Carolyn working in her studio

Botanical Interests: Tell us a little about yourself.

Carolyn Crawford: I received a bachelor of fine arts degree in education from Phillips University in Enid, Oklahoma. My preferred medium is watercolor pencil, although I do occasional scientific illustrations for botanical journals in pen-and-ink. I also love field botany and plant taxonomy. My specialty is the Milkweed Family (Apocynaceae) and I have taught several classes on this topic for the Colorado Native Plant Society. I also led two field trips to the U.S Army Pinon Canyon Tank Maneuver Site in Las Animas County, to search for the rare Dwarf Milkweed (Asclepias uncialis) in 1997 and 1998.

Primula specuicola

BI: Your work has received national and international attention. What were some of your most memorable exhibits?

CC: I was honored to be included in The Royal Horticultural Society’s Westminster Fortnightly Show where I received the Grenfell Silver Medal (1988); The Hunt Institute’s Sixth International Exhibition (1988); The Guild of Natural Science Illustrators’ Picturing Natural History held at the Smithsonian (1996); and The Eccentric Artists’ Gardens shows at the Boulder Public Library (2006 and 2011).

Papaver rhoeas

Cleome serrulata

BI: How did you become interested in botanical illustration?

CC: My interest in botany began over thirty-five years ago when I subconsciously became interested in plant taxonomy. Then in 1981, I ventured into botanical illustration. In early 1982, a seminal exhibit of the botanical paintings of the late Ida Hrubesky Pemberton went-up in a small museum gallery in Lakewood, Colorado. To this day, I consider Ida to be my “mentor” even though we never met. The greatest honor was the chance to prepare a biography and co-curate the 2003 retrospective exhibition for Ida Hrubesky Pemberton at the Hunt Institute for Botanical Documentation in Pittsburgh. In a manner of speaking, this was my opportunity to thank my mentor for all the years of inspiration she’s given me.

CC: I have worked as a contract illustrator for Botanical Interests since 1996, and have created over 180 seed packet designs. The seed packet for the Mesclun Lettuces “Gourmet Baby Greens” presented the greatest challenge. The complexity of the various colors and textures, plus the fact I was doing the painting in February of 2011 when it was negative 17 degrees outside! The large packet assortment of morning glories “Something Old, Something New” was the most fun. I love painting morning glories!

Carolyn has produced more than 180 botanical illustrations for Botanical Interests seed packets!  As a tribute to her prolific artistry, we are offering two prints for the month of December. Click here to purchase.

Botanical Interests: Tell us a little about yourself.

Donna Clement: I was born in Staten Island, but was raised in New Jersey. I’m proud to be a Jersey Girl, however I prefer the west; it is more laid back and casual as well as the people being more open-minded. I earned my BFA at the School of Visual Arts in New York City. My art has been shown in galleries and shows across the country since the ‘70s. I worked 18 years as a set designer/scenic artist. I also had a successful small business as a muralist. Unfortunately, my health got in the way of climbing ladders, so I was forced to adapt. I accomplished this by recently finishing my MA in visual arts with a specialization in art education from the University of Northern Colorado, with a thesis titled: “Teaching Adult Students Who Are Apprehensive About Making Art.” I now continue to do freelance illustration work and teach art to adults in Longmont  & Loveland.

In the studio, works in progress

BI: What are some of your current artistic and creative endeavors?

DC: My personal art at this time is silk painting. I paint on stretched white silk with silk dyes. The finished paintings are steamed to set the colors and then stitched onto driftwood with hemp cord. I like people to walk around my paintings so that the air currents make the silk move. I was tired of flat oil paintings, my silk paintings do not hang flat, they form to the shape of the twisted driftwood. I also love doing nature photography, I’ve always used my own photos for subject matter in my artwork – I’m now taking it to the next level. Another interest I have is drumming; I am a member of the 15-piece Djembe Orchestra or DJO. I play djembe and djun djuns. Drumming is healing and meditative music while creating art – so, what a great combination for me!

Painting on silk

BI: How did you become interested in botanical illustration?

DC: I became interested in botanical illustration after Curtis approached me in 1994 at the very start of Botanical Interests. I took six months off from my set design job because of burnout; at this point I pursued becoming a master gardener. Soon after, Curtis and I met and we hit it off quickly (we are both Trekkies!) We discussed the idea for his business using artwork on seed packages, and I thought it was a fabulous idea for selling seeds and for employing artists. I discovered that I really enjoyed drawing and painting plants; I found it a perfect counterpoint to painting 20 X 40 ft backdrops. I am amazed at the synchronicity that had to happen for me to enjoy this employment opportunity. If I wasn’t burned-out from theater work, I might never have had this opportunity! I am very lucky to have been with Botanical Interests since the beginning.

BI: What is your favorite illustration you have done for Botanical Interests?

DC: My favorite illustrations for Botanical interests have been the gourds. I did quit a few varieties.

There is that saying, be careful what you get good at, because then you’ll have to keep doing it… This happened to me; I was the only artist in the beginning that could see the nuances of the color green in each plant, especially lettuces. I wanted to paint the colorful flowers, but since I was good at greens I received all the lettuces to paint. I was so tired of painting green. I was ecstatic when I was given a red lettuce or even speckled lettuce just so I didn’t have to paint green one more time!

Click here to purchase this limited edition, signed print of Cinderella Pumpkin online.

Look in your own backyard for materials to make this inexpensive fall display . Gather materials such as dried grasses, seed heads from plants such as Echinacea, Sedum (I used Autumn Joy) and Yarrow. Small branch clippings from Burning bush, cotoneaster or any other fall foliage add a splash of color and texture to the arrangement. Even thistle adds great texture to the mix, (although be aware of scattering unwanted seeds unless you spray them with a sealant). Take a walk and discover the beauty in our fall landscapes, bring along clippers and a tote to collect your fall treasures.

What you will need:

Assortment of pumpkins ( I used ‘Lumina’, ‘Cinderella’, ‘Howden’, and ‘Jack be Little’)

Fall clippings from the garden.

A hand drill with a 1/4 inch drill bit.

Child’s wagon, wheelbarrow, hay bale, or large flowerpots upside down.

Directions for large pumpkin:

Choose a pumpkin with a flat side for bottom stability.

With a magic marker, make dots across the pumpkin 1/2 inch apart in a line. Create 4 rows, but stagger the dots in order to get good coverage when inserting the foliage.

Drill the dots all the way through with the 1/4 inch drill bit.

Starting with the tallest grasses, insert a clump in the back row, stepping down the heights with each row until the front row has the foliage directly on the pumpkin. Have areas that need filling in? Drill additional holes and place more plant material to create fullness.

The white ‘Lumina’ pumpkin flower below was made by drilling holes in a circular pattern on the top, and inserting Sedum and Smoke Tree clippings.

Fill your wagon or container with leaf clippings, place your pumpkins together at various angles inside and around the wagon.

Happy Fall!

Susan

]]> http://bicreativeinspirations.com/becreative/harvest-pumpkin-decoration/feed/ 0 http://bicreativeinspirations.com/featuredartist/featured-artist-libby-kyer/ http://bicreativeinspirations.com/featuredartist/featured-artist-libby-kyer/#comments Wed, 05 Oct 2011 21:02:07 +0000 Susan http://bicreativeinspirations.com/?p=3244

Libby in her studio

BI: Tell us a little about yourself

Libby: I work in many media, including colored pencil (my favorite), carbon, and ink to create my botanical illustrations. I admit that I am a “control freak,” and therefore I love the scientific and detailed nature of this art form. I am a member of the American Society of Botanical Artists, an editor for the ASBA Journal The Botanical Artist, as well as an instructor for 11 years at the Denver Botanic Gardens’ Certificate Program in Botanical Art and Illustration. My artworks are in public, corporate, and private collections including the permanent collection of the Hunt Institute for Botanical Documentation, The Packard Foundation, and The Brooklyn Botanic Gardens. I have illustrated articles for magazines, catalogs, scientists, and authors. My award-winning works have been included in many national and international juried exhibits, including Botanica Spectaculum, The Shirley Sherwood Gallery, and The Hunt Institute for Botanical Documentation.

In 2008, with co-author Cora Marcus, I created Today’s Botanical Artists (Schiffer Publishing), a compendium of the works of 65 contemporary North American botanical artists. I have also begun work on a second volume of artworks from around the world by contemporary botanical artists.

Cucurbita Summer

My blog gallery can be found at http://rmsbagallerylk.blogspot.com

BI: How did you become interested in Botanical Illustration?  Did you have any prior artistic interests?

Libby: I have always drawn, and expanded my love of art into my college major. Financial reality raised its head my junior year, and I had to find a job, which led me to medical management. Eventually, a bout with a chronic illness led me to botanical art. I wanted to draw and paint, but traditional paint techniques didn’t work well in bed. So, I started working with colored pencils. When I felt better, I thought the Denver Botanic Gardens Botanical Art and Illustration Program would make a great place to have a refresher course in media. One drawing class later and I was hooked!

Tulipa sketch

BI: As one of the illustrators for Botanical Interests, you must have a few favorite or memorable plants that painted for the seed packets. Which one(s) come to mind?

Libby: Two images come to mind. The first, Little Gem Lettuce, practically painted itself. The specimens are so beguiling: little single serving-size lettuce heads. The smooth creamy whites at the base of the heads blend into lovely soft greens through each leaf to the tips. I enjoyed finding the right colors, and I also loved the atmospheric perspective that was possible with this little specimen.

The second I recently completed, and it’s a broccoli Romanesque, a pyramidal broccoli plant that boggles the mind. I had first seen them a few years ago at a farmer’s fair at the Gardens. So when I was asked if I’d like to illustrate them for a packet, I jumped at the chance!

BI: What classes do you teach at the Denver Botanic Gardens?

Libby: I teach Level I and II classes (http://libby-classes.blogspot.com) in drawing, colored pencil and ink. I teach a lot of classes in electives, especially in mixed media, colored pencil and modeling. In each class, I live for the “epiphany moment” to happen in each student. That moment when the light bulb goes off over one’s head as the concepts become real in a personal way.

BI: What gallery shows and publications have you been featured in?

Libby: In 2006, ASBA member Cora Marcus came to me with a project for a book. She had contacts with Schiffer Publishing in Pennsylvania, and they had asked her if she could do a book on contemporary botanical art. She asked me if I’d like to create a book. I resisted for a long time, knowing I was committing to at least 1500 hours of work, and then decided it was foolhardy to resist doing a book that served our genre. In 2008, our book Today’s Botanical Artist published in February. It has double-page spreads for each of 65 North American artists, as well as bios and resumes, and a forward by Cora. I recruited the artists (reviewed the work of about 600 artists, selected 130 to invite, and selected 65 artists), designed the book, managed the layout and color (as far as possible – a press check was not possible, as the work was printed in China) and set all the text.

I have exhibited regularly in the past at international juried shows. I was honored to have my work included in the juried ASBA/New York Horticulture Society annual exhibit in NYC, as well as in the permanent collection of The Hunt Institute for Botanical Documentation in Pittsburgh, PA, following their 12^th International Exhibit. I also had the thrill recently of having an artwork included in an exhibit in the Shirley Sherwood Gallery in Kew Gardens, England for 5 months last year. I am a member of the Brooklyn Botanical Gardens Florigium Society, an invited group of professional artists who document the Gardens’ collection. Those images were submitted to Dr. Sherwood for jurying into the “Portraits of a Garden” exhibit. Approximately 80 artists of the group submitted over 140 images. Thirty-five images were chosen for exhibit, including my portrait of Pseudolarix amabilis.

Anemone

Pansy Panel

Sand Painting Sunflower

Libby’s painting, Hummingbird Haven is shown below. The ready to frame print and seed packet is available to purchase online for a limited time only.

]]> http://bicreativeinspirations.com/featuredartist/featured-artist-libby-kyer/feed/ 0 http://bicreativeinspirations.com/becreative/garden-railways/ http://bicreativeinspirations.com/becreative/garden-railways/#comments Tue, 20 Sep 2011 16:24:45 +0000 Sam http://bicreativeinspirations.com/?p=2773

A fond childhood memory of mine is playing with the model train set in my brother’s bedroom.  My parents created a train village that pulled down from the wall like a “Harvey Bed”.  There were shelves in the back to hold the trains and whatever else wasn’t glued down.  And because a child’s bedroom is only so big, it was a feat of genius to create the train set like mom and dad did.  Should you be the kind of friend that liked to break things, the village was closed up on the wall and you never knew it was there. Yes, they are a clever couple.  We spent hours assembling the possible locomotive and train car combinations and once that train started moving, the village came to life. Tiny houses lit up in the village and we would listen to the train chugging on the track.  As the village stood still in time we used our imaginations to create stories for what was happening at the village.  But please do not confuse this with child’s play.  Collecting more trains and accoutrement for the village became an interesting hobby for my parents too.  Railways are for all ages.

This garden railways project is about bringing the fun outside. On a recent visit with Curtis Jones, co-owner of Botanical Interests, I toured his front yard garden railway.  Introducing me to his miniature communities, several were designed to reflect good memories shared by his mother and father camping and fishing. His father flew B-52′s in WWII so there is a fantastic dogfight taking place over the garden with a plane nearly crashing at the base of the falls.  Airplanes and hot air balloons (that are attached to trees above the railway) are great elements to add movement to an otherwise static display.

If you look closely at the photos in this blog you can see Curtis’s railway appears at a certain size.  His railway gauge is “K scale”.  If you are new to the miniature railway world, the train locomotive, train cars and railway gauge or track is based on a scale of your choosing.  There are many different scales.  Here are a few examples.  The “Z scale” equates to a 1:220 ratio which means for every 1″ the model is representing 220′, this is tiny.  The “G scale” equates to a 1:22.5 ratio which means for every 1″ the model is representing 22.5′.  This is more typical of what you will find in garden railways.  Once you determine your train scale, stick with it.  Your people, buildings, planes, trees and associated signage will also be associated with the scale of your train.  Remember scale makes it all tie together because the continuity reinforces the reality that you want to achieve.

Since this is a garden blog I encourage you to use live plantings within the display.  The plastic trees you buy in the store can add up fast and will not weather the elements of snow and monsoons.  So save your money by adding four seasons and some natural beauty to your miniature creation.  Curtis has kindly offered his input as a hobby railway garden designer.  Together we have come up with practical suggestions that we hope will inspire you to create your own railway garden.

1. Miniature ski slopes can appear on those rustic mine shaft filled mountains during winter. Plant some dwarf evergreens from your local nursery to represent a mountainous landscape.
2. Miners and their families can camp-out near the town train depot.  Look for miniature cacti and scarlet globemallow for the appearance of a desert environment.
3. Farms need trains to transport their produce.  Plant a field of varied seeds representing different types of crops.  Vegetables come in miniature sizes these days.  Think of planting some dainty flowers such as dwarf lemon drop marigolds in narrow rows for life and color in the garden.
4. Imagine rosemary planted en mass to substitute for a pinon forest.
5. Dive into the details of where the water will run in your “creek” when it rains. Be sure to place smaller rocks throughout to emphasize small scale.  Sweet allysum is a great planting for durable compact color in rocky settings.  Bunny tails grass is also a great 4 season planting for hardier locations.
6. Tunnels for the train dug through earthen mounds appear as tunnels in the mountains.   Plant some white button daisies, yellow button daisies, English daisies or lobelia to give the impression of alpine meadows.
7. Backyard ponds can become tropical retreats.  Sensitive plant gives this exact feeling when you look at it’s lacy leaves.  Stack some miniature surfboards and kayaks in the sand.
8. Imagine your larger rocks giving the impression of cliffs off the coast of California.  These poppies will do the trick!
9. I don’t see why the Titanic can’t sink in your pond next to a white rock?  I’m sure there was a train running somewhere on the shores of that fateful day.  Plant some moss and artemisia fringed sage along the rocks for an almost mystical appearance.
10. Are you from Texas or did you just get there as quick as you could?  Think of a miniature field filled with desert bluebells or forget-me-not as your train comes through a Lone Star town.
11. When I look at sweet candytuft , I think of a foggy lush forest filled with color in Washington or Maine.
12. If you are going for a ghost town look, remember these bewitched pansies for fall color emphasis.
13. In a wind swept seaside (I can’t help but think of my son’s Thomas the tank engine), these moss roses are a perfect match.  Add some sand and tiny beach umbrellas next to your “ocean”.  A beach house would be nice but only if you’ve got the time!
14. Yevani basil and thyme not only smells delightful but is a mass of small green leaves.  This is not only effective planting design but practical for the kitchen! Think of a trip to Tuscany in “G scale”, this is much more affordable!
15. Lastly, for long lasting flowers try sweet peas in your design.  They are pretty and may serve as an ideal miniature flower garden.

Good luck and please let us know what you create!

In Simple Creativity~ Sam

Constance Sayas grew up in the Midwest, drawing from nature and creating shoebox museum dioramas for fun. It was no surprise she pursued a career that combined her love of both art and science. An exhibition designer for the Milwaukee Public Museum and later for the Denver Art Museum, Constance also worked as a scientific illustrator and art director for Encyclopaedia Britannica in Chicago.

Constance’s formal training includes a degree in Fine Arts from UW–Milwaukee, studies in scientific illustration at the Art Institute of Chicago, and a certificate from the Denver Botanic Garden’s Botanical Illustration program where she currently teaches. Her award-winning botanical watercolor paintings are shown in national and international exhibitions, and her work is represented in numerous private collections.

Left: Cecropia leaf / Right: Longhorn Beetle (watercolor)

Q & A with Constance

How did you become interested in Botanical Illustration?  What were your prior artistic interests?
I feel fortunate to always have been employed as an artist. I discovered botanical illustration when I moved to Denver. Prior to that I had been illustrating for Encyclopedia Britannica in Chicago. I was assigned every subject from A-Z ,but I especially loved doing medical illustrations. I became passionate about gardening at the same time I discovered Denver Botanic Garden’s Botanical Illustration Program, so botanical painting was a natural progression for me. Still, there are times when the “artist” side of me longs to create the large, expressive figure paintings that I produced in my post-college years.

You’ve been teaching watercolor for 8 years in the Botanical Illustration Program at the Denver Botanic Gardens. What advice would you give the budding artist who would like to try this medium?
I tell beginning watercolor students to relax. It is normal for a paint brush to feel awkward. We grew up with pencils and crayons in our hands, not a flexing, wet brush. Students need to learn how to use water to their advantage, to guide the paint and resist the urge to control it too much. Contrary to popular belief, watercolor is a very forgiving medium. (For a listing of her current class offerings click HERE.)

Left: Rosa gallica 'Versicolor' / Right: Geum triflorum (watercolor)

As one of the illustrators for Botanical Interests, you must have a few favorite or memorable plants that you painted for their seed packets. Which one(s) come to mind?
My favorite illustration was the Charentais melon. We were growing melons in our garden that year and I was able to use the leaves for my drawing references. Denver was in a major drought and squirrels were seen running from the melon patch with devoured melons on their heads, wearing them like helmets.

Your exquisite watercolor paintings have been featured in many publications and gallery shows over the years. You were chosen this year to be included in the Brooklyn Botanic Garden Florilegium exhibit in the Shirley Sherwood Gallery at Royal Botanic Gardens, KEW. Can you talk a little about the painting that was included?
I had an opportunity to meet fellow Brooklyn Botanic Garden Florilegium artists in London and to view our exhibit in the Shirley Sherwood Gallery. We also went to Shirley’s country estate outside of Oxford and toured her splendid home, gardens, and art collections. Shirley Sherwood is a major collector of contemporary botanical art so it was exciting to be able to view all of the original paintings that I have studied in her books for years. The piece that KEW selected for the exhibition was Iris ensata from Brooklyn Botanic Garden’s collections. The flower cuttings were sent to me overnight, so I had to act quickly before they faded.

Iris ensata (watercolor)

Constance’s painting, Melon Charentais is the Botanical Print of the Month. The ready to frame print and seed packet is available for a limited time only.

Structure in the landscape.  In the garden continuum, structure can be a constant with form, beauty and function.  It weathers all four seasons; training, supporting and providing ample space for fruits and blooms to grow at their best.  The traditional teepee trellis is the epitome of this versatile design.  These charming structures provide an effective change in texture and height amongst colorful flower beds and climbing vegetables.

Bringing this structural effect to your own home garden is simple.  Here is an affordable teepee trellis for the garden made from a handful of materials gathered at the hardware store.  With a helper, you can finish this project in one afternoon.  The teepee trellis will support your beans, peas, vines or tomatoes.  You name it and this structure will work for your garden needs.  Plus, should your garden’s winter season be barren, this teepee trellis will help to maintain timeless character and charm until your blooms return.

Supplies:

• (one) 2″x 2″x 8′ of redwood post (have the hardware store cut this into (four) 1″x 1″x 6′ posts and keep the residual (four) 1″x 1″x 2′ pieces)
• wood stain
• paint brush
• pencil
• (four) 1-1/2″ finished nails
• hammer
• staple gun and staples
• 100′ sisal rope or sturdy equivalent
• sturdy scissors
• small construction level
• measuring tape

Instructions:

To Begin:

1. Stain all wood pieces.
2. With your hands, gather the 6′ posts at the top and spread apart at the bottom.  With the design looking like a teepee, mark with your pencil where all of the sides connect at the top for a general reference.  Tie together loosely to hold.

The Cross Braces:

1. The next part of the project is creating the “cross braces” made with two of the residual 2′ sections.  This cross support in the middle will add much needed stability to the teepee.  While you hold the teepee at the top, your helper will hold one 2′ section at the mid point of two opposite posts to form the first cross brace.  Make sure your cross brace is level and mark it with a pencil on both sides.
2. Placing the two 6′ posts on the ground with the 2′ section lined up to the pencil marks on top, hammer in a finished nail on both sides.
3. Assemble teepee design upright again but this time place a second cross brace on top of the first to form an X in the middle of the teepee.  Level the new cross brace and mark it on the remaining two 6′ posts.
4. Although tricky, while the teepee is standing hammer in a finished nail on both sides of this cross brace.  If you need a piece of scrap wood to hammer against for support, use it.

The Teepee Top, Middle and Sides:

1. With the mid-section assembled, repeatedly bind the four 6′ posts with rope close to the top.  Once secure and taught, cut the rope and staple to the wood in several locations.
2. To secure the cross brace, again repeatedly wrap the rope around their intersection.  Once secure and taught, cut the rope and staple to the wood in several locations.
3. Lastly for the rope side supports, measure and mark with your pencil 1′ increments along the 6′ sections.
4. Stapling the rope to start at a marked location, begin to wrap once around each post once.  Staple the rope as the post is wrapped and pull to next post until finished with that level.
5. Continue with each level till complete and your done.

Susan DiMarchi is a visual artist with a diverse background in painting, glass design, botanical illustration and plant landscapes. Her work has been exhibited in galleries throughout the U.S. and Canada, and featured in many publications. Susan’s glass is in the permanent collection of Contemporary Glass at the Corning Museum in New York.  She received her certificate in Botanical Illustration from the Denver Botanic Gardens and has since joined the core instructors in the Botanical Art and Illustration Program teaching Colored Pencil and Pen and Ink. Susan’s plant illustrations also grace the front of many Botanical Interests seed packets.

So, enough about me for now—what I really want to talk about today is Botanical Interests commitment to art and artist development.

During a recent podcast Radio Garden’s Andrew Keys talked to a few Botanical Interests artist about botanical illustration and the role this very old art form plays in contemporary art. One of the things we agreed on was the notion that botanical illustration gives the viewer information that may not be captured in a photograph. Illustrators draw from a personal perspective, creating a nuance of color, form and context that, while striving to be true to the plant’s anatomical detail, is filtered through the style and experience of the artists. This “plant portrait” produces emotions, memories or curiosity in the viewer, much like experiencing a painting in a museum.

What Botanical Interests does every day is take botanical art off the walls and put it into the hands of gardeners everywhere, giving it a fresh look and purpose.

Judy and Curtis not only promote and support the botanical art community by displaying our work on over 500 seed packets, but they endow scholarships at the Botanical Art and Illustration Certificate Program at the Denver Botanic Gardens. Each year they pick new artists graduating from this program, and give them the chance to publish their art nationally through commissions for seed packets. Their passion for plants has created this amazing seed company, as well as nurturing botanical illustration and the artist who create it.

As one of the artists illustrating for BI, I am excited that we have this venue to show others just how beautiful the plant world can be. Growing up in the Midwest, I watched my grandfather create amazing seasonal garden displays with flowers and vegetables. His influence inspires the natural motifs in my glass, my paintings and illustrations and, of course, in my own gardens. Here is some of my work.

Typha latifolia (pen and ink)

Raspberries (pen and ink)

Artichoke (watercolor)

In recent years I have worked mainly on paper, but my glass work involved sandblasted designs (many floral) and hot glass attachments.

blown glass sculpture

blown glass stoppered bottle

Susan’s Echinacea ‘Purple Coneflower’ is the Botanical Print of the month.  The ready to frame print and seed packet is available for a limited time only.

I bet that you are enjoying the luster of beautiful summer blooms, me too.  I made these simple flower presses last winter and they have come in handy.  I just threw some lovely blue Borage blooms in my press last week and they pressed beautifully.  This project is a snap to assemble and easy to tote around on your garden walks.  Its worth planting some “fun and new to you seeds” just to see how the flowers will press!

Supplies:

1. two pieces of wood in similar size, sturdy enough to not bend
2. Japanese rice drawing paper or acid free/dye free paper to press the flowers against
3. measuring stick and pencil
4. paper cutter
5. pieces of cardboard, large enough to cut to the wood size
6. scissors or box cutter
7. one yard belting or ticking tape to wrap around the flower press
8. fray check or glue to keep the ends from unraveling
9. two D rings to keep the belting tape taut around the flower press
10. sewing thread or heavy duty staples to fix the D rings in place

Paper Assembly:

1. Start by gathering your supplies together.  All project measurements will be based off of your wood size.  Think of what you are interested in pressing and then make sure your dimensions will be big enough.  I plan to press small flowers and leaves so two pieces of 5-1/2″ x 5-1/2″ wood works for me.
2. With paper cutter, cut out forty sheets of rice paper or acid free/dye free paper. This amount assumes that you will create ten “sections” between the two pieces of wood.  Each section will have four sheets of paper to press and absorb plant moisture.
3. Now, with the same dimensions cut out 11 pieces of cardboard.  Each “section” will have cardboard on the top and bottom of four paper sheets.
4. To assemble the flower press I’m simply going to run through each sequence from bottom to top.  Mark them off as you assemble. Ready?

1. one wood,
2. one cardboard, four papers,
3. one cardboard, four papers,
4. one cardboard, four papers,
5. one cardboard, four papers,
6. one cardboard, four papers,
7. one cardboard, four papers,
8. one cardboard, four papers,
9. one cardboard, four papers,
10. one cardboard, four papers,
11. one cardboard, four papers,
12. one cardboard, one wood

Final Assembly:

1. Take belting tape and stretch around the assembled flower press.  Tape should wrap around the flower press one and a half times. Now cut the tape to specifications.
2. Remember the 80′s?  Well we are going to cinch up the flower press just like we cinched our jeans.  Take one end of your belting tape and loop it through the two D rings.  Fold it back from the end by one inch.  Sew down the end or staple it. (I prefer the sewing but do what’s easiest for you).  Cover it in fray check or glue and let dry.
3. Now for the final assembly, wrap the tape around the wood, cardboard and paper assembly.  Loop the “loose end” of the tape through the “ring end” of the tape. Fold the “loose end” over the first ring and under the second ring.  Pull the tape taut and voila!
4. You can cover the wood in decorative fabric or wood burnish it with your name or decoration.  I think that would look really good except I don’t have a burnisher.
5. Collect and create some fun things from your summer’s pressed flowers.  The season will live on!

In Simple Creativity~ Sam

Susie Hyer painting at an overlook on Deer Ridge loop

Susie Hyer is a full time artist living in the mountains west of Denver.  Her love of  the outdoors is evident in her beautiful plein air paintings that have won many awards over the years.  Recent painting trips have  included exotic locations such as Tahiti, Mexico, Corsica, France and Portugal.  Her work can be found in many publications, including the celebrated book,”Landscapes of Colorado”, Southwest Art Magazine, and a featured artist article in the Fine Art Connoisseur Magazine.  Over the years, she has participated in numerous workshops and classes, receiving her certificate in 2001 from the Botanical Illustration Program at the Denver Botanic Gardens.

Although landscapes dominate her subjects, Susie also paints still life, figures and in her own words, ” anything that seems fair game and won’t move”.

Bridal Veil Falls, Morning

Mountain View Geranium

Summer's Last Sunflowers

Chili Pepper Overcast

Forty Nine Stroke Tomato

Susie’s work for Botanical Interests Seed Packets are executed in exquisite detail showcasing her training as a botanical illustrator. Among the illustrations of plants and vegetables she has produced, her favorite is the Daikon Radish.

Susie’s Tomato ’Red & Yellow Pear’ is the  Botanical Print of the month.  The ready to frame print and seed packet is available for a limited time only. Enjoy collecting the botanical art  of our talented illustrators to enjoy in your own home.

For more information on Susie’s work, show schedule, and workshops, visit :

www.susiehyerstudio.com