Wednesday, March 19, 2025, 6 - 9 pm EDT

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Wednesday Evening - Opening Night

Wednesday Evening - Opening Night

6 pm: Contemporary Botanical Art - Tradition with a Modern Twist with Catherine Watters

Discover how historic botanical artists have inspired contemporary artists to continue the tradition. A comparison of past and present images will show how this art form has evolved and the clever ways present day artists have added a modern twist to their work. 

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7 pm: The Hunt International: 60 Years of Contemporary Botanical Art & Illustration with Carrie Roy

For 60 years the Hunt Institute has sought to display artwork representing the best in contemporary botanical art and illustration and showcasing innovative use of tools and materials and impeccable draftsmanship and technique by the most compelling artists working in the field. Through our International series, we have exhibited work by venerable educators and those deeply connected to botanical science alongside emerging artists beginning their journeys and those for whom the plant world is a new passion. We have highlighted artworks that masterfully showcase a reverence for tradition in materials, styles and techniques as well as those that highlight passion for material experimentation and engagement with new technologies.

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8 pm: Virtual Exhibition: “Best Botanicals”

SESSION REGISTRATION REQUIRED: Yes
$10

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A-1 Elaine Searle - "Peeling Papery Textures" (watercolor)

A-1 Elaine Searle - "Peeling Papery Textures" (watercolor)

Creating realism in textures is important in botanical art. Using a sprouted yet desiccated brown onion, Elaine will demonstrate how layering transparent and semi-transparent washes enable her to achieve convincing light on form whilst revealing glowing color hidden in the crinkled and peeling layers of translucent skin. This session will conclude with the role of dry brush to emphasize edge detail and further enhance subtle color-changes particularly in shadows. The techniques demonstrated are also highly suitable for depicting bulbs.

DOWNLOADABLE SESSION OVERVIEW AND SUPPLY LIST

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A-2 Denise Walser-Kolar - "Painting Raspberries on vellum" (watercolor)

A-2 Denise Walser-Kolar - "Painting Raspberries on vellum" (watercolor)

Join Denise as she shares her technique for painting raspberries using transparent watercolor on vellum (this technique would also work if you were painting on paper). She will demonstrate drawing raspberries, starting the painting with color reminder washes, then finishing the painting using many layers of fine drybrush. This class will combine a slide presentation and a live demonstration with time for questions.




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A-3 Shevaun Doherty - "Blossom on the Bough" (watercolor)

A-3 Shevaun Doherty - "Blossom on the Bough" (watercolor)

When we consider trees, we think of leaves, bark, and fruit. Some trees put on an obvious display of showy blossoms, but many have flowers that are small and inconspicuous.

Join Shevaun Doherty for a watercolor workshop on blossoms great and small on trees. 

Shevaun will demonstrate the dry brush techniques needed to paint tiny details, and how to capture realistic light and form on pale blooms. It will be fun and informal, full of tips and advice, and suitable for artists of any skill.

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B-1 Susan Tomlinson - "Making a Portable Easel for a Pop-up Traveling Studio"

B-1 Susan Tomlinson - "Making a Portable Easel for a Pop-up Traveling Studio"

See how easy it is to make a light, portable easel that can travel everywhere with you. Made from inexpensive materials, this pocket easel is sturdy and hardworking and can be carried on a plane in a small backpack or carry-on luggage. From conferences to Cabo, you never have to be without an easel for your botanical work again.






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B-2 Carol Woodin - "Tips and Tricks: Framing and Shipping your Fine Art"

B-2 Carol Woodin - "Tips and Tricks: Framing and Shipping your Fine Art"

This session is about what you do when your artwork is completed. Learn how to frame your work not only for aesthetics and conservation, but so your work is best protected whether it will hang in your own home or travel across the world. And considering travel, learn how to pack your work simply but effectively so that it arrives at its destination unscathed. Its recipient should find your perfectly preserved artwork easy to unpack without being stymied by the very packing that protects it.



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B-3 Lara Call Gastinger - "The Wonders and Challenges of Instagram: how to use it to connect and share"

B-3 Lara Call Gastinger - "The Wonders and Challenges of Instagram: how to use it to connect and share"

Join Lara Call Gastinger as she talks about her experience using Instagram to showcase her art, create a community around the perpetual journal process, and engage viewers during her weekly live Monday Instagram drawing sessions. She will welcome your questions and feedback as we learn ways together to use this platform for the greatest benefit.

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Evening Programming

Evening Programming

6 pm: Flora and Fauna Illustrata with Derek Carwood - Minnesota Landscape Arboretum

Join Derek Carwood, Manager of Adult Education, for a lecture that takes you into the heart of the Flora and Fauna Illustrata project at the Andersen Horticultural Library, part of the University of Minnesota Landscape Arboretum. Derek will also discuss new plans about upcoming opportunities to explore botanical art and illustration through new classes at the Arboretum

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7 pm: Minnesota botany: Pretty good, not bad, or just different? with George D. Weiblen - Science Director of the Bell Museum at the University of Minnesota

North America's three largest plant communities meet in Minnesota. The north woods of the boreal zone, the prairies of the west, and the eastern deciduous forests intersect here. Our mid-continental location has a climate of extremes- hot summers bringing humidity from the gulf and legendary winters of arctic temperatures. The southern, eastern and western boundaries of Minnesota biomes reflect these extremes and are already responding to the effects of greenhouse gas emissions on climate. Change is perhaps more evident here than in many places. 

But drama isn't new to Minnesota. Glacial cycles, ancient seas, a mid-continental rift with massive lava flows, a fossil record of how early photosynthesis changed Earth's atmosphere, and the oldest rock exposures in North America. It's all right here in fly-over country. How plants responded to these events offer deep lessons from the past and hope for the future.

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SESSION REGISTRATION REQUIRED: Yes
$10

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C1 - Claire Leroux-Daublain - "Revealing Light and Shadows" (ball point pen)

C1 - Claire Leroux-Daublain - "Revealing Light and Shadows" (ball point pen)

Render the subtlety of botany with an extremely fine ballpoint pen. Our model will be a black and white photograph that offers the advantage of being able to work with extreme precision, without alteration of the plant. We will first see how to choose our model, looking for plants with complex structures and details that are rarely given attention. We will talk about a rigorous technique, from the grid to the finished image. We will see how this technique is synonymous with patience, concentration, and close to meditation. We will finally see that the best is sometimes the enemy of the good. This technique results in a sometimes confusing effect, close to photography or trompe-l'oeil. Choice of topic A precise technique Know how

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C2 - Rhonda Nass - "The Impactful Drama of Black & White" (scratchboard)

C2 - Rhonda Nass - "The Impactful Drama of Black & White" (scratchboard)

Scratchboard: The Impactful Drama of Black and White Scratchboard itself has "grown up" from our childhood experiences when we applied colorful crayon to paper, painted black India ink over the crayon design, then used a sharp tool to scratch black ink away to reveal wonderful colors beneath. I'll be showing contemporary scratchboard artists' works, along with some of my own, and will demonstrate the application stroke I use (the exact same "airplane stroke" I developed with colored pencil) to produce seamless value transitions amidst the full value range represented to create dramatic final scratchboard works. Though there exist incredible colored (with dyes primarily) scratchboard works, our time will focus on powerful black and white.
This will be a presentation and demo with no hands-on back and forth practice with scratchboard, thus no supplies, but I will be showing what supplies are needed as others wish to experiment themselves at a later time.

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D1 - Margaret Best- “Capture and Control of the Color Red” (colored pencil/watercolor)

D1 - Margaret Best- “Capture and Control of the Color Red” (colored pencil/watercolor)

Throughout the span of time artists have had a love-hate relationship with the color red. Love of its inherent brilliance and intensity as well as wrestling with difficulties in capturing these key qualities in a lasting way. This presentation promises to be fact-filled and fascinating from a master artist and instructor with years of experience in both watercolor, colored pencil and mixed media. Her unique background with pigments and her demonstrations will change the way you see and interpret the color red in your chosen medium. It will likely tempt you to try mixed media to maximize on ways to integrate the best of both color mediums for dazzling results.

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D3 - Crystal Shin - "Incising Without Fear—mastering colored pencil technique" (colored pencil)

D3 - Crystal Shin - "Incising Without Fear—mastering colored pencil technique" (colored pencil)

Many artists are wary of using an embossing tool; incising is tricky but a valuable technique. With care and practice, you can learn how to use these tools to create convincing surface textures, hairs, veins, and subtle details on a wide range of botanical subjects. Crystal’s presentation will include examples and demonstrations of her method for successfully using an embossing
tool.




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Friday Evening Programming

Friday Evening Programming

6pm - Minnesota Center for Book Arts: How to make your own field sketchbook with Laura Brown

A sketchbook is a handy tool in the field and in the studio. Learn about two easy and flexible structures suitable for making your own field sketchbook: a watercolor accordion book you can fill in a day, and a double pamphlet stitch book for keeping notes and drawings over a longer period of time.

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7pm - Book Arts, Printmaking, and the Doctrine of Signatures with Jen Scheuer

In this presentation Jennifer Scheuer will discuss her studio practice in book arts and printmaking. Much of her work is based on a historical theory of healing called the Doctrine of Signatures. This theory suggests that plants can inform us how to use them based on visual and sensory cues, for instance, that cloves are a similar size and shape to teeth, or that ginger has been used to treat stomach ailments. This theory has informed her artistic practice and visualizations of plants and their visual properties. Her use and experimentation of book arts forms and structures includes well known and invented sewn structures. Her book arts include themes of plants and healing, study, archives, collections, and travel.


SESSION REGISTRATION REQUIRED: Yes
$10

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E1 - Isabel Mischka- “Sculpting Depth with Watercolor”

E1 - Isabel Mischka- “Sculpting Depth with Watercolor”

In this session I am going to talk about my watercolor techniques for sculpting depth and form on paper.  

To me, it is all about the calculated use of light and dark to help convey a realistic imitation of the plant I’m trying to portray - to trick the viewer into thinking they are seeing a three-dimensional object on a flat surface. 

I’ll demonstrate my way of mixing colors for a harmonious palette, layering watercolor and how I go about creating light and shadow. I’ll also share my favorite tricks on mastering leaves, one of my 
favorite subjects.

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E2 - Lucy T. Smith- "Collect, Fetch, Now Sketch!" (pen & ink/watercolor)

E2 - Lucy T. Smith- "Collect, Fetch, Now Sketch!" (pen & ink/watercolor)

Most botanical artists have a collection of botanical "bits and pieces," collected over time and stashed away to draw some day. In this session I will give you some ideas on how to turn these collections into fun and satisfying sketch studies in your sketchbooks. Whilst I will show you examples of collections work in both pencil and pen & ink, my demonstration will focus on the specific topic of sketching freehand in pen and ink on both white and toned paper, using both grey and black fineliner pens. Topics discussed and demonstrated will include freehand observational drawing, using ink for under-drawing, and creating a balanced composition when drawing multiple elements.

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E3 - Giacomina Ferrillo - "The sketchbook, a powerful tool for work and growth” (pen & ink/watercolor)

E3 - Giacomina Ferrillo - "The sketchbook, a powerful tool for work and growth” (pen & ink/watercolor)

The enormous potential of the sketching practice will be shown through sketchbooks pages, presentations and practical examples. The creative process of the sketchbook will be shown for various purposes: from botanical drawing to projects for private and commercial commissioned works, from the conception of an idea and composition studies. Tips and suggestions will be provided on how to structure the pages with layouts, thumbnails and about elements to include in them using graphite, ink pen and watercolor on cold or hot-pressed paper.

DOWNLOADABLE SESSION OVERVIEW AND SUPPLY LIST

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F1 - Julia Trickey - “Fabulous Form and Glorious Gradations”

F1 - Julia Trickey - “Fabulous Form and Glorious Gradations”

Using wet-in-wet at the early stages of any botanical painting, can quickly create form and soft color graduations, whilst retaining the freshness that watercolor is renowned for. Julia will demonstrate how she uses and layers up this wet-in-wet technique to create wonderful backdrops at the start of all her paintings - from simple shiny leaves to undulating surfaces and multi-colored flowers, as well as addressing common issues with this process.




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F2 - Lucy Martin - "Using Gouache: Adding darkness to your painting to create depth"

F2 - Lucy Martin - "Using Gouache: Adding darkness to your painting to create depth"

In this session I will demonstrate how I use gouache to create darkness and depth. In my paintings which show fungi, lichen or plants in their natural habitat, I use the property of gouache which allows painting light on top of dark. The examples I’ll demonstrate will include showing layers of decaying leaves on a forest floor, and paintings with a forest background: for example, the dark background in my painting “Lichens of the Pygmy Forest”, which is currently in the NYBG Curious Allies exhibition.


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F3 - Asuka Hishiki - "Watercolor, colored pencil, and... graphite"

F3 - Asuka Hishiki - "Watercolor, colored pencil, and... graphite"

We all love our own familiar materials... comfortable and confident is how it goes. In my case, it is "watercolor on paper". In past several years, my challenge was to expand my comfort zone adding more materials to my list. This tutorial is to share my learning journey, how I added more materials into the works, and how it ended up!





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Closing Night

Closing Night

6pm - Botanical Art Worldwide 2025 - A Sneak Peek with Jody Williams and Carol Woodin

The second Botanical Art Worldwide Project will focus on and celebrate biodiversity in the crops that have been closely associated with the human species over thousands of years. The theme is designed to draw attention to the vast variety of food and useful plants available, in contrast with the relatively few varieties currently used in mass cultivation. Jody Williams will give an overview of the Botanical Art Worldwide project and the 30 countries participating. Carol Woodin will tell some of the intriguing stories behind a selection of artworks in the U.S. exhibition "A More Abundant Future".

©2024 Karen Kluglein, Beach Plum Jam, Prunus maritima, watercolor on paper

7pm - Keynote Presentation - Crop Diversity with Sir Peter Crane  

SESSION REGISTRATION REQUIRED: Yes
$10

Symposium Registration Open to Current (2025) ASBA Members Only

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

Registration Opens: noon (EDT) on February 1, 2025

Registration Closes: 11pm (EDT) on March 16, 2025

Base Registration Fee (non-refundable): $25

• 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 botanical art, botany lectures and book art demos , 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

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 16, 2025. 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 2025 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 16, 2025 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 16, 2025. 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

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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.

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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.

2025 Spring Symposium virtual Exhibition

This non-juried virtual exhibition is open to all registered attendees of the 2025 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.

Downloadable Schedule Information

Schedule-at-a-Glance

Detailed Schedule

Time Zone Chart