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Back by popular demand!

Mark your calendar now for the expanded 2024 Spring Symposium March 20 - 23.

Modeled after the 2020 and 2021 online conferences, enjoy 3+ days of immersion in all things "botanical art" from the comfort of your own home. The event includes botanical art technique demonstrations by 18 world-class artists and instructors, presentations on botanical art by noted authorities, the ever-popular Beyond Accuracy, Creating Art program, and a virtual exhibition of attendees' artwork, all with no plane tickets, no hotel, no travel. Connect with botanical art enthusiasts from across the country (and around the world) during the Meet, Mix, and Mingle socials every evening.

Flexible registration options will be available. Attend it all or whatever your schedule and budget allow. (But we think you'll want to do it ALL!) All sessions will be open to an unlimited number of attendees. Recordings of each session will be available for viewing by session registrants for 2 weeks after the close of the symposium.

This is your opportunity to see your favorite artists/instructors demonstrate their unique approach to botanical art. Detailed schedule and prices will be published here on January 15. Registration opens February 1st.



 

Wednesday, March 20, 2024, 6 - 8 pm EDT

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Wednesday Evening - Opening Night
Wednesday Evening - Opening Night
Welcome and Symposium Opening Remarks - Dr. Shirley Sherwood, OBE


Online Exhibition Premiere


Keynote Speaker – Peter Trippi, editor-in-chief of Fine Art Connoisseur presenting Botanical Art and Contemporary Realism in the Marketplace Today


Thursday, March 21, 2024, 9:55am - 1 pm EDT
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Block "A" - Master Demos
Block "A" - Master Demos
Registration includes three one-hour Master Demos (below).

SESSION REGISTRATION REQUIRED: Yes
$75

Thursday, March 21, 2024, 10am - 1 1 am EDT
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A-1 Scott Rawlins- The Carbon Dust Mystique
A-1 Scott Rawlins- The Carbon Dust Mystique
The medium of carbon dust has been a mainstay for natural science illustrators for almost a century. Suitable for any one of a number of grounds, the technique associated with this medium combines carbon pencil lines and carbon dust “washes” that are applied with brushes, resulting in rich, tonal renderings that exhibit both a wide range of values and precise detail.  Over the course of this short symposium, participants will learn about the history of carbon dust, view numerous examples and be introduced to some of the ways this medium can be used today.  

DOWNLOADABLE SESSION OVERVIEW AND SUPPLY LIST

Thursday, March 21, 2024, 11am - 1 2pm EDT
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A-2 Helen Allen- Finishing & Finesse
A-2 Helen Allen- Finishing & Finesse
This is sometimes the most protracted, but also the most exciting of stages. It is often the tiniest of marks, or the palest wash that brings the painting to life. 


Join me as I add some finishing touches, the ‘jewels in the crown’ and the final finesse to one of my paintings. This is not about correcting errors per se but looking with a critical eye at the whole painting whilst working on strategies to ensure important details are not lost in translation.

Please bring a small piece of work at the almost finished stage + materials

DOWNLOADABLE SESSION OVERVIEW AND SUPPLY LIST

Thursday, March 21, 2024, 12pm - 1 pm EDT
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A-3 Fatima Zagonel- “A Commissioned Painting Journey”
A-3 Fatima Zagonel- “A Commissioned Painting Journey”
In this session, I will share my experience in creating a commissioned botanical painting inspired by the flora of Saudi Arabia. The presentation will explore the intersection of scientific expression, artistic inspiration, and the joy of botanical discovery. Attendees will learn about: 
- How this experience was distinct from my typical work.
- The resources at my disposal for the initial sketches and the evolution of the composition.
- My artistic process (video with the painting of a leaf and a flower with insights into techniques and color choices).
-Sharing of the final composition.

DOWNLOADABLE SESSION OVERVIEW AND SUPPLY LIST

Thursday, March 21, 2024, 1:55pm - 5pm EDT
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Block "B" - Master Demos
Block "B" - Master Demos
Registration includes three one-hour Master Demos (below).

SESSION REGISTRATION REQUIRED: Yes
$75

Thursday, March 21, 2024, 2pm - 3pm EDT
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B-1 Bobbi Angell- Copper Etchings - Demonstrations of Drawing Plants, Etching in Acid and Printing Limited Editions
B-1 Bobbi Angell- Copper Etchings - Demonstrations of Drawing Plants, Etching in Acid and Printing Limited Editions
Bobbi Angell will show techniques of her drawings of plants etched on to copper plates and printed on her press. She will demonstrate step by step via photographs of the processes, including carving designs onto a ground and submerging it in acid. Then her videos will show some of the steps including inking onto the copper plate and printing on the press. She will show some of the prints she has done in the past, along with several other ASBA members’ prints. As an illustrator, she enjoys working the details with the copper prints, with slow and detailed steps to create the prints.

Thursday, March 21, 2024, 3pm - 4pm EDT
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B-2 Kelly Radding- Subtle Silverpoint
B-2 Kelly Radding- Subtle Silverpoint
Drawing with silver, or other metals, using a stylus and metal nib, is collectively known as ‘metalpoint’. It is an ancient drawing medium that was used extensively during the Renaissance. Metalpoint drawing is prized for its precision and delicacy, though it has a limited value range. It requires a prepared abrasive surface or ‘ground’ for the metal to leave a mark. The most traditional ground is true gesso, but contemporary grounds include casein, gouache & acrylic gessos. Grounds can be applied to a number of surfaces and can be tinted. 
Join me in a journey through the subtly shimmering world of silverpoint.

DOWNLOADABLE SESSION OVERVIEW AND SUPPLY LIST


Thursday, March 21, 2024, 4pm - 5pm EDT
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B-3 John Pastoriza-Piñol - Daffodils: the ultimate challenge!
B-3 John Pastoriza-Piñol - Daffodils: the ultimate challenge!
This class will be a 1-hour online tutorial focused on enhancing your artistic skills and techniques. Throughout the course, we will have the opportunity to work with a variety of daffodils and explore different methods of accurately drawing them without relying solely on photographs. Additionally, we will expand our knowledge on applying paint, ranging from wet-on-wet to dry brush techniques. 

DOWNLOADABLE SESSION OVERVIEW AND SUPPLY LIST

Thursday, March 21, 2024, 6pm - 8pm EDT
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Thursday Evening - The State of the Art, Contemporary Botanical Art Around the World
Thursday Evening - The State of the Art, Contemporary Botanical Art Around the World
Four leaders from around the world present the state of botanical art in their countries. See art from recent exhibitions and find out about botanical art instruction, florilegia projects, work with botanists, botanical art societies and more.

South Africa - Vicki Thomas
Australia - Thea Clark
Japan - Mieko Ishikawa & Akiko Enokido
Philippines - Larie Dianco

SESSION REGISTRATION REQUIRED: Yes
$10

Thursday, March 21, 2024, 8pm - 10pm EDT
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Meet, Mix and Mingle Virtual Social
Meet, Mix and Mingle Virtual Social
See old friends and meet new ones at this member-only virtual social. We'll mix it up - so you get a chance to mingle with lots of different ASBA member attendees.

SESSION REGISTRATION REQUIRED: No


Friday, March 22, 2024, 9:55am - 1 pm EDT
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Block "C" - Master Demos
Block "C" - Master Demos
Registration includes three one-hour Master Demos (below).

SESSION REGISTRATION REQUIRED: Yes
$75

Friday, March 22, 2024, 10am - 11am EDT
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C1 - Lucy Smith - Drawing trees throughout the seasons
C1 - Lucy Smith - Drawing trees throughout the seasons
No matter the season, trees always provide the botanical artist with something to draw and paint. Whether you are planning a finished piece of artwork with trees as the subject, or just wish to sketch them for enjoyment, it’s rewarding to capture their growth stages and details in your sketchbook starting at any time of the year. In this session Lucy will show you examples of her own tree studies in media including pencil, watercolor, pen and ink. Topics include: planning a study; evolving a composition on the page; drawing and making color studies from life; using photographic reference.

DOWNLOADABLE SESSION OVERVIEW AND SUPPLY LIST

Friday, March 22, 2024, 11am - 12pm EDT
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C2 - Sarah Morrish - Creating a 'Folding Naturescape'
C2 - Sarah Morrish - Creating a 'Folding Naturescape'

In today's world where the fragility of nature and climate is so much in our minds, I wanted to develop a creative concept that is accessible, and will in turn help to strengthen, share and communicate our connection to the natural world.

The Folding Naturescape has evolved and focuses on illustration of ecological and plant communities, as well as habitats and individual species.  Sarah will show you how to create your own Folding Naturescape and share examples of others where she has used different media.

DOWNLOADABLE SESSION OVERVIEW AND SUPPLY LIST

Friday, March 22, 2024, 12pm - 1pm EDT
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C3 -Rogerio Lupo - One Color, Multiple Hues – recognizing chromatic sections to enrich the resultant color
C3 -Rogerio Lupo - One Color, Multiple Hues – recognizing chromatic sections to enrich the resultant color

In the process of seeing, our mind tends to filter the diversity of an object to summarize it all into one single color, which is usually similar to its "native" hue, that is, the one we see when the object is evenly illuminated. However, capturing the color precisely and honoring its rich variation is a process that demands a meticulous approach. There is not something like "the" color of an object, rather it's always a multitude of subtly different hues whose association generates the chromatic resultant we sense with our eyes. In this regard, we should not underrate the potential of any single hue that may be missing, and its power to enrich our rendition and help us produce the most faithful illustration. In this presentation, we'll explore all the sectional variations present in each color, how the hues subtly shift in each section, and how all of them influence and add up to each other to enhance the chromatic depth and perform what we interpret as the resultant color of an object. 

DOWNLOADABLE SESSION OVERVIEW AND SUPPLY LIST


Friday, March 22, 2024, 2pm - 5pm EDT
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Block "D" - Master Demos
Block "D" - Master Demos
Registration includes three one-hour Master Demos (below).

SESSION REGISTRATION REQUIRED: Yes
$75

Friday, March 22, 2024, 2pm - 3pm EDT
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D1 - Wendy Hollender - Plant Families Project
D1 - Wendy Hollender - Plant Families Project

Three years ago, Wendy started creating Botanical Paintings that focused on plants in a particular plant family, showcasing their similarities and differences. 

She has now completed 13 paintings, each measuring 22 inches by 30 inches. Her goal is to complete 16 to 24 of these paintings, exhibit and publish a large format book to go along with the paintings. Wendy will describe her process, creating intricate compositions and how she chooses the families and plants to include. She will also discuss the journey to find a publisher and appropriate exhibition venues for this project when she hopes to complete it in 2026.

DOWNLOADABLE SESSION OVERVIEW AND SUPPLY LIST

Friday, March 22, 2024, 3pm - 4pm EDT
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D2 - Susan Tomlinson - Things I Wished I’d Known: Juggling the parts of a large botanical art project.
D2 - Susan Tomlinson - Things I Wished I’d Known: Juggling the parts of a large botanical art project.

A large-scale botanical art project can seem daunting and complex, especially if it includes multiple subjects and take many months or years to complete. I took on such a project, and looking back on it now, the first couple of years might have gone a lot easier had I known a thing or two ahead of time. This ASBA symposium session will cover what I learned while creating paintings of cotton plants for a book project. I will address planning the scope of the project, mapping out the schedule, growing your own subjects, the complexities of recording multiple subjects at once and at different stages of maturation, and creating accurate, detailed field studies that can be used for reference when the live subject is no longer available. In short, this session will cover what I wish I had known ahead of time.



Friday, March 22, 2024, 4pm - 5pm EDT
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D3 - Asuka Hishiki - How to negotiate with a big and bold subject! Corpse Flower
D3 - Asuka Hishiki - How to negotiate with a big and bold subject! Corpse Flower
What if your subject is much, much bigger than usual. What if you have to capture it in a short period! I share my journey portraying a corpse flower, a huge, smelly queen of the forest ground which started fading from the moment detached from its root. The solution was color pencil and watercolor mix technique, and also several tips! It helped me to work faster and effectively. The process is fun and enjoyable. 

DOWNLOADABLE SESSION OVERVIEW AND SUPPLY LIST

Friday, March 22, 2024, 6pm - 8pm EDT
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Friday Evening - The State of the Art, Contemporary Botanical Art Around the World
Friday Evening - The State of the Art, Contemporary Botanical Art Around the World
Four leaders from around the world present the state of botanical art in their countries. See art from recent exhibitions and find out about botanical art instruction, florilegia projects, work with botanists, botanical art societies and more.

Austria - Margareta Pertl
Republic of Korea - Jee-Yeon Koo
Singapore - Carrie Lee
Indonesia - Eunike Nugroho

SESSION REGISTRATION REQUIRED: Yes
$10

Friday, March 22, 2024, 8pm - 10pm EDT
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Meet, Mix and Mingle Virtual Social
Meet, Mix and Mingle Virtual Social
See old friends and meet new ones at this member-only virtual social. We'll mix it up - so you get a chance to mingle with lots of different ASBA member attendees.

SESSION REGISTRATION REQUIRED: No

Saturday, March 23, 2024, 9:55am - 1pm EDT
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Block "E" - Master Demos
Block "E" - Master Demos
Registration includes three one-hour Master Demos (below).

SESSION REGISTRATION REQUIRED: Yes
$75

Saturday, March 23, 2024, 10am - 11am EDT
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E1 - Elaine Searle- Hidden color! Control light to reveal more colors in your darks.
E1 - Elaine Searle- Hidden color! Control light to reveal more colors in your darks.
Do you suffer with dull darks in watercolor? Not sure how to light a dark color specimen for maximum color reveal? First I will demonstrate ways to control light to reveal more colors in your darks. Then I will guide you through a step-by-step approach to 'hiding' bright colors in first wash layers, building form on top with transparent washes and then dry-brushing to both add detail and further enhance the hidden color. Skill level: advanced beginner and beyond.

DOWNLOADABLE SESSION OVERVIEW AND SUPPLY LIST

Saturday, March 23, 2024, 11am - 12pm EDT
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E2 - Gillian Condy- Fascinating spiny fruits in watercolor
E2 - Gillian Condy- Fascinating spiny fruits in watercolor
Southern Africa has many fascinating plants that have adapted themselves to survive in the harsh environment they live in. Some by having underground storage tubers invariably covered in flaking bark, and those that arm themselves with sharp bracts or spines to discourage animals from grazing.

My presentation will feature two completely different forms. The first Harpagophytum procumbens or Devil’s thorn, furnished with vicious hooked tentacles and Cucumis africanus, a small spiny fruit with yellow-brown longitudinal stripes.

DOWNLOADABLE SESSION OVERVIEW AND SUPPLY LIST


Saturday, March 23, 2024, 12pm - 1pm EDT
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E3 - Carol Woodin - Grounded - Plants in Situ
E3 - Carol Woodin - Grounded - Plants in Situ
When adding habitat context to your botanical artwork, how do you keep the star of the show shining? Carol demonstrates how to create successful in situ paintings by organizing elements, painting around your main subject, and using contrast to create dimension throughout.

DOWNLOADABLE SESSION OVERVIEW AND SUPPLY LIST

Saturday, March 23, 2024, 2pm - 5pm EDT
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Block "F" - Master Demos
Block "F" - Master Demos
Registration includes three one-hour Master Demos (below).

SESSION REGISTRATION REQUIRED: Yes
$75

Saturday, March 23, 2024, 2pm - 3pm EDT
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F1 - Margaret Best - The Magic of Monochrome and Color
F1 - Margaret Best - The Magic of Monochrome and Color
Have you ever thought of integrating your plant studies in your favorite color medium with graphite content as well? Not just for the sake of doing it, but instead for matters of a carefully planned composition. Have you ever found both matters of composition and perspective challenging? Join Margaret Best who offers instruction in all three mediums of graphite, watercolor and colored pencil, to discover innovative ways to address some of these matters effectively. Seek inspiration in how respected artists of the past and contemporary artists of today have used monochrome and colour for magical results in their work. 

DOWNLOADABLE SESSION OVERVIEW AND SUPPLY LIST

Saturday, March 23, 2024, 3pm - 4pm EDT
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F2 - Catherine Watters- 'Mastering the Art of Fixing Mistakes'
F2 - Catherine Watters- 'Mastering the Art of Fixing Mistakes'
We all make mistakes but thankfully they can be fixed! This is a delicate procedure that takes time and patience. If done correctly you can eliminate all traces of paint splatters, misshapen leaves and petals, uneven edges, roughed up paper, etc. Knowing the tricks will dispel the myth that watercolor is an unforgiving medium!

DOWNLOADABLE SESSION OVERVIEW AND SUPPLY LIST

Saturday, March 23, 2024, 4pm - 5pm EDT
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F3 - Deb Shaw - Exercising your Color Consciousness Color Theory and Mixing (NOT your typical six-color exercises)
F3 - Deb Shaw - Exercising your Color Consciousness Color Theory and Mixing (NOT your typical six-color exercises)
There are so many color choices. The colors we use are affected by economics, politics, our eyes and brains, and sometimes even what we did at lunch.

This workshop explores different ways to think about color and methods for achieving specific color mixes. We won’t be creating traditional color charts, but will, hopefully, have plenty of “a-ha” moments for beginners through advanced artists. 

In addition to color theory, we’ll touch on fun facts, such as: how our aging eyes change the colors we see; how Van Gogh achieved those sad colors; and the history of some of our pigments. (Was the color ‘Mummy Bauxite’ really made from ground-up Egyptian mummies?)

These color theories work for colored pencils, watercolor, ink, pastels, oil, acrylics, and transparent papers too. 

DOWNLOADABLE SESSION OVERVIEW AND SUPPLY LIST


Saturday, March 23, 2024, 6pm - 8pm EDT
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Closing Night
Closing Night
Virtual Exhibition People's Choice Award Announcement

Beyond Accuracy, Creating Art: A perennial favorite, a panel of botanical art aficionados (Francesca Anderson (US), Beverly Allen (Australia), and Michele Rodda (Singapore)) curate a feast for the eyes sharing botanical masterpieces from the past and present not often seen. Captivating, inspiring and just plain beautiful! 

Keynote Presentation: Conservation in the Cape Floristic Region: the story of Grootbos and its fynbos florilegium 
- Chris Lochner, Resident Artist, Grootbos Private Nature Reserve and Sean Privett, Grootbos Foundation Conservation Director

SESSION REGISTRATION REQUIRED: Yes
$10


Saturday, March 23, 2024, 8pm - 10pm EDT
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Meet, Mix and Mingle Virtual Social
Meet, Mix and Mingle Virtual Social
See old friends and meet new ones at this member-only virtual social. We'll mix it up - so you get a chance to mingle with lots of different ASBA member attendees.

SESSION REGISTRATION REQUIRED: No






Helen Allen BA,(Hons)PGCert Ed, Dip EGS, FLS 


A botanical artist and teacher for over twenty-five years - I have been so fortunate to study, develop and share my childhood ‘loves’. 
My pencils, paper and paints, threads and fabrics, lead me towards textile design and repeat patterns.  Combining them has been an incredible journey.






BOBBI ANGELL

Bobbi Angell, internationally renowned scientific illustrator, draws plants for botanists, including many new species. Sketching during field work in temperate and tropical regions, and drawing native plants in Vermont, contribute to her diverse interest of plants. She is also a printmaker and gardener, and other artwork has been included the NY Times garden column, seed catalogs, and several memoirs. Bobbi is co-author of A Botanist’s Vocabulary and Darwin and the Art of Botany. 


MARGARET BEST

For 18 years, Margaret Best has offered instruction in watercolor, colored pencil and graphite to artists around the globe, both in-person and online. She has exhibited her own work in all three mediums in international juried exhibitions. Margaret has authored 23 instructional e-booklets, including mixed media, available on her dedicated botanical art education website. 


GILLIAN CONDY

Gillian participated in UK, Australian and SA Florilegia. For 35 years was botanical artist at the South African National Herbarium. Now retired, keeps busy illustrating for Flowering Plants of Africa; Artist in Residence at Tswalu Kalahari Reserve; 60 plate monograph on Barleria; preparing for RHS. Teachers at Cavern Berg, Drakensburg.


ASUKA HISHIKI

Having grown up with nature books and frequent visits to gardens in Kyoto, her curiosity towards to nature grew tremendously. Naturally, she was drawn to portrait them. After completing her degree, she spent ten years in NYC delving more into her works. Her work has been shown in numerous exhibitions around the world. Now, she lives and works in Hyogo, Japan. 


WENDY HOLLENDER

Wendy Hollender has been a botanical artist, author, and instructor for 25 years. In addition to 4 published books on Botanical Drawing Techniques and an online teaching program, she has done extensive illustrations and commissions used for various purposes from fine art to commercial publications.



Chris Lochner


Chris Lochner grew up near Cape Town, immersed in the beauty of the Cape Floristic Region. Early exposure to the diverse local plant life kindled a passion for the natural sciences. After completing a BSc in Human Life Sciences at Stellenbosch University, Chris became interested in scientific illustration as a career that could bridge the fields of art and science. He found the custodians of these illustration techniques in the botanical art community and started to attend work-shops and classes available in the field. He was hooked instantly and soon began to take part in exhibitions. In 2018 he was invited to take part in the Grootbos Florilegium and the following year he was employed by Grootbos as resident artist and tasked with supporting the Florilegium project. With the opening of the newly built Hannarie Wenhold Botanical Art Gallery and the publication of the florilegium he became the curator of the gallery and the coordinator of the new phase of the Grootbos Florilegium project.



ROGÉRIO LUPO

Rogério Lupo is a biologist illustrator born in Brazil. Inspired by the traditional techniques of scientific illustration found in ancient and contemporary books, he sought to learn and research how to deploy several media like graphite, colored pencils, pen nib and ink, watercolors and acrylics and developed a unique way to teach these techniques.


SARAH MORRISH

As a naturalist and artist Sarah is fascinated by the intricacies of botanical subjects and hopes her work in a variety of media, will inspire and encourage others to be more aware of the diverse and fascinating kingdom of plants, “doing my little bit to help reduce plant blindness.”
She is a passionate educator and teaches for botanical art and natural science organizations, as well as her own popular courses and workshops across the UK, overseas and online.  




JOHN PASTORIZA-PIÑOL

I am a contemporary visual artist specializing in botanical art. While my work is rooted in this genre, I strive to challenge and break away from its traditional representations and tropes. Over the past 22 years, I have shown my art both nationally and internationally, through solo and group exhibitions held in various private and public galleries. Painting has become a fundamental part of my artistic practice, serving as both a method and a means for deeper exploration and analysis. My work is characterized by the use of vibrant and luminous colors, giving life to exotic 
and rare botanical specimens. However, my paintings go beyond mere representations of flowers. Upon closer examination, they reveal a certain ambiguity of form and intention, conveying a complex and dark narrative that is influenced by the intricate connection between sight, touch, and thought.

I have received several prestigious awards and recognition throughout my career, including the American Society of Botanic Artists (ASBA) Dianne Bouchier Award for Excellence in Botanical Art in 2013. My artwork is included in numerous public and private collections around the world, including the National Gallery of Victoria, Art Gallery of Ballarat, Hunt Institute in the USA, Royal Botanic Gardens in Kew (UK), Royal Botanic Gardens in Melbourne, RMIT University, and the Collection of Alisa and Isaac M. Sutton. I am proud to have contributed to both the ‘Highgrove Florilegium’ and ‘Transylvania Florilegium’ under the auspices of the H.R.H Prince of Wales’ 
Charitable Foundation.

Currently, I am being represented by Scott Livesey Galleries in Australia. Additionally, I to teach intermediate and advanced classes through: the Geelong School of Botanic Art, (Geelong Gardens) and Royal Botanic Gardens Melbourne. I have expanded my teaching circuit to include interstate and international masterclasses too.


Sean Privett


GROOTBOS FOUNDATION CONSERVATION DIRECTOR
Sean has a master's degree in Botany from the University of Cape Town and an enormous passion for the conservation of the Cape's unique flora and upliftment of its people. Sean has been involved at Grootbos since 1997 and was instrumental, together with Grootbos owner Michael Lutzeyer, in initiating and developing the non-profit Grootbos Foundation since 2003. Sean assisted in establishing the South African flora display at the Eden Project in Cornwall, U.K., played a pivotal role in establishing the Walker Bay Fynbos Conservancy and designed the fynbos sustainable harvesting program of the Flower Valley Conservation Trust. Sean serves on the Board of Trustees of the Overberg Lowlands Conservation Trust, and his involvement with the Grootbos Foundation is currently focused on developing a Green Corridor project as well as mentorship of young conservationists. Sean has also been instrumental in guiding the Grootbos Florilegium project and writing the copy for the Grootbos Florilegium book.



Kelly Radding


Kelly has a keen interest in classical mediums and techniques. Her work in silverpoint began after visiting an exhibit of Leonardo Da Vinci’s drawings at the MFA in Boston. She has been experimenting ever since with metal mark-making, different grounds and substrates and exploring how to add hints of subtle color. 



Scott Rawlins


Trained as both a field biologist and medical illustrator, Scott is a Professor Emeritus at Arcadia University.  He currently teaches classes for the New York Botanical Garden.  He has served on the boards of the ASBA and the GNSI.  Scott’s illustrations have appeared in numerous books and scientific journals.



Elaine Searle


A very experienced botanical artist and tutor - I am noted for my darkly dramatic watercolors with wall impact. Understanding and controlling light plays a leading role. Working with a very limited palette of transparent or semi-transparent pigments, I employ techniques from 'dropping in' on damp paper, through 'build-up' washes to 'dry-brush' finishing.



Deborah b Shaw


Deborah Shaw has a degree in fine art from Pomona College, The Claremont Colleges, and while there had the good fortune to study botany and native California flora.

Her work has been displayed internationally; is in the permanent collection at the Hunt; is part of the Botanical Collections at The Huntington Library, Art Museum, and Botanical Gardens; and is in private collections. She has taught botanical art at US and international venues and taught design, illustration, and data visualization at UC, Irvine, Extension where she was recipient of the “Distinguished Instructor” award.

She is the recipient of the 2020 ASBA James White Service Award and is a contributor to the ASBA publication, "Botanical Art Techniques,” by ASBA, Carol Woodin, and Robin Jess.



Lucy T. Smith


Lucy T. Smith (BVA, MCA, FLS) is an international award-winning botanical artist and illustrator. A freelance botanical artist for Kew Gardens for the past 24 years, hundreds of her illustrations in watercolor and pen and ink have been published in scientific journals and books. Her book “Botanical Sketchbooks: An Artist’s Guide to Plant Studies” is due early 2024. In 2021 she received the ASBA Award for Excellent in Scientific Botanical Art.




Susan Tomlinson


Susan Tomlinson is an Associate Professor in the Honors College at Texas Tech University, where she teaches seminars in botanical art and scientific illustration. She is currently working on a book under contract, featuring botanical paintings of the many different species and cultivars of cotton. 


Peter Trippi


Peter Trippi is editor-in-chief of Fine Art Connoisseur, the national magazine that serves collectors of contemporary and historical realist art, and president of Projects in 19th-Century Art, a firm he established to pursue research, writing, and curating opportunities. Based in New York City, Peter recently completed a six-year term as president of the Foundation for Advancement in Conservation, which supports and raises awareness of the country's leading society of conservation and preservation professionals. Peter previously directed the Dahesh Museum of Art (New York City), headed development teams at the Brooklyn Museum and Baltimore Museum of Art, and created international touring exhibitions devoted to the 19th-century painters J.W. Waterhouse and Lawrence Alma-Tadema. His curatorial project, the exhibition Pre-Raphaelites: A Modern Renaissance, is on view in Forlí (near Bologna, Italy) this season.




Catherine Watters


Catherine has been teaching for 25 years in the U.S. and France. She co-developed the Filoli Botanical Art Certificate Program.


Her teaching style is best summarized in this testimonial:
"I enjoyed your gentle enthusiasm & kind attention, giving me such inspiration & courage to pursue this precise art form".


Catherine’s paintings are held in notable florilegia and books including ASBA’s ‘Botanical Art Techniques’.



Carol Woodin


Carol Woodin enjoys spending time out in the gardens, fields and forests looking at and making studies of plants for future paintings. Her paintings in watercolor on vellum have been collected and exhibited around the world. She has taught botanical watercolor for over 25 years, and is co-editor of the ‘new standard’ botanical art instruction book Botanical Art Techniques, A Comprehensive Guide, published by ASBA and Timber Press. She received a Gold Medal from the Royal Horticultural Society in 1995, the 1998 ASBA Diane Bouchier Artist Award, the 2016 Orchid Digest Medal of Honor.



Fatima Zagonel


Brazil – 1954
Graphic designer for 20 years before becoming a botanical illustrator.
Margaret Mee Foundation Fellowship – RBG Kew – 1999
Founder member of the Center of Botanical Illustration of Paraná – 2000
Collections: RBG – Kew; Shirley Sherwood; Hunt Institute for Botanical Documentation; Focus on Nature – NY State Museum; Oak Spring Garden Foundation;




registration now closed

Symposium Registration Open to Current (2024) ASBA Members Only

Not a member? Join now! Then return here to register for the Symposium.

 

Registration Opens: noon (EDT) on February 1, 2024

Registration Closes: 11pm (EDT) on March 14, 2024

Base Registration Fee (non-refundable): $25

  • Includes Meet, Mix & Mingle (Wed, Th, Fr, Sa) virtual socials
  • Includes eligibility to enter artwork in the non-juried virtual exhibition (entry fee $10)


    Added Programming Fees:

    Flexible programming options allow members to attend every program or whatever your schedule and budget allow. No limits on class sizes, no concurrent sessions. Now is your chance to see those sought-after instructors whose sessions fill so quickly at our in-person conferences!

    Program Plans:

    All-Inclusive Plan: $325

    The EASY choice! Your BEST DEAL! Includes EVERY program. Covers all botanical art instruction (6 three-hour “blocks”) and all evening programs (4 two-hour programs). That’s 22 hours of programming! You save $165 over à la carte prices below!


     -All Evening Program Plan: $25

    Evening programs include Opening Night, two evenings of State-of-the-Art presentations and the Closing Night program. That's 8 hours of presentations, lectures, and more. You save $15 over à la carte prices below. Members can add individual 3-hour blocks of botanical art instruction to this plan at à la carte prices below.
         

    Flex Plan: select the individual programs you choose at the à la carte prices below.

    À la carte prices

     

  • “Blocks” (A, B, C, D, E, or F) of Botanical Art Instruction: $75 each
  • Evening Programs: $10 each

 

REGISTER HERE

 

You will receive a confirmation/receipt by email with a link to the event. SAVE THIS EMAIL! It will be the easiest way to access the event. Click on the “Access Virtual Event” Button in the email. Also, write down your Access Code given just below the button. It will be needed to access the symposium if you misplace your confirmation email. If you misplace your email, you can access the event by going to the event site HERE and click on “Already Registered?” and follow the directions.

We also recommend setting up an account on the registration system. It will allow you to make changes to your registration up until the close of registration. It will also allow you to gain access to the event in case you lose your email registration receipt.

To set up an account, click on the "Set up account now" button on your email confirmation. Click "Claim your Account", Check your email and click on the link to "Reset your Password", Enter a Password, Confirm your password, and click "Create". To view or change your registration, click on "Registrations", Click on "View Details". Click on "Edit" to modify your registration. You may add or delete program options. Your Base Registration Fee is non-refundable. No refunds of program fees after 11pm (EDT) March 14, 2024. You may then access your account at any time at https://ASBA.account.webconnex.com

Don't see a "Set up account now" button on your email confirmation? If you participated in a virtual conference in a prior year, you may already have an account. Go to https://ASBA.account.webconnex.com to access your account by logging in under "View and Manage Your Information".

If you have questions or need assistance with your registration, contact conf.registration@asba-art.org.

 

REGISTRATION Policies

When you register, you will be asked to acknowledge and agree to the following policies:

Registration Policy

I understand that each person who accesses and/or views any programming associated with the 2024 Spring Symposium (this online event) must be individually registered. Registration is valid for the named registrant only. I will receive a unique access code to the event which is valid only for me.  I understand that any other individual that will view any or all of the symposium programming will be required to register individually. Registration is non-transferable.

Change/Cancellation Policy

I understand that I may change or cancel my registration until 11pm (EDT) on March 14, 2024 and that the Base Registration Fee is non-refundable. Program Fees are refundable if changes or cancellation are completed online prior to 11pm (EDT) on March 14, 2024. ASBA reserves the right to alter the programming, substitute instructors or change sessions if needed.

Intellectual Property Acknowledgement

I understand that the instruction, demonstrations, and presentations provided during the symposium are the intellectual property of the instructors and presenters, that material presented during symposium programming is the intellectual property of the presenters and that all artwork displayed during the event is covered by copyright. I agree not to record (include taking "screen shots"), retain, or redistribute (including posting on social media) any portion of the programming presented as part of this event.

Technology/Online Access

To participate in this virtual symposium, I understand that I will need to have access to the Zoom online conferencing platform (either through my web browser or via the Zoom application installed on my personal computer, tablet or mobile device). It is my responsibility to ensure I am able to access and use Zoom and that ASBA is not responsible and will not be able to provide refunds if I experience technical difficulties, whether due to the internet, my internet service provider, my web browser, my personal computer, tablet or mobile device settings, Zoom or otherwise during the event.

Browser Access:

I understand that the Zoom web client has limited features and functions best on Google Chrome, Mozilla, Firefox and Chromium Edge. I understand that if I will be accessing through my web browser, that it is my responsibility to ensure that my web browser is up-to-date and compatible. 

Zoom Application Access:

I understand that if I am accessing using the Zoom software application, that it is my responsibility to download and install the application (available free from zoom.com) and ensure that my Zoom installation is up-to-date and that I am running the most current version of the software.

Privacy on Zoom

I understand that I will need to agree to Zoom's terms of service and privacy policy  (which can be found at www.zoom.com).  I understand that anything I type into the Zoom chat or ask in the Q & A sessions may be visible to hosts, presenters, and other participants. If I choose to participate in the Meet, Mix & Mingle virtual socials or the Juror Training session I hereby consent to displaying my name and live video stream from my computer webcam or other electronic device, through the Zoom platform.

ASBA Privacy Policy

American Society of Botanical Artists, Inc. is committed to protecting your privacy. This Statement of Privacy applies to the ASBA website and governs data collection and usage at all ASBA sites and services; it does not apply to other online or offline sites, products or services. Please read the ASBA Statement of Privacy. ASBA is a general audience website, intended for users of all ages. Personal information of all users is collected, used and disclosed as described in this Statement of Privacy.


Your Personal Information

Collection of your personal information

As an E-commerce website, ASBA collects personal information, such as your e-mail address, name, home or work address or telephone number. Information collected by ASBA is used solely for the purpose of fulfilling your membership benefits such as mailing your journal and emailing the monthly E-Highlights, billing and shipping your online purchases. ASBA does not collect any information about your computer hardware and software.

 

ASBA encourages you to review the privacy statements of websites you choose to link to from ASBA so that you can understand how those websites collect, use and share your information. We are not responsible for the privacy statements or other content on websites outside of the ASBA website.

 

Use of your Personal Information

 

ASBA and its operational service partners collect and use your personal information to process your membership payments, donations, product orders and deliver the products requested. It is possible that ASBA may also use personal information to inform you of other products or services available from ASBA and its affiliates. ASBA may also contact you via surveys to conduct research about your opinion of current services or of potential new services that may be offered.

 

ASBA does not sell, rent or lease its customer lists to third parties. ASBA may, from time to time, contact you on behalf of external business partners about a particular offering that may be of interest to you.  In those cases, your personal information (e-mail, name, address, telephone number) is not transferred to the third party.

 

We occasionally hire other companies to provide limited services on our behalf, such as handling the processing and delivery of mailings, providing customer support, processing transactions, or performing statistical analysis of our services. We will only provide those companies the personal information they need to deliver the service. They are required to maintain the confidentiality of your information and are prohibited from using that information for any other purpose.

 

ASBA does not use or disclose sensitive personal information, such as race, religion, or political affiliations, without your explicit consent.

 

ASBA may access and/or disclose your personal information if required to do so by law or in the good faith belief that such action is necessary to: (a) conform to the edicts of the law or comply with legal process served on ASBA or the site; (b) protect and defend the rights or property of ASBA, including its website; or (c) act under exigent circumstances to protect the personal safety of users of ASBA or the public.

 

Personal information collected on this site may be stored and processed in the United States or any other country in which ASBA or its affiliates, subsidiaries or agents maintain facilities, and by using this site, you consent to any such transfer of information outside of your country. ASBA abides by the safe harbor framework as set forth by the U.S. Department of Commerce regarding the collection, use, and retention of data from the European Union.

 

Control your Personal Information

 

ASBA offers its customers choices for the collection, use and sharing of personal information. You may notify us of your preferences by emailing memberservices@asba-art.org. Please be sure to provide complete account information so we can identify you in our records.

 

You may also stop the delivery of future promotional e-mail from ASBA by responding directly to any email you receive with a request to remove you from the mailing list.

 

Security of your Personal Information

 

ASBA is committed to protecting the security of your personal information. We use a variety of security technologies and procedures to help protect your personal information from unauthorized access, use, or disclosure. For example, we store the personal information you provide on computer systems with limited access that are located in controlled facilities. When we transmit highly confidential information (such as a credit card number) over the Internet, we use a secure payment gateway so your information is protected.

 

Changes to this Statement

 

ASBA will occasionally update this Statement of Privacy to reflect company and customer feedback. If there are material changes to this Statement or in how ASBA will use your personal information, ASBA will prominently post such changes prior to implementing the change. ASBA encourages you to periodically review this Statement to be informed of how ASBA is protecting your information.

2024 Spring Symposium virtual Exhibition

This non-juried virtual exhibition is open to all registered attendees of the 2024 Spring Symposium. Each attendee may submit one original botanical artwork. The exhibition will be shown opening night of the Spring Symposium. 


With no size restriction and no need to ship artwork, this is a perfect opportunity for artists to share their work. Whether it's a new piece that has just been finished or an older piece from the archives, this is a chance for artists to display their best work.


Call for Entries: 2024 Spring Symposium Virtual Exhibition
2024 ASBA - All rights reserved

All artwork copyrighted by the artist. Copying, saving, reposting, or republishing of artwork prohibited without express permission of the artist.

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