Guild of Natural Science Illustrators, Inc.
2008 Conference and Annual Meeting: Workshop Schedule
Ithaca College, Ithaca, NY: July 20-26, 2008
Hosted by the GNSI Finger Lakes Chapter | Printer Friendly Version

Note: Full-day workshops will run from approx. 9 am–5 pm with a break for lunch. Also note that enrollment is limited in all workshops. Supplies needed for each workshop are either indicated within the descriptions below, provided by instructors (some with an additional fee), or provided as a separate PDF document that opens in a new tab or window (available from the main workshops page).

The Great Escape: Absorption in a Technique of Dramatic Lighting/Texture on Dark Paper
Rhonda Nass
Thursday & Friday, July 24-25, 9 am–5 pm
Have you wanted to create dramatic, stroke-free, accurately-colored, detailed artwork? Then this technique workshop is for you. We’ll efficiently move from viewing inspiring contemporary colored pencil artworks, to a hands-on stroke application exercise, leading to mastering reverse grisaille, a white foundational layering application which defies traditional colored pencil. Each student will develop a personally meaningful and well-composed artwork to be completed afterwards. By using dark Mi-Tientes paper, we'll showcase dramatic lighting and texture. A precision pencil sharpener is required, along with your subject matter (photos with VERY CLOSE perspective, or a subject that will not grow or move for the duration of a time-consuming technique). Prismacolor or Faber-Castell colored pencils preferred. Supplies (pencils, paper, erasers, etc.) avail. for in-class purchase for ~$18. Motivated beginners thru advanced; basic drawing skills. Two-Day: Sign up for 1 or 2 days.

Making Giclée Prints
Stan Bowman
Thursday & Friday, July 24-25, 10 am–5 pm
The first day is an introduction to Giclée printing with background on newer printing technologies, color management, and setting up a controlled workflow. Max: 10. Day two of this workshop is for continuing towards actually making 16x20 prints on one of my large format printers. It will include a brief introduction to Photoshop and issues of how one preps for printing including proofs, evaluating and correcting proofs, and making final prints. Friday’s session max.: 7; only those from first day. All in second day session to bring a digital image to print. A $30 materials fee will be charged each participant for the second day for making a 16x20 print. Location: Stan's studio; transportation will be arranged.

Cabinets of Curiosity
Carol Schwartzott
Thursday, July 24, 9 am–5 pm
Cabinets of curiosity were highly prized and valued objects in the age of exploration. Wealthy patrons and private museums collected curious and delightful objects, which were held within the hidden drawers or behind glass. Explore this concept as we create a lidded box with dividers or shelves to house your collection of memorable objects. Bring found objects, writings, illustrations, copies, anything to complete and fit within your container. Constructed of heavy boxboard, covered or fauxed, a small miniature book, or even a larger pamphlet may be produced within this workshop for inclusion.

Painting Natural Science Subjects with Acrylic & Color Pencil
Dolores R. Santoliquido
Thursday, July 24, 9 am–5 pm
We'll focus on rendering natural science subjects using acrylic paint and color pencil, stressing drawing skills, accuracy and specific techniques for producing permanent transparent results with the combined media. The use of acrylic paints and color pencils result in illustrations that have great reproductive quality and luminosity. This combination of media allows the artist to render minute detail, maintain extreme control over how the subject matter is depicted and provide an expansive palette choice for mixing exact color matches. Instruction will include hands-on demonstrations of the entire process and emphasize specific techniques for producing realistic paintings. Participants provide own subject matter; a limited amount of natural science subjects will be available for use; see supplies needed for a complete list of materials..

Introduction to Adobe Illustrator
Larry Lavendel
Thursday, July 24, 9 am–5 pm
We will explore the basic tools and techniques for producing illustrations and information graphics with Adobe Illustrator. Concepts covered include: setting-up, saving and delivering Illustrator documents; using the pen tool to draw; coloring, and stroking shapes; selecting, organizing, transforming, aligning and modifying shapes; using imported graphics and type. If time permits we’ll cover: gradient meshes, the pathfinder tools; envelope distortion and creating custom patterns.

Ink and Graphite Pencil on Scratchboard
Trudy Nicholson
Thursday, July 24, 9 am–5 pm
Participants will discover the potentials and excitement of scratchboard, where contrasts of textures and values produce dramatic, luminous effects. We will review tools and materials and how to use them to create a vast range of textures that will portray subjects with detail and accuracy. We will use the pen and x-acto blade to juxtapose and overlap black and white lines and dots, as well as making corrections. Participants will choose several subjects from nature, create a well-balanced dark and light composition that they will sketch, transfer and render in ink or pencil on white scratchboard, conveying form, shading, textures, and spatial placement of each element of their composition. Each participant will work toward completing one ink and/or graphite pencil illustration.

Scientific Reconstruction: Interpreting Fossils through a Methodology of Drawing, Sculpting, and Painting
Mark Klingler
Thursday, July 24, 9 am–5 pm
When scientists wish to share new fossils with the public, they may work with an artist to reconstruct the fossil evidence in an artistic, more visually accessible format. This workshop introduces students to a combined methodology of interpreting fossil casts & photos through various stages including: bone diagram from fossil photo, diagramming a layered skeleton drawing, basic musculature, and addition of skin, and fur. Students then render a final sketch of the mammal from the work-ups. Workshop concludes with discussion of building a clay model for perspective and lighting, as well as scanning and digitally editing the final image so that students may explore these elements at home. Level: intermediate; prerequisite: pencil drawing, some sculpting in clay, paint technique of choice. Materials needed: Paints, sketchbook or other desired paper/board, pencils, tracing paper. Materials provided include fossil casts & photos, Sculpey polymer clay, wireframe elements, modern & paleo mammal reference books, Bristol board.

Advanced Photoshop Rendering
Frank Ippolito
Thursday, July 24, 9 am–5 pm
In this full-day workshop, we will take a look at features in Photoshop CS3 Extended that allow the artist to take their renderings to the next level. We will go deep on the newest brush engine, exploring ways to work with both tablet and mouse to achieve the greatest range of expression. We will work with smart objects, custom brushes, new layer techniques, as well as Adobe's exciting new 3D workspace. Participants will work with scanned art and Wacom pen & tablet to establish a working sketch and proceed to paint and manipulate to a final rendering.

Silverpoint for Scientific Illustration
Jerry Hodge and Melinda Hodge
Thursday, July 24, 9 am–Noon
Silverpoint is a drawing technique utilizing sterling silver wire that creates a high-key drawing that develops a lovely, slightly brown patina over time. "Tone" is created from finely layered networks of line, creating the illusion of tone. In addition, silverpoint lends itself to extremely fine detail not possible with traditional pencil techniques. Silverpoint can be used in combination with gouache to add color, and carbon dust to expand the tonal range. Workshop participants will complete a small drawing on coated paper. Supplies will be provided.

Using Dried Plant Specimens in Creating Botanical Art
Robert Dirig
Thursday, July 24, 1–5 pm
Herbaria (pressed plant collections) are wonderful resources for botanical illustrators. We tour the Bailey Hortorium Herbarium at Cornell University, a huge worldwide collection of wild and cultivated plant specimens. Following a demonstration on "The Art of Botanical Specimen Preparation," we will briefly sketch fresh wild plants (provided), then use dried Herbarium specimens to augment detail, and finally press the fresh material for later reference. We’ll see the Herbarium’s botanical art, including work by Lilian Snelling, Marion Ruff Sheehan, Elfriede Abbe, Mitsu Nakayama, Bente King, and beautiful ink sketches by illustrators of L. H. Bailey's books on vegetables and garden flowers. Bring a large sketch pad and favorite drawing pencils. Prerequisite: some experience drawing or sketching plants. Location: Cornell University, Bailey Hortorium.

Using Luxology’s MODO
Chuck Carter
Thursday, July 24, 1–5 pm
Modo 3D is a revolutionary 3D product that works equally as well on both a Mac and a PC. Like zBrush it can be used for 3D sculpting and painting, with its high-quality rendering package, lighting features and texturing editors that allow you to create anything in the program (including animation) that is virtually photo-real. We will cover the basics from building a simple block diagram to a more complex terrain and/or series of organic objects with textures, all set up to render in a photo realistic environment. We will cover the tools needed to build on what’s learned in class so that the student can take home the demo package and practice on their own with confidence, improving their understanding of the 3D image-creation process.

A Modern Approach to Egg Tempera
Karen Ackoff
Friday, July 25, 9 am–5 pm
Egg tempera is a medium with characteristics unlike modern media. Because it lends itself toward transparency and is also waterproof, colors may be layered, allowing them to show through subsequent applications of color. The surface of an egg tempera painting has a soft sheen which may be enhanced by gentle buffing. This workshop will explore these and other qualities characteristic to this versatile medium. This workshop will employ a modern method that utilizes watercolors, rather than powder pigments. Both traditional and modern methods permit such techniques as cross-hatching, stippling, and scumbling. Surfaces, including vellum, will be considered. Workshop participants will explore these techniques, and will apply them to a small painting. If wishing to work in advance, bring a small drawing of a natural object with good detail and indication of light and dark (8x10 or smaller), drawn on tracing or layout paper. Eggs provided and small pieces of vellum available for purchase. See supplies needed.

GYOTAKU: Japanese Fish Printing
Stephen Di Cerbo
Friday, July 25, 9 am–5 pm
Learn Chokusetsu-ho, the direct method of Gyotaku, Japanese fish printing. A relatively new art form, Gyotaku came to America in the 1950s and its history can be traced back a couple hundred years. Used to identify species of fish and record size of catches, gyotaku is often seen as a parallel to Taxidermy. It has evolved into an art form and unique type of illustration, and techniques and methodology continue to be refined today. A form of relief printmaking, it allows for an intimate familiarity with the morphology of the fish. Not only are Gyotaku images popular in gallery art and editorial illustration, the process is a great tool for art and science educators to expose students to ichthyologic identification and morphology, as well as relief printing. After a brief introduction to the history and the art, by demonstration, you will learn to prepare a specimen for printing, then prepare your own fish and create Gyotaku prints experimenting with various techniques and approaches. All materials provided, but bring any preferred brushes for working with ink washes.

Creating Realistic Textures in Watercolor
John Cody
Friday, July 25, 9 am–5 pm
Natural objects all have their own highly characteristic textures. It is not difficult to create the appearance of different surfaces in watercolor, i.e., that of leaves, flower petals, live and weathered (driftwood) twigs and branches, butterfly wings, shells, etc. Participants will bring small specimens whose surfaces present a challenge to them. The deployment of small lights and darks to give the illusion of texture will be examined. Also, the use of masking fluid to create tiny negative shapes (very important in texturing) will be assayed by participants after being demonstrated by the teacher. More "abstract" or ornamental textures (for backgrounds) by the use of salt, plastic wrap, paper towels (for clouds), etc. will be explored. A photo for all to use will be provided. Materials needed: Some attendees should bring hair dryers to share. All attendees will need an 11x15 sheet of Arches cold press 300 weight paper, watercolors, brushes, salt, plastic wrap, and masking fluid.

Advanced Adobe Illustrator
Rick Simonson
Friday, July 25, 9 am–5 pm
Increase your skills with Adobe Illustrator! Are you already comfortable with the basics of working with paths, layers, and type? Take the next step! This workshop will cover advanced Illustrator techniques such as gradient mesh, opacity masks, clipping masks, blends, 3D and other effects, filters, creating custom brushes and symbols and many more. We will learn to use these techniques to create realistic renderings of both living and non-living subjects. Level: Intermediate/advanced; basic experience in Adobe Illustrator.

Miniature Moths—Painting Small Moths 1:1
Scott Rawlins
Friday, July 25, 9 am–5 pm
Using both wet-on-wet and drybrush technique, participants will learn to render small moths in watercolor, to be used alone or as accents in larger compositions of botanical subjects. Capturing, "dispatching," pinning and mounting moths will be discussed as well as appropriate positioning to maximize compositional design. See supplies needed.

An Easy Method For Creating Digital Illustrations
J. Marie Metz
Friday, July 25, 9 am–5 pm
Students will learn how to create digital illustrations using a step-bystep, easy-to-follow method, as they are introduced to the industry standard applications, Adobe Illustrator and Adobe Photoshop, and learn differences between vector and raster graphics. In just a few keystrokes and mouse clicks, you will understand the advantages of the digital medium. Leave your erasers at home! Recovery from mistakes and multiple revisions are easy with a correctly built, digital illustration. You will leave this light-hearted, stress-free, "ask-any-question-you-want-to," atmosphere with a structurally completed illustration and a new sense of accomplishment. Prerequisite: Very basic knowledge of both Illustrator pen tool and Photoshop tools; emphasis on Photoshop. Prior to class simply go to: http://www.adobetutorialz.com/articles/2794/1/Adobe-Photoshop-Pen-Tool-Tutorial —and http://graphicssoft.about.com/od/photoshop/ig/The-Photoshop-CS2-Workspace/ —then work through the basic tutorials to get ready. If you have never used Illustrator or Photoshop go to http://www.adobe.com/downloads/ —and download CS3 free trial versions of Illustrator and Photoshop to practice and play with the software prior to coming to this workshop. Just poke around and have fun, then come to class! Level: Beginner-intermediate, but advanced users welcome.

How to Make a Common Frog with Zbrush
Mieke Roth
Friday, July 25, 9 am–5 pm
Within this workshop I will show how to make a common frog from basic objects in Zbrush. I will tackle the pitfalls and answer questions about importing and exporting the frog for further manipulation. Zbrush is great to make 3D objects that can’t be distinguished from real or clay objects, not only by the shape of the object itself, but also because you are able to paint your 3D object as if it is a real object. Zbrush also has the advantage that you have a (limited) ability to animate the object. Level: Intermediate; prerequisite experience using software like Photoshop, a basic understanding of 3D software.

FRIDAY HALF-DAY WORKSHOPS .

The Business of Art
Dolores R. Santoliquido
Friday, July 25, 9 am–Noon
We make the life decision to become a professional artist. We select a program fitted to our desires and talents. We hone our skills, learn about design, draftsmanship, composition, color and all the other elements that make up good art. We receive our undergraduate degree and in many cases, continue with graduate studies in our area of concentration. Then we are set free to earn a living in the art world. This is a world that functions differently than the business world at large. Artists are usually provided little or no undergraduate training on how to logically and successfully proceed. This workshop will focus on discussing necessary business practices for running a freelance business, how to determine pricing, how to negotiate with clients, deal with copyrights, and how to develop a successful portfolio. It is strongly recommended that each participant purchase and read the 12th edition of the Graphic Artists Guild Handbook of Pricing & Ethical Guidelines. Participants should bring in a current portfolio of artwork or samples of artwork and any promotional materials to share and review. Specific topic requests can be directed to skylinestudio@sbcglobal.net.

The Science and Art of the Facial Reconstruction Process
Gay Malin
Friday, July 25, 1–5 pm
Bring a person to life from a skull! Facial reconstruction from a skull is a process that has been used since the late 1880s. In this workshop you will learn how a three dimensional facial reconstruction is created. Both tissue depth measurements and anatomical methodologies will be discussed. We will then take this knowledge and apply it to create a two dimensional facial reconstruction representation. At the end of the workshop we will compare these images with one another and also with their 3D counterparts. Prerequisite: Attend "...Science and Art of the Facial Reconstruction Process" Presentation. Please bring pencils and erasers suitable for drawing on frosted mylar/tracing paper.

Value-Driven Detail with Non-Sheen Graphite
Rhonda Nass
Saturday, July 26, 9 am–5 pm
In teaching hundreds of adults, I've learned most students (including myself) had little training in value: the degree of light and dark in a specific area or subject. Working with a limited drawing pencil palette, you'll luxuriate in discovering pigment-free values and master seamless gradations from lightest lights ("white" paper color) to the darkest darks without the usual graphite sheen. You'll create incredible detail through a simple exercise. The graphite-illustrated Gifts from the Earth will be our reference book. Each participant will design a customized composition, develop values and use tricks to draw viewers' eyes to your focal point. I guarantee value training will improve artwork of any medium. AND…graphite is a blast! Precision sharpener and drawing source material required. In-class additional supplies: $10-$18. Beginner–Advanced; prerequisite: basic drawing experience OR great motivation.

Effective Color Mixing and Color Theory
Camille Doucet
Saturday, July 26, 9 am–5 pm
In this day-long workshop for artists of all skill levels, you will explore the fullest range of colors available from a limited number of tube colors, producing a color reference chart you can use for years to come. In methodically mixing each pigment with all others, you come to see and understand how they behave. This technique is particularly useful for scientific illustrators and for anyone who wants to use color reliably and skillfully. You will also start (and finish at home) a chart of Color Transparency/Opacity and learn about color permanence. Prerequisite: Some knowledge of watercolor. Materials fee $7 per participant; also see supplies needed.