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DrawingFood9781452111315 Here is a new resource that takes a fun and lighthearted approach to drawing. This resource provides more than prompts to remind you to draw everyday. It is a guided sketchbook complete with drawing techniques, instructions about how to use different media and a guidebook with plenty of room for sketching.

Drawing Food: A Journal by illustrator Claudia Pearson is composed of two key sections. The first section is titled, How to Draw Food, and contains instruction about how to draw fruit and vegetables, how to draw meat and dairy products, how to draw treats from the bakery, and how to draw household kitchen items. In this section, Pearson discusses line drawing, shading, how to work with colored pencils, and how to work with color pastels. Her instructions are clear, simple and doable.

In Part Two of her book, Pearson establishes a two-page spread for each week of the year and provides fun prompts for sketching enthusiasts. She challenges readers with thought-provoking tasks such as drawing what they find at their local farmer’s market, drawing something seasonal that isn’t produce, and challenges them to describe other culinary subjects in a visual way.

If the word “draw” makes you nervous, this book will help you begin to see your world through the eyes of an illustrator. It isn’t focused narrowly on any one culinary topic and provides plenty of room for you to take the journal in any direction you want to take it.

Interested in beginning your own illustrated food journal and discovering how plants intersect with our lives?

Join ArtPlantae next week when it launches the Botany Craft Bar, a creative place to learn about plants, during the Spring Open House at Aurea Vista on Friday,
May 17, 2013 (5-9 PM). In June, the Botany Craft Bar will become a regular feature during Riverside ArtsWalk, a monthly celebration of the arts in downtown Riverside.

If you can’t make it to the open house next week, visit ArtPlantae’s Botany Craft Bar on the first Thursday of the month during ArtsWalk. The Botany Bar will be open from 6:00 – 8:30 PM at Aurea Vista.



ArtPlantae is an affiliate of IndieBound

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If we all approached drawing as a means of fixing a memory as opposed to creating a work of art, we’d do more of it and see more as a result.

– Nancy Ross Hugo

If you want to spend time getting to know trees, begin your journey with
Seeing Trees: Discover the Extraordinary Secrets of Everyday Trees by author and educator, Nancy Ross Hugo, and photographer Robert Llewellyn. Together they lure readers out of their reading chairs and take them outside to look at trees in a new way.

Hugo and Llewellyn accomplish this through their discussion of thirteen viewing strategies and by teaching readers how to look at leaves, flowers, cones, fruit, buds, leaf scars, bark and twigs. Llewellyn’s informative and beautiful photographs support Hugo’s text and helps readers zero in on the details they need to see.

This same attention to detail is applied to the tree profiles featured in the book. You don’t have to get too far with even the first tree profile to realize you’ve looked at trees all wrong and that you’ve taken them for granted.

As you know, we’re focusing on technology this month and how technology can be taken outdoors. Seeing Trees is a great example of how technology can be used to enhance our understanding of plants. Hugo and Llewellyn’s book is more than a print book. It is available in ebook format and as an interactive book. It is the interactive format I will focus on today.

The interactive version of Seeing Trees is available through Inkling, a Web-based service that is transforming how readers interact with books. They have eliminated the “book” part and focus on how users view and consume content on iPads, iPhones, MACs and PCs.

When visiting Inkling’s website, the first thing you’ll notice is that you can buy the individual chapters of a book for as little as $1.99. The second thing you’ll notice is that the books are interactive and much more than simply a print book in a digital format. The types of interactive components vary among books. In the case of Seeing Trees, readers will find images they can enlarge, words they can highlight and define, and will enjoy the ability to conduct an in-depth search around a specific word. In the introduction section of the Inkling version, there is also a video about how the book was made and how Llewellyn’s approach to photographing this book was inspired by the botanical illustrators of long ago.

Other interactive features of Seeing Trees include:

  • A slideshow of Japanese maple leaves (Acer palmatum and A. japonicum)
  • A slideshow of sweetgum leaves (Liquidambar styraciflua)
  • A slideshow of twigs from 14 species of trees.
  • Links to resources about plants and trees
  • A feature enabling readers to watch fruit development in Liquidambar styraciflua.

While the trees in this book are common to the East Coast, this does not take away from its effectiveness as a tool for seeing. The viewing strategies Hugo and Llewellyn recommend can be applied to any tree (and any plant) regardless of one’s geographic location.

The Inkling edition of Seeing Trees is available for $16.99. The chapter price for this title is $4.99 per chapter.

SeeingTrees
Literature Cited

Hugo, Ross Nancy. 2011. Seeing Trees: Discover the Extraordinary Secrets of Everyday Trees.
Photography by Robert Llewellyn. Portland: Timber Press.


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Two weeks ago we considered how we can help children experience plants differently. This topic sparked a conversation about teaching ideas that ranged from how to see leaves differently to how to help kids relate to invisible processes.

Today let’s revisit this topic and consider adult learners and learning that occurs outside of a traditional classroom setting.

Informal learning is learning that occurs outside of traditional formal learning environments, such as a classroom or a lab. Examples of informal learning environments include nature centers, visitor’s centers, botanical gardens and museums. In these places of learning, scientific information is presented to the public in meaningful and easy-to-digest ways.

Building a bridge between experts and non-experts can be a perilous activity and can come with criticisms about dumbing down content (Davis et al., 2013).

Do informal science educators water down information too much when presenting it to the public? Do they encourage misconceptions or enable the formation of new misconceptions?

Pryce R. Davis, Michael S. Horn and Bruce L. Sherin address this issue in
The Right Kind of Wrong: A “Knowledge in Pieces” Approach to Science Learning in Museums.

Every single one of us is a teacher. It doesn’t matter that we do not have a physical classroom to call our own. Through our interest in plants, nature and the wonderful world of natural science illustration, we teach and communicate information about plants and nature in many ways.

When you are teaching, do you ever worry about being wrong? About making the wrong impression, about using the wrong analogy or about stretching the truth a bit too much just to make a point?

The article by Davis and his colleagues might put your mind at ease. In their article, Davis et al. (2013) argue that simplifying content does not necessarily lead to problems and they present an approach that can lead general audiences to meaningful understanding of content.

Expertise in a subject is great, but it can also be a problem because it can get in the way of teaching. Experts in their field have mastered the technical jargon of their discipline, are quick to point out the mistakes of non-experts, want to replace wrong knowledge with correct knowledge, and have forgotten what it was like to be a learner in their field (Davis et al., 2013).

To make the gap between experts and non-experts smaller, Davis et al. (2013) recommend that museum educators take non-experts on a gentle and winding path to expert knowledge by putting the misconceptions they bring with them to good use and by using the assorted bits of prior knowledge they each possess. The approach they encourage is called the “Knowledge in Pieces” approach.

Davis and his colleagues explain that the “Knowledge in Pieces” approach to science communication in informal learning environments isn’t about making grand leaps of understanding within the small space of a museum exhibit. Instead, it is about making small learning gains that engage learners by allowing them to relate the new knowledge to what they already know and how they have come to know it in their daily lives. By doing this, the learner remains comfortable and confident along the path to “expert” knowledge. To do otherwise (i.e., to replace what a learner thinks they know with a fresh batch of expert knowledge in one swift movement), would be to create a situation that leaves a learner bewildered and unsure of what they know because their new “expert” knowledge isn’t based on prior personal experiences.

Communicating science has never been easy. Davis et al. (2013) provide an interesting look at the history of science communication and how it has changed in the 21st century. Did you know there was once a belief that respected scientists did not “go public” with their research (Goodfield, 1981 as cited in Davis et al., 2013)?

Learn more about the “Knowledge in Pieces” approach. The article by
Davis et al. (2013) is available online for free. Click on the link below.


Literature Cited

    Davis, Pryce R. and Michael S Horn, Bruce L. Sherin. 2013. The right kind of wrong: A “Knowledge in Pieces” approach to science learning in museums. Curator: The Museum Journal. 56(1): 31-46. Web. <http://onlinelibrary.wiley.com/doi/10.1111/cura.12005/full>
    [accessed 22 March 2013]

    Goodfield, J. 1981. Reflections on Science and the Media. Washington, DC: American Association for the Advancement of Science.



Also See

Science Communication Through Art

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Yesterday was Valentine’s Day, the event for which February is probably best known. Today I propose that there is a bigger and better event in February. This event is Digital Learning Day. A new national movement, the second annual Digital Learning Day was celebrated just last week. This national campaign celebrates “education champions who seek to engage students, celebrate and empower teachers, and create a healthy learning environment, personalized for every child.”

Allow me to stray just a bit from the usual drawing-specific topics covered in this column. I am not straying too far, really, as today’s featured activity can be implemented as a clever way of encouraging the collection of quality reference photographs — resources valued highly by all botanical artists and natural science illustrators.

Meet Wendy Walker-Livingston. Drawing upon her fond memories of scavenger hunts at summer camp, science teacher Wendy Walker-Livingston created a scavenger hunt about plants in which learning is reinforced through field work and technology. She describes her 21st-century scavenger hunt in the article, Botanical Scavenger Hunt.

Walker-Livingston’s field adventure is exactly what you’d expect a scavenger hunt to be — a mad dash with list in-hand and a sprint to the finish line.

What is different about Walker-Livingston’s scavenger hunt is that participants are not collecting objects. Instead, what they are collecting are images. In this case, images of 16 key plant characteristics used in plant identification (Walker-Livingston, 2009) that were collected using digital cameras and cell phones. Today, of course, you can add iPods and tablets to this list of image-capturing devices.

When conducting this activity, Walker-Livingston (2009) prepares students for their scavenger hunt by first introducing them to botanical terminology, plant morphology, plant classification and dichotomous keys. When distributing the list for the scavenger hunt, she tells students they have 50 minutes to collect photographs of the characteristics on their list and 10 minutes to download their images.

The day (or two) after the scavenger hunt, each student team is given 60 minutes to create a 3-minute multimedia presentation that includes a narrated description of the images they collected.

Walker-Livingston (2009) says her activity has been successful on many levels. Students love the activity, the multimedia project helps students verbalize their new knowledge and the project successfully addresses the various ways learners interact with the world, ways Howard Gardner describes in his theory of multiple intelligences.

Walker-Livingston’s Botanical Scavenger Hunt is easy to add to your teaching toolbox. This article can be purchased online for 99¢ from the NSTA store.


Literature Cited

Walker-Livingston, Wendy. 2009. Botanical scavenger hunt. Science Scope. 32(6): 31-34.



Related

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From speaking with many of you, I think it is safe to say that many of us find sketches to be more interesting than polished paintings and drawings. We each have our reasons for thinking this, however articulating these reasons and our emotional reactions to sketches isn’t always easy to do.

Words may come easier to you after today though, thanks to Gabriela Goldschmidt and her interesting article, The Backtalk of Self-Generated Sketches.

In her paper, Goldschmidt (2003) discusses how the sketching process generates and strengthens ideas. She provides an example of how this process can occur with a young child and with an adult designer. Goldschmidt (2003) thoughtfully describes the creation of sketches and how a sketcher reads a sketch to develop an idea into something with many layers.

Goldschmidt’s insights are fascinating and includes some history about the origins of sketching. It appears that sketching can be traced back to the late 1400s and is a direct result of the invention of movable type, printing presses and an emerging book printing industry that includes the birth of the paper industry. As paper became more affordable, designers and artists began consuming paper to create study drawings (Goldschmidt, 2003). This was the time of the Renaissance and the thoughts artists placed on paper were called pensieri, the Italian word for thought (Olszweski 1981, as cited in Goldschmidt 2003).

So what is it about sketches that make them so interesting?

It’s simple — they tell better stories.

Goldschmidt (2003) explains how more information can be read from a sketch than a finished drawing. Hard-lined drawings, she explains, are created “according to strict rules” and imply a finished product. Because anyone can create a line drawing, this makes a hard-lined drawing no different than any other type of generic visual information (Goldschmidt, 2003). A hard-lined drawing is no longer telling a story or, as Goldschmidt says, no longer “talks back”. She explains that self-generated sketches reflect a sketcher’s innermost thoughts and ideas and this is what makes them better stories.

Goldschmidt’s 17-page paper is very interesting and I feel you would enjoy it. I have no doubt you will recognize your own process in her discussion.

Goldschidt (2003) can be purchased directly from MIT Press Journals for $12 or obtained at your local college library.


Literature Cited

Goldschmidt, Gabriela. 2003. The backtalk of self-generated sketches. Design Issues. 19(1): 72-88

Olsweski, E.J. 1981. The Draughtsman’s Eye: Late Renaissance Schools and Styles. Cleveland, OH: Cleveland Museum of Art/Indiana University Press.



Also See

Practical Drawing as a Thinking Tool

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The words “draw” and “art” can be scary words. I observe this repeatedly when I interact with the public. It is for this reason that I invite the public to doodle in my traveling guest sketchbook instead of draw in it.

How people make meaning has been an interest of mine for many years. How they make meaning through drawing is of particular interest.

In this weekly column about teaching and learning, we often look at examples that involve drawing activities specific to some aspect of botany education. Less often we look at how drawing, the more expressive kind, affects understanding. We’ll do a bit more of this today.

In Do Attention Span and Doodling Relate to Ability to Learn Content from an Educational Video?, Ashley Aellig, Sarah Cassady, Chelsea Francis and Deanna Toops, student researchers at Capital University, evaluate the effect doodling has on student learning.

Thirty-four self-selected students participated in the study. Students were given paper and pens to take notes and doodle before watching a 25-minute video about communication styles (Aellig et al., 2009). Students watched the video together, then completed a questionnaire that included an assessment tool designed to measure attention span. Upon completing the questionnaire, students handed their notes, doodles and questionnaires to Aellig et al. (2009).

The research team found that there was not a significant relationship between doodling score, attention span, and the number of correct responses to the quiz about the video. Their hypothesis — students with shorter attention spans would have more complex doodles and lower scores on the video quiz — was not supported (Aellig et al., 2009). Instead what they observed were students who did very little doodling, but plenty of note taking. Of the students participating in the study, only six doodled while most of them (n=24) took notes (Aellig et al., 2009).

Why didn’t the students doodle during the video? Aellig et al. (2009) propose a few possible reasons:

  • The sample population is too embedded in the texting generation and may be less-likely to doodle.
  • The video’s content was not challenging enough.
  • The self-selected sample population (students at Capital University) are already engaged in their learning in ways that do not involve doodling.

In the discussion section of their paper, Aellig et al. (2009) propose an idea for future research about doodling in the classroom. They propose creating a doodling culture by embedding doodlers among the population of student research subjects. Their thought is that this would demonstrate to the sample population “that doodling is acceptable” as a form of notetaking (Aellig et al., 2009).

I would like to propose another suggestion to future student researchers who address this topic.

What if doodling were not left to chance? What if subjects were assigned a specific doodling activity to complete during a task, as was conducted by Jackie Andrade in her research about doodling and efficiency?

Readers, what do you think?



Literature Cited

Aellig, Ashley, Sarah Cassady, Chelsea Francis, and Deanna Toops. 2009. Do attention span and doodling relate to ability to learn content from an education video? Epistimi. 4: 21-24. Web. <http://www.capital.edu/epistimi-2009> [accessed 3 January 2013]

Epistimi is a student research journal at Capital University in Ohio.

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Image courtesy of Kathleen Garness. All rights reserved

Image courtesy of Kathleen Garness. All rights reserved

This week we have the good fortune to learn from Kathleen Garness, a scientific illustrator in Illinois whose botanical illustrations are being used to encourage an interest in native plants in the Chicago area. Kathleen has graciously stopped by to discuss her current projects.


    ArtPlantae
    : How did you become involved in the Chicago plant families project?

    Kathleen: I have become passionate about the need for natural areas restoration since joining the Chicago Botanic Garden’s Plants of Concern rare plant monitoring program in 2001. Plants of Concern (POC) uses a nationally-acclaimed systematic scientific protocol that records data about the species, its associates, threats to the population and land management history. Right now I am responsible for monitoring about 40 populations of 26 rare species at ten different sites in four counties in our region, reporting our findings to the Chicago Botanic Garden and the landowners.

    Why? Our rare, and even common, native species are being crowded out by non-native shrubs such as European buckthorn and herbaceous plants such as garlic mustard and teasel. Because of this, we are losing our valuable pollinators, and if we allow this trend to continue it will have disastrous economic and nutritional impacts on our well being, not to mention the tragic loss of so much of our botanical natural heritage.

    Several years ago I had been asked to consider “adopting” one of my monitoring sites, Grainger Woods, since it did not have a steward, and they hoped that restoration efforts would be able to keep it nearly pristine. Two years ago we achieved the highest level of natural areas protection afforded by the state. Now, over half of the site is an Illinois dedicated nature preserve. Grainger Woods has over 300 species of plants and is an important bird study area for Lake County IL, because the rare red-headed woodpecker has been known to nest there. One Saturday morning every month, in addition to our POC work (which may involve one or more extensive surveys per season per species and site) we clear the area of invasive non-native trees, shrubs or herbaceous plants.

    While the Chicago region is arguably the nation’s leader in natural areas restoration, our biennial Wild Things conference draws well over a thousand attendees from the region. Many volunteers lack a depth of botanical knowledge that, a hundred years ago, used to be an essential part of every high school curriculum. But now, this knowledge is in danger of being lost entirely. And many site managers and stewards don’t have the time to train their volunteers about the finer points of plant taxonomy, even if they felt it would be valuable. So one of the region’s leaders, Barbara Birmingham, a retired science teacher, has been trying to address that deficit by offering monthly field botany classes at her site every year for the past three years. She asked me to assist her in developing new materials, and since each month she focused on a different common plant family, and would be using these materials in coming years, I felt this was a worthwhile use of my skills and time.

    As the project evolved, we realized this could be useful region-wide, so I enlisted the help of many local scientists and stewards, emailing them the pages for their comments, according to their area of specialty. Chicago Botanic Garden’s Plant Conservation Manager of Regional Floristics, Susanne Masi, who co-authored The Sunflower Family in the Upper Midwest, edited the Asteraceae pages; Stephen Packard, director of Audubon Chicago Region and Kenneth Robertson from the Illinois Natural History Survey, contributed to the Rosaceae; and many others contributed to the rest of the series. John Balaban, one of the original Cook County North Branch stewards, and Rebecca Collings provided dedicated support from the Field Museum of Natural History here in Chicago. We are more than halfway through the project, having completed fourteen of the twenty-six most common plant families here. (Rebecca and I first become acquainted when I was asked by their botanist Bil Alverson to assist with Keys to Nature Orchids.

    The Field Museum provided the template, which was consistent with the other Rapid Color Guides they had already developed. We worked together as a team to come up with the design and content for each page, which I wrote and illustrated. We chose species that restoration volunteers might easily come across, as well as a few that are invasive or of special concern, to watch out for and report. Since we have so much biodiversity in our region, it was hard to choose, and for that I was very grateful for the team approach. Some of the families, such as the gentians and arums, were able to be completed in one page — the others were just an overview. We also wanted to suggest some of the important ecological relationships plants have to animals and used Milkweed Metropolis as that one example.


    ArtPlantae
    : What are the goals of this project? How do the project sponsors – The Field Museum – plan to use this information?

    Kathleen: We will be promoting the pages next February during the
    Wild Things Conference at the University of Illinois at Chicago. The Field Museum will be giving their ecology students the pages as handouts this next field season, and providing the link to the pages so that folks can also access them via mobile technology such as smartphones or digital tablets. Stewards will be able to use them as handouts in their field botany walks and restoration instructions, too.

    And I feel a clarification is in order here – by no means are they intended to replace field guides or taxonomic keys. Rather, they are a quick visual way for folks new to natural areas exploration or restoration to begin to familiarize themselves with botany basics, not feel so intimidated by the diversity our area offers, and maybe eventually purchase a field guide such as Peterson’s or Newcomb’s. So they are intended to complement the use of field guides, providing a quick visual identification to family; from there an unknown plant can hopefully be keyed to species using a field guide or an online resource such as the USDA PLANTS Database or Flora of North America. The page set also includes a short glossary.


    ArtPlantae
    : Do you envision other uses for this guide?

    Kathleen: We have shown them to regional scouting program leaders and

    Image courtesy of Kathleen Garness. All rights reserved

    Image courtesy of Kathleen Garness. All rights reserved

    high school science teachers, and some teachers are providing them to their classes for extra credit work. We would be thrilled to offer them to Mighty Acorns, a junior naturalist program sponsored by the Cook County Forest Preserve. Recently, the American Society of Botanical Artists graciously awarded me the Anne Ophelia Dowden grant for 2013, with which I will be able to offer art classes and distribute sets of materials, including these plant family pages, to five regional community centers, as outreach to underserved populations. These pages have sort of taken on a life of their own, now!


    ArtPlantae
    : You have mentioned in the past that there needs to be a grassroots effort to help people “make the connection between plants and well-being.” From what you’ve observed through your work with the public, where would be a good place to start?

    Kathleen: Well, we’re hoping these materials will begin to assist with this! For the last twenty years or so, there has been a groundswell of interest in natural areas restoration, organic gardening, urban horticulture, even beekeeping, not just regionally or nationally, but worldwide. Well before this, the Midwest was blessed with being the epicenter of the ecology movement, through the pioneering work of famous naturalist Robert Kennicott, who worked for the Smithsonian Institution and was a founder of the Chicago Academy of Sciences; Stephen Forbes, who was the first head of the Illinois Natural History Survey; Henry Chandler Cowles, University of Chicago, today considered the father of ‘dynamic ecology’; Aldo Leopold; and the tireless May Theilgaard Watts, who was one of Morton Arboretum’s most famous naturalists. These intrepid naturalists got out into the field every day, marveled at the wonders of nature, made careful observations, and inspired several generations that followed. So this generation, I feel, is standing on the shoulders of giants, and we need to keep the momentum going – we need to get folks outside, to have them experience the beauty of nature firsthand on a regular basis, but also provide them the tools to really SEE and appreciate what they are looking at. That is the goal of my current botanical illustration work and I see no proper end to it. I hope artists and naturalists in other regions see the value in this and do it for their communities too.


    ArtPlantae
    : You are working on another project in which economic botany and ornamental horticulture are the focus. What are the educational objectives of this project?

    Kathleen: The Oak Park Conservatory, where I am Artist-in-Residence until November 2013, has also engaged me to make similar materials about the plants in their tropical greenhouses. So far I have completed two sets – cacao and poinsettias – of the eight sets commissioned, and am now starting on the cacti and succulents. These are not family pages per se because each set’s scope is broader than just one family. I also interact with the Conservatory visitors, show them how a botanical artist works, chat about the various collections if they’re interested, and will hopefully complete my tenure there with an exhibit of new watercolors!


    ArtPlantae
    : You are doing wonderful work, Kathleen. Thank you for spending time with us this week.


More About the Field Guide

The pages of Common Plant Families of the Chicago Region are standard 8.5″ x 11″ pages and fit easily into a 3-ring binder. Since they are a standard size, the pages are also easy to laminate. Users of this guide may be interested in creating their own color-coding system while learning the features of each plant family (similar to what is used in Botany Illustrated).

Featured in this guide are the following plant families:

  • Apiaceae (Parsley Family)
  • Araceae (Arum Family)
  • Asclepiadaceae (Milkweed Family)
  • Asteraceae (Sunflower Family)
  • Brassicaceae (Mustard Family)
  • Fabaceae (Legume Family)
  • Gentianaceae (Gentian Family)
  • Lamiaceae (Mint Family)
  • Liliaceae (Lily Family)
  • Onagraceae (Evening Primrose Family)
  • Orchidaceae (Orchid Family)
  • Ranunculaceae (Buttercup Family)
  • Rosaceae (Rose Family)
  • Scrophulariaceae (Snapdragon Family)

A glossary of botanical terms is also included with the guide.

The guide Common Plant Families of the Chicago Region is available online for free.



About Kathleen Garness

The botanical/scientific illustration certificate program at Morton Arboretum was the turning point for me. While I had painted watercolors of tropical orchids for many years previous, the classes at Morton refined my pen and ink skills and fueled an interest in learning about and documenting local native species.

I really enjoy my work as a volunteer natural areas steward for Grainger Woods. My two passions – preserving habitat and documenting native species – seem to feed off each other. In 2008 my colleague Pat Hayes and I were surprised with a Chicago Wilderness Grassroots Conservation Leadership Award for our work in developing educational materials for youth as part of the national Leave No Child Inside initiative.

What feels like an eon ago, I served as board member and president of the historic Palette and Chisel Academy of Fine Arts in Chicago, and am still currently active in several local and national arts organizations. One of my most exciting opportunities, though, was the acceptance of one of my paintings into the Shirley Sherwood Gallery, Kew Gardens, London, as part of Losing Paradise? Endangered Plants Here and Around the World and in the 2011 edition of Smithsonian in Your Classroom.

I am the mother of one son, Ian Halliday, who encouraged me in this work by buying me a Wacom tablet one year for Christmas when he saw me laboring over my other avocation, the illustrations for the Little Gospels, published by Liturgy Training Publications for the Catechesis of the Good Shepherd curriculum. I still have to figure out how the Master’s in Religious Education and 20+ years teaching Sunday school figures into the artist side of me, but it all seems to fit somehow!



Additional Information About Plants of the Chicago Region

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