & ink, colored pencil, and watercolor. What is your favorite medium?
Dorota: I love all the media mentioned. I have completed my diploma in colored pencils. I also love watercolor and pen and ink. In my sketchbooks, I use predominantly pen and ink and add color with either colored pencils or watercolor. Drawing is more physical in a way, and I think my first love is drawing. Drawing is also more versatile on the go. When I have few minutes here and there (when traveling or on a break at work), it’s much easier to work in a sketchbook with a pen and colored pencils. Also when I have shorter amounts of time in my studio, colored pencils are my preferred media. There is no color mixing or waiting for washes to dry. The flow is very different while working in colored pencils or watercolor for me. I choose watercolors when I have bigger chunks of time available to paint.
OBA: How do you keep up your practice of daily sketching and botanical art during the fall and winter seasons when blossoms and pollinators are dormant?
Dorota: Actually, fall and winter are my favorite seasons as there is no shortage of fall leaves, mushrooms, seedpods, and cones. I never tire of these subjects, and since the weather keeps me indoors more, I tend to be more productive in the fall and winter. I work from seasonal subjects as much as possible, but fall and winter also offers time to finish some of the summer projects as well, and time to add pollinators to the drawings or paintings working from preserved specimens.
I also do more botanical teaching in the fall and winter. This coming fall I will be teaching an online, 8-week-long workshop through Oregon Society of Artists titled, "Fall Botanical Wonders," (Sept. 25- Nov.20). Also, I'm teaching an in-person, one-day workshop on September 11 at OSA.
Fall and winter are a great time to connect with other botanical artists. I draw or paint daily, and my preferred time to draw or paint is at night. Since daylight is not abundant at this time of the year, I am naturally drawn to my studio daily.
OBA: Do you have anything else you’d like to tell us about? What are you currently working on?
Dorota: I have several project started right now in the studio. I am painting Sweet Peas, finishing an heirloom tomato for OBA’s "Red-ibles" group project, starting a drawing of a Blanket Flower (Gaillardia) that will feature a Peacock butterfly, and continuing a drawing of a Japanese Corkscrew Larch from my parents' garden. The larch drawing is part of an ongoing project of illustrating various cones and branches of evergreen trees.
There is never a shortage of inspiration for me, and I find both the practice of botanical drawing and painting, as well as belonging to organizations such as OBA and the opportunity to share my love of plants with others, a life-changing experience.
Dorota Haber-Lehigh holds a Diploma in Botanical Illustration from the Society of Botanical Artists in London. She also has degrees in Art and International Studies with a focus on indigenous cultures, and a master’s degree in teaching. She authored two ethnobotanical coloring books. You can view more art at www.dorotahaberlehigh.com
In the summer of 2022, Dorota was visiting and working on botanical art in her homeland of Poland, but she took a break for an interview with OBA.
OBA: As a child, you went mushroom hunting with your grandparents in Poland. And you have lovely mushroom drawings on your website. Do you also cook with mushrooms? Do you have a favorite mushroom recipe?
Dorota: Mushrooms are my favorite subject to draw and to cook with. Also, mushroom hunting is a great way to be outdoors and observe nature. In the Pacific Northwest, I see some of the similar species that grew in Poland such as King Boletes and other Boletes, Amanitas, Chanterelles, Oyster Mushrooms and Milk Caps. Other species only found here and not in Poland are Lobster Mushroom, Chicken of the Woods, Coral Mushrooms and Cauliflower mushroom to name a few. My favorite mushrooms to cook with are Chanterelles (which I don’t have luck finding, so I buy them at the farmers’ market), Oyster mushrooms, Cauliflower mushrooms, and Bolete mushrooms, which I have luck finding on the coast. My favorite way to cook mushrooms is with butter, leeks, garlic, salt, and chopped parsley. You can make plain white mushrooms taste amazing with that combo as well.
OBA: You have illustrated many native plants of the Pacific Northwest, including a series for the Columbia Memorial Hospital in Seaside, Oregon. Have you illustrated native plants of Poland? If so, what were some of your favorites?
Dorota: I love illustrating plants from my parents’ garden when I visit Poland in the summer. Some of my favorite subjects are berries such as gooseberries, black and red currants and fruit such as peaches, pears, apples, etc. I have started several flower projects while being in Poland and finished painting them while back in Oregon. Some my favorite flowers from Poland are Lilac, Lilies, Daylillies and Poppies. Several years ago, while hiking in Tatra mountains, I discovered that there are over 40 varieties of native orchids growing in Poland, many of them endemic to the Tatra mountains. I did many sketches in my sketchbook that year, and one day my dream is to go back to Tatra mountains and spend more time creating more detailed illustrations of the native orchids. Poland is not very well known for its orchids, and I think that would be a great project for me and a way to showcase such unique plants from Poland. I also like portraying butterflies and moths, and my favorite butterfly from Poland that I love depicting is a Peacock butterfly.
OBA: In 2019, you completed the diploma for the Society of Botanical Artists in London, England. How was it taking a correspondence course as opposed to in-person learning? Do you have any tips for someone who wants to apply and take the UK diploma?
Dorota: Correspondence course was great for me. In Oregon, there are not a lot of in-person opportunities for this kind of learning or programs. You are definitely on your own and need tons of self-discipline as the course requires a huge time commitment. There aren’t any video tutorials associated with the course so a lot of learning happened by reading books, sketching, drawing, researching and hours of practice. You need a little bit of background in your media (colored pencils or watercolor) before you begin the course -- it’s definitely not for beginners. The course was challenging, and with its deadlines, a bit stressful. There was no time for personal projects, just barely enough time for the assignments. The varied scope of the assignments helps to stretch your skills and abilities, teaches you to work under pressure, forces you to tackle different plant subjects, provides an opportunity to learn basic botany, and a chance to build a comprehensive portfolio. It was totally worth the time commitment.
OBA: You have created beautiful botanical art in graphite, pen & ink, colored pencil, and watercolor. What is your favorite medium?
Dorota: I love all the media mentioned. I have completed my diploma in colored pencils. I also love watercolor and pen and ink. In my sketchbooks, I use predominantly pen and ink and add color with either colored pencils or watercolor. Drawing is more physical in a way, and I think my first love is drawing. Drawing is also more versatile on the go. When I have few minutes here and there (when traveling or on a break at work), it’s much easier to work in a sketchbook with a pen and colored pencils. Also when I have shorter amounts of time in my studio, colored pencils are my preferred media. There is no color mixing or waiting for washes to dry. The flow is very different while working in colored pencils or watercolor for me. I choose watercolors when I have bigger chunks of time available to paint.
OBA: How do you keep up your practice of daily sketching and botanical art during the fall and winter seasons when blossoms and pollinators are dormant?
Dorota: Actually, fall and winter are my favorite seasons as there is no shortage of fall leaves, mushrooms, seedpods, and cones. I never tire of these subjects, and since the weather keeps me indoors more, I tend to be more productive in the fall and winter. I work from seasonal subjects as much as possible, but fall and winter also offers time to finish some of the summer projects as well, and time to add pollinators to the drawings or paintings working from preserved specimens.
I also do more botanical teaching in the fall and winter. This coming fall I will be teaching an online, 8-week-long workshop through Oregon Society of Artists titled, "Fall Botanical Wonders," (Sept. 25- Nov.20). Also, I'm teaching an in-person, one-day workshop on September 11 at OSA.
Fall and winter are a great time to connect with other botanical artists. I draw or paint daily, and my preferred time to draw or paint is at night. Since daylight is not abundant at this time of the year, I am naturally drawn to my studio daily.
OBA: Do you have anything else you’d like to tell us about? What are you currently working on?
Dorota: I have several project started right now in the studio. I am painting Sweet Peas, finishing an heirloom tomato for OBA’s "Red-ibles" group project, starting a drawing of a Blanket Flower (Gaillardia) that will feature a Peacock butterfly, and continuing a drawing of a Japanese Corkscrew Larch from my parents' garden. The larch drawing is part of an ongoing project of illustrating various cones and branches of evergreen trees.
There is never a shortage of inspiration for me, and I find both the practice of botanical drawing and painting, as well as belonging to organizations such as OBA and the opportunity to share my love of plants with others, a life-changing experience.