DE DI CATE D TO TH E PU RSU IT OF EX CE LLE NCE AN D PU BLI C APPR ECIAT I ON OF AER OSPA CE ART

AMERICAN SOCIETY OF AVIATION ARTISTS AMERICAN SOCIETY OF AVIATION ARTISTS

ASAA 2016 International Aerospace Art Exhibition The James C. Westin Galler y at the Arts Council of Greater Kalamazoo Kalamazoo, Michigan June 1 - July 25, 2016 ASAA 30th Annual Aeros pace Art Forum Kalamazoo, Michigan June 2 - 8, 2016 A S A A A S A A

P U B L I C P U B L I C

R E L AT I O N S R E L AT I O N S

M E D I A M E D I A

D O C U M E N T D O C U M E N T

HISTORY OF THE AMERICAN SOCIETY OF ARTISTS Since its incorporation in 1986, the American Society of Aviation Artists has pursued its mission of bringing together aviation and aerospace artists in an effort to encourage excellence in this unique genre of art. Aviation and aerospace art are creative responses to premiere technologies of our time. The need for accurate and artistically creative representation of the machines, events, and people involved in the history of !light has provided the impetus for an association promoting high standards of excellence. ASAA has ful!illed that need through its annual exhibitions and forums, regional meetings, scholarship programs, a quarterly journal, an informative and colorful website, and of course the member network‐ ing that a professional art society provides.

The !ive founding members of ASAA were Keith Ferris, Jo Kotula, Bob McCall, R.G. Smith, and Ren Wicks, each with over 45 years experience in the !ield. Some of these men met in person in 1981 to discuss the possibility of forming an artists’ association.. Nixon Galloway and Mike Machat, two other accomplished aviation artists, gave their inputs as well at that time. Thus, the momentum to found a society was un‐ derway. In 1983, Professor Luther Gore of the University of Virginia organized a forum of aviation artists, well attended by many top artists in the genre. It was becoming increasingly clear that the re‐ sources and interests were available for the formation of a society.

After the Founders accepted a set of by‐laws derived by Keith Ferris, the ASAA was incorporated in 1986 in New Jersey as a non‐pro!it organization, with a charter membership of 25. Since that time, ASAA has increased membership, and in 2011 included approximately 150 Artist Fellow and Artist Members and 150 Associate Members. Artist Fellows are recognized leaders in the !ield and are noted for the high quality of their work. They sign their work with the ASAA acronym as a mark of their accomplishment. Artist Members have been admitted for the high quality of their work and the demonstration of a continuing effort to improve their art. Associate Members are amateur artists, collectors, gallery owners, printers, and others who are interested in aviation and aerospace. ASAA prides itself on the inclusion of members from several foreign countries.

As of 2011, ASAA has had 25 juried exhibitions* at the venues of its annual Forums. A number of cash and other awards have been established over the years as incentives at the exhibitions. Unjuried exhibi‐ tions, where attendees at the Forums and regional meetings may bring their works for critique and judg‐ ing for prizes, are also held. ASAA has been a notable source of works juried into the Aviation Week and Space Technology annual art and photography issue. ASAA members have also taken top awards in the annual aviation art contests of the Experimental Aircraft Association, the National Museum of Naval Avi‐ ation, the National Air and Space Museum, and the annual SimuFlite Aviation Art Exhibitions. ASAA has held joint meetings and exhibitions with the British Guild of Aviation Artists both in the U.S. and in Eng‐ land, and with the Canadian Association of Aviation Artists in Ottawa, Canada.

At the annual Aviation Art Forums of ASAA, programs have included speakers on various aspects of !ine art history, !igure drawing and painting, color theory, perspective management, sketching, framing, and other technique subjects, as well as sessions on business practices and professional ethics. “Brush Tips,” a series of articles on various technical artistic matters, has been a feature of issues of Aero Brush, the Society’s quarterly journal. A book, How to Draw Aircraft Like a Pro, by Andrew Whyte, ASAA, with text by Ann and Charles Cooper (2001, MBI Publishers, St. Paul Minn.) features works by ASAA members and has become a valuable source for both aspiring and practiced artists in the genre. The National Aviation Hall of Fame recognized ASAA with the prestigious 2006 Milton Caniff Spirit of Flight Award for its signi!icant contributions to America’s aviation heritage.

ASAA continues to grow in spirit and accomplishment, as !ine art depicting the triumphs of modern technologies of !light becomes a recognized and prized record of man’s achievements in the skies. Luther Gore

THE ASAA FOUNDERS:

KEITH FERRIS

Keith Ferris is quite possibly the most widely recognized aviation artist in the world today. His B-17 and Jet History murals at the Smithsonian Institution Air and Space Museum are recognized everywhere. His meticulous attention to structural, operational, and spatial details set AMERICAN SOCIETY the standard for realistic portrayal of aerospace subjects. OF AVIATION ARTISTS Many aerospace organizations and publications have commissioned Keith’s art to represent their products and activities.

THE ASAA FOUNDERS:

Jo Kotula

(1910-1998) Jo Kotula inspired four generations of aviation enthusiasts with his superb covers for Model Airplane News and Popular Science magazines. A self-taught artist, Jo’s unique art served a wide variety of aerospace publishing and advertising clients, as well as Air Force Training AMERICAN SOCIETY Publications. OF AVIATION ARTISTS His images were always dynamic and his backgrounds could be realistically detailed or wildly free-form and colorful. His exciting box art for plastic model kits are highly prized collectors items.

THE ASAA FOUNDERS:

ROBERT M C CALL

(1919-2010) Robert McCall is internationally renowned for his distinctive aircraft and visionary space images. He has created innumerable images of aircraft and spacecraft for magazine features, aerospace industry ads, and NASA. His style is bold, colorful, and distinctive, but always technically and AMERICAN SOCIETY emotionally believable. OF AVIATION ARTISTS He is probably best known for his space mural at the Smithsonian Air & Space Museum and his “2001 – A Space Odyssey” movie posters.

THE ASAA FOUNDERS:

R.G. SMITH

(1914-2001) R.G. Smith is widely regarded as the dean of Naval Aviation art. Trained as a mechanical engineer, R.G. helped design many of the Douglas Aircraft products that he so beautifully portrayed on canvas. AMERICAN SOCIETY R.G.’s remarkable black and white pencil renderings are every bit as OF AVIATION ARTISTS convincing as his color images. R.G. used skillful brushstrokes to suggest much more detail than he actually painted.

THE ASAA FOUNDERS:

REN WICKS

(1911-1998) Ren’s skills as a professional illustrator were highlighted in ads for aviation companies, airlines, Hollywood, print media, the U.S. Air Force, NASA, and U.S. postage stamps. His dramatic World War II advertising illustrations of Lockheed and Vega aircraft set a very high standard for aviation art. AMERICAN SOCIETY Ren’s ability to render people as convincingly as aircraft brings the viewer OF AVIATION ARTISTS “into the picture.” His classic friendly flight crew and happy passenger illustrations helped introduce the public to airline travel on a global scale.

AMERICAN SOCIETY OF AVIATION ARTISTS Dedicated to the Pursuit of excellence and Public Appreciation of Aerospace Art

THE OBJECTIVES OF ASAA

* To bring together artists who share a deep interest in documenting aviation and aerospace history for the enjoyment and education of the public and other artists, and to exchange ideas for the betterment of the profession.

* To strive for artistic quality and authenticity in aviation and aerospace art.

* To give mutual support to the understanding and protection of artists’ rights. * To teach and promote ethical business practices. * To help enlighten the public on the importance of documenting aviation and aerospace history and current events through art.

* To hold exhibitions of artistic work of the members of ASAA and others. * To help sponsor exhibitions of appropriate earlier aviator art. To conduct and encourage educational forums to stimulate and inspire the artistic talents of both professional and amateur artists. To increase their knowledge of Aviation and aerospace technology and history. To afford the opportunity for artists to congregate and become acquainted.

* To assist talented individuals who wish to pursue aviation and aerospace art as a profession.

* To establish a scholarship fund to !inancially assist promising art students who desire careers in aviation and aerospace art. All artwork in this catalog is copyrighted by the artists who created it. For more information regarding ASAA or for membership information please visit the American Society of Aviation Artists web site. Many of our Artist Fellow and Artist members, along with their bios and examples of their work, are presented there. For more information regarding ASAA or for membership information please visit the American Society of Aviation Artists web site. Many of our Artist Fellow and Artist members, along with their bios and examples of their work, are presented there. www.asaa-avart.org

JOURNAL OF THE AMERICAN SOCIETY OF AVIATION ARTISTS FA L L 2 0 0 7 SP RI NG 2009

Jour na l o f the Ame r ic a n So c ie ty o f Av i a ti o n Ar tis ts

J o u r n a l o f t h e A m e r i c a n S o c i e t y o f Av i a t i o n A r t i s t s

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ASAA Founder Robert T. McCall donates more than 200 original works of art to The University of Arizona Museum of Art

A E R O S P A C E

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DEDICATED TO THE PURSUIT OF EXCELLENCE AND PUBLIC APPRECIATION OF AEROSPACE ART

PENSACOLA FORUM 2011 MAY 9 - 14

A E R O S P A C E

WITH A LITTLE HELP FROM MY FRIENDS

would like to share with you my recent experience in preparing a painting I call “Peacekeeper Deactivation.” On an Air Force Art Program trip to F.E. Warren Air Force Base in Cheyenne, Wyoming I had the opportunity to actually see a Peacekeeper ICBM in its underground silo. The Peacekeeper had been on strategic alert with the 400th Missile Squadron but was now being deactivated. My task was to create a painting showing the removal of the missile from its silo. It was a once in a life-time experience...watching the maintenance crew perform their duties in the most professional manner imaginable considering the environment they were in (nearly ten thermonuclear warheads). I chose to reconstruct being in that cramped space where missile and associated equipment was stored. But how would I accomplish all this? The answer was!”with a little help from my friends”, namely, Gil Cohen, Keith Ferris, Wilson Hurley and Charles Thompson. These talented artists are long-time members of ASAA and whose advice and instruction I have drawn on over the years. Gil gave advice on drawing the maintenance crew figures; Keith for the spatial relations (DG - descriptive geometry) problems; Wilson for his broad knowledge of all things that have to do with painting; and Charles for his excellent critiques. To begin, I decided to do a cut-away of the silo so that I could establish a viewing position far enough away to see both the missile and some surrounding equipment. I ended up about 60 feet away and 40 feet above the area I wished to show.

Determining proportions for figures

A simple DG plot was done which established the scene. Next, the figures (in the form of stick men) were placed in the proper scale and incorporated into the drawing. This sketch was then enlarged and transferred to the canvas (40” X 25”). The final drawing was completed on the canvas with specific items added from reference photos I’d taken.

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AERO BRUSH - SPRING 2006

Refined drawing from DG plot

Descriptive Geometry plot

SPRING 2006 - AERO BRUSH

Emily posing

Ray looking up at the imagined removal hoist

From the second floor of my home (which has a balcony), and by standing on a six foot ladder I was able to take photos of them in different poses. When I looked at the results it became painfully apparent that things were amiss and the distances desired in order to match those from the DG plot were not there. I needed to be at 40 feet above (I was only 20 feet) and 60 feet away (not 10 feet as was the case in the house). The solution was to re-shoot them from a higher elevation and place them in my backyard - 60 feet away. Problem was, I could not get onto the roof - and my backyard extended only 45 feet away. Ray and Emily would have to stand in my neighbor’s backyard in order for things to be correct. Obliviously this would not work. After some thought, I went back to the small DG plot and noticed the visual angle formed from the viewing position as it struck the head and feet of the stick figure (see drawing, Determining proportions for figures, page 11). I broke the figure down into sections (head, shoulders, waist, knees, and feet), then observed where the visual rays that passed through these areas from my viewing position fell on the ground. This gave me the correct proportions I needed. I noted these new points and re-drew the figures with the proper proportions.

A R T The central figure in the drawing was eliminated because he was poorly drawn and did not work with the composition.

The underpainting done with transparent gold ochre paint

AERO BRUSH - SPRING 2006

Final painting showing the maintenance crew removing the nose cone containing ten MIRVed thermonuclear warheads from the fourth stage of the missile Caption

Next I began applying the under painting using a bistre color of transparent gold ochre. This established my values and allowed me to see how the painting might take shape.

Having my friends available for consultation was most helpful and again shows the benefit of belonging to an organization like ASAA where people are willing to share their knowledge in order to assist us in becoming better artists. It is a privilege to be in their company.

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“Peacekeeper Deactivation” 40 x 25 inches, Oil on canvas

From this point on I began laying in color, correcting and refining areas until the painting was completed.

DEDICATED TO THE PURSUIT OF EXCELLENCE AND PUBLIC APPRECIATION OF AEROSPACE ART

Further refinement of drawing

Once I began drawing the figures, it became apparent that a big problem existed. My reference photos of the maintenance crew in the silo were of little value because their size and perspective were different. I had to somehow make sure that the figures were correct. The solution was to ask my next door neighbors Ray and Emily to pose for the shots.

WITH A LITTLE HELP FROM MY FRIENDS

© 2005 USPS Used with permission, All rights reserved

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WITH A LITTLE HELP FROM MY FRIENDS

Jou r n a l o f t h e Ame r ic a n S o ci e t y o f Av i a t io n A r t is t s

WITH A LITTLE HELP FROM MY FRIENDS

SP RI NG 2011

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DEDICATED TO THE PURSUIT OF EXCELLENCE AND PUBLIC APPRECIATION OF AEROSPACE ART

President Reagan appointed a Commission on Strategic Forces chaired by Lieutenant General Brent Scowcroft. The Scowcroft Commission’s report, issued on 6 April 1983 recommended the immediate deployment of 100 Peacekeeper missiles in existing Minuteman silos to demonstrate national will and to compensate for the retirement of Titan II ICBMs. President Reagan and Congress concurred with the Scowcroft Commission’s findings and on 10 August 1983 the Secretary of Defense instructed the Air Force to deploy 100 Peacekeepers in Minuteman silos at F.E. Warren AFB, Wyoming. In a ceremony held at F.E. Warren AFB on 19 September 2005, the official deactivation of the Peacekeeper ICBM force of 50 missiles took place. “‘There are no longer any Peacekeeper ICBM missiles on strategic alert in the 400th Missile Squadron. It has served its purpose ... The mission is complete. Papa One out.” SPRING 2006 - AERO BRUSH

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SCHOLARSHIP & MENTORING If you want to know how to do a thing you must !irst have a complete desire to do that thing. Then go to kindred spirits –others who have wanted to do that thing—and study their ways and means, learn from their successes and failures and add your quota. Robert Henri, The Art Spirit (1923)

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o other art teacher in America has been more recognized for the wisdom of his views about art and learning to be an artist than Robert Henri. The brief quotation from Henri’s famous book above clearly re!lects and reinforces the major motivation for the founding of the American Society of Aviation Artists (ASAA). ASAA is one of the latest organizations founded to promote art education based on the model that Henri’s words suggest. Since 1986, ASAA has promoted the learning of art techniques and methods and has provided to aspiring artists a solid foundation through lectures, demonstrations, workshops, exhibitions, publications, and that phenomenon that we call “network‐ ing.” In addition to fostering skills in art, ASAA has facilitated the artists’ search for reliable and helpful sources about aviation and aerospace, so that the artists’ representation of their subjects and the historical contexts of the events depicted in their art will be as accurate and authentic as possible. Furthermore, it has provided to artists much helpful information pertaining to the business and legal issues involved in careers in art. In these matters, ASAA has served many of the functions of the apprenticeship systems of yore, providing an “atelier” of sorts for anyone who has come to the organization with a sincere desire to learn from the masters and eventually to contribute their own “quota,” as Henri called it. “Aviation art” is a term used to include not only art depicting airplanes but also art depicting the whole panoply of aerospace subjects, including balloons and dirigibles, helicopters, all spacecraft, and rockets and missiles. It is one of the youngest of genre arts, having counterparts in other, older genre arts such as maritime, railroading, and vehicular art. Luther Gore

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n 1995, ASAA instituted a Scholarship Program designed to promote individual learning beyond the yearly ASAA Forums. The program consists of mentoring, administered by a faculty, independent research and art production. Scholarship participants adhere to an established curriculum that focuses on developing artistic and creative skills applicable to the subject of aerospace art and fine art. In addition, a reading list is required to broaden the historical perspective of fine art. Student work is evaluated with timely critiques. Interaction is established by multiple communication modalities. Upon completion of the required curriculum the scholarship student is invited to an annual forum to participate. Scholarship tenure usually takes one year for completion.

Mentoring ia an important activity of ASAA annual forums. Artists members are available, in addition to regularly scheduled forum learning activities, to assist interested forum participants. Time is provided for one‐on‐one learning as well as the opportunity to create art on location.

ASAA

2006 Recipient of The Milton Caniff Spirit Of Flight Award

Highlights of the American Society of Aviation Artists Origins & General Information ·

The ASAA was founded in 1986 to bring together artists with a deep interest in documenting aviation and aerospace history for public education and enjoyment.

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The ASAA is a not-for-profit 501(c)(6) professional association.

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The ASAA’s primary goals are educational: to promote standards of professionalism, authenticity, and artistic quality in aviation art.

The founders of the ASAA are Keith Ferris, Bob McCall, R.G. Smith, Joe Kotula, and Ren Wicks.

Keith Ferris – is quite possibly the most widely recognized aviation artist in the world today. His B‐17 and Jet History murals at the Smithsonian Air and Space Museum are recognized everywhere. Many aerospace organizations commission his works for advertisements.

Bob McCall – renowned for his distinctive aerospace images, including many for Life magazine features and NASA. He is probably best known for his movie posters created for “Tora! Tora! Tora!” and “2001 – A Space Odyssey.” R.G. Smith – was the dean of Naval Aviation art. His images created for Douglas aircraft and as a combat artist in Vietnam are legendary. His paintings are both artistically lush and realistically energetic at the same time.

Joe Kotula – inspired generations of aviation enthusiasts with his superb covers for Model Airplane News magazine and box art for plastic model kits. His images were dynamic, colorful, and imaginative.

Ren Wicks – was a master of the illustrator’s art in magazines of the 1940s through the 1960s. His stylistic ad art for Lockheed during World War II are recognized throughout aviation art circles. He also painted Jane Russell movie posters for Howard Hughes and friendly corporate images of airline travel during its golden years.

Special Recognition

· The National Aviation Hall of Fame (NAHF) selected the ASAA as its 2006 recipient of the prestigious Milton Caniff award. The Milton Caniff Spirit of Flight Award was created in 1981 to annually acknowledge significant contributions to aviation made by a group or organization. It is named in honor of noted artist and aviation enthusiast, the late Milton Caniff, a longtime NAHF supporter. Among previous recipients of the Spirit of Flight Award are the Tuskegee Airmen, Doolittle Raiders, NASA, and the Civil Air Patrol. Members

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The ASAA has nearly 150 Artist and Artist Fellow members and more than 150 associate members.

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Aviation art by ASAA artists is displayed in museums throughout the United States, including the Smithsonian Air and Space Museum, National Museum of the U.S. Air Force, National Museum of Naval Aviation, Seattle Air Museum, San Diego Aerospace Museum, EAA AirVenture Museum, and many others.

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Although most ASAA artists are from the United States, artist members also come from Italy, Brazil, Canada, Spain, South Africa, Australia, Pakistan, United Kingdom, Hungary, France, Switzerland, and New Zealand.

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ASAA artists’ works appear regularly in national publications, such as Aviation Week & Space Technology, Aviation History, Naval Aviation News, Naval Institute Proceedings, and Wings/Airpower.

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A number of ASAA artists have engineering backgrounds and have helped to design and test the subjects of their art.

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Many ASAA artists have served or are serving in the U.S. Army, Navy, and Air Force. Others are aircraft owners and private and commercial pilots.

Exhibits ·

A world-class juried art exhibit of aviation art accompanies each national ASAA Forum.

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Exhibits are the single biggest ASAA expense each year. Significant funding support is needed to cover the costs of shipping and insuring the original art and printing an exhibit catalog.

· A panel of recognized aviation artists and art experts carefully select (jury) 35 to 50 images for exhibition each year from several hundred candidate entries.

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Each exhibit is opened with an evening reception, which provides the community an opportunity to view these remarkable images as well as to meet many of the artists who created them.

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Substantial cash awards and other artistic recognition are presented to exhibiting artists at the Awards Banquet that concludes each Forum.

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Exhibits typically are displayed in an appropriate museum or gallery venue for about three months. Awards in the categories of military aircraft, general aviation, and space flight are presented by Avi‐ ation Week & Space Technology and published in a subsequent aviation art and photography issue. Other awards are presented by CAE Simuflite, Women in Aviation International, Boeing, Lockheed Martin, the ASAA and others. An illustrated program describing all of the art in the exhibit is available at each Forum.

Forums ·

The ASAA’s main function is educational: to help its members develop their professional skills as artists, researchers, and businesspersons.

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Forum registration is open to all aviation artists and persons interested in supporting and learning more about aviation art.

· Week‐long forums are held around the country – and occasionally in England and Canada – every year. ·

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Forum workshops focus on developing artists’ skills in the studio. Subjects include light and shadow, perspective, landscapes and cloudscapes, surface textures, aircraft structures and human anatomy.

Whenever possible, artists are given opportunities to sketch and paint aircraft and aviation per‐ sonnel at military installations and museums.

When practical, the ASAA schedules an educational session or workshop with local students inter‐ ested in art.

Potential Contributions to host venues ·

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The ASAA International juried exhibit will serve as a unique visitor attraction for venue host.

ASAA artists have played and will continue to play a large role in making aerospace visually excit‐ ing, technically intriguing, and accessible to the general public in ways that no other medium can do. Aviation art is a viable resource for the aerospace industry and a source of inspiration for youngsters and young adults who might consider an aerospace career.

ASAA 2016 International Aerospace Art Exhibition

The James C. Westin Galler y at the Arts Council of Greater Kalamazoo Kalamazoo, Michigan June 1 - July 25, 2016

Opening Reception with ASAA Artists Art Hop of Kalamazoo The James C. Westin Galler y Friday Evening 5 - 8, June 3, 2016

A S A A 2A0S 1A6A 2F 0O1R6 UFMO R U M 30th Anniversary June 2 - June 8, 2016 30th Anniversary Kal8, am2016 azoo, Michigan June 2 - June Kalamazoo, Michigan

FORUM ACADEMICS Keith Ferris

Gil Cohen

Hank Caruso

ASAA Founder

ASAA Fellow

ASA AA A Fellow

• Painting in the Fourth Dimension • Featured Panelist • Telling the Story • A Treatise on Drawing the National Star Insignia

• Featured Panelist • The Art of Gil Cohen Featured Panel Discussions • Art in the Madmen Era: 1950s and 1960s • Propellers • Marketing Aviation Art

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SPRING 2016 AERO BRUSH

John W. Clark ASAA Fellow

Marc Poole, M.F.A.

Art Instructor & Gallery Director , MGCCC-JC Campus

DNA. I would like to share my own background, what led me to this quest, and what I have gained from it.

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Richard Wheatland

Don Malko

GAvA, ASA AA A Fellow

Aero Brush Editor

• History of the ASAA—Thirty Years of Art and Artists Join us for an enthusiastic review of ASAA’s history and evolution spanning three decades of aerospace art and artists.

The 2014 ASA AA A Forum had been my !irst Forum in 22 years, and left me with a newfound motivation to im‐ prove my own work. After spending !ifteen years teaching college‐level drawing and design classes, I realized I had grown very little beyond my rote classroom instruction or my own pre‐ dictable studio methods. I was too re‐ liant on my photographic references, and felt a growing need to learn more about the subtleties of color and value from direct observation that were too sensitive for the camera to capture ac‐ curately. I made one of my 2015 New Year's resolutions to create one plein air painting per week for the entire year, in an effort to strengthen my own awareness of color and light, as well as to shake up my own routine and try something new. It has been such a transformative experience that plein air is now part of my artistic

• The Art of Painting the Automobile Without any shadow of doubt the automobile has shaped our lives, throughout the 20th century the auto‐ mobile has represented many things, technology, wealth, fashion, style and sporting prowess to name but a few. It is both a thing to enjoy and yet for many merely an everyday tool, some‐ AERO BRUSH 2016 SPRING

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thing I’m sure it will continue to be for many years to come, although un‐ doubtedly there are many changes ahead. Our everyday lives have been closely linked to the automobile in so many ways; it is inevitable that when repre‐ sentational art is derived from what we see around us, that art will at some time or other include the automobile. I hope my presentation will be both informative and practical, especially with our visit to The Gilmore Museum in mind. We will visit a selection of the works by established automotive artists past and present from both Eu‐ rope and America, this is by no means a de"initive selection but just my selec‐ tion, work that enthuses me and will illustrate just how diverse auto art can b e. On a practical theme, I will endeav‐ our to provide a few pointers that might help and inspire those who plan to draw or paint at Gilmore, just a few basic tips that have always worked for me. The presentation concludes with a few examples of my work and the sharing of my experiences gained in over thirty years involved in the auto art business.

Robert E. Ellis

President and CEO Kalamazoo Air Zoo 35 Years • Keynote Speaker

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SPRING 2016 AERO BRUSH

Gary Elshoff Flying Colors Glass, LLC

• Stained Glass Aviation Art Gary Elshoff will present a brief his‐ torical overview of the development of stained glass and how it has been de‐ veloped into one of the most iconic mediums to convey artistic interpre‐ tations; ranging from historical sub‐ jects and events to contemporary presentations of speci"ic interests, like

aircraft and aviation‐speci"ic images. Gary will share the development of his techniques and how he “sees” an air‐ craft in glass before it is cut, detailed and assembled into the most tradi‐ tional and evocative full‐spectrum presentation of Light in Flight—the stained glass window. You will learn how his designs include considera‐ tions of color, texture, light sources, engineering, physics, and perspective unique to the medium that are worked into the "inal layout for the artwork.

T H E W E E K AT A G L A N C E Thursday, June 2nd: Registration and board meeting. Nothing official is taking place, but the exhibition will be on display for anyone interested in taking a ride to downtown Kalamazoo during the day to view it. The gallery closes at 5pm. Friday, June 3rd: Academics and Art Hop. Our day is filled with presentations until midafternoon. The Art Hop is scheduled from 5pm until 8pm, and I am told this is a highly popular event in Kalamazoo. Dress for the Art Hop i s c a sua l . Aft e r m i ngl i ng wi t h t he publ i c , di nne r wi l l be on your own i n t he downt own a re a whe re m a ny restaurants will have live musical entertainment, celebrating the Art Hop event. Saturday, June 4th: Air Zoo Day. Our Youth Art Class will take place in the morrnning, after which a full day of drawing and painting, and maybe some amusement rides, will occupy your time. Dinner will be a fun night together, but the cost will be on your own. Sunday, June 5th: Academics. A full day of academics including presenters and panels will occupy all of Sunday. Lunch will be catered to keep things moving, but dinner will on your own. Monday, June 6th: Gilmore Car Museum. We will spend the entire day at the museum enjoying the cars as well as painting at your leisure. There’s a café on the premises for lunch. Dinner will be on your own. Tuesday, June 7th: Gilmore and Battle Creek. We will return to Gilmore to soak in the antiques for one more morning, and then travel to Battle Creek for our business luncheon at Clara’s on the River. The rest of the evening will be spent on your own enjoying downtown Battle Creek. Wednesday, June 8 : Academics and Awards. The slide critique is scheduled early in the morrnning, followed by the remaining academics until about 2:30. Our awards banquet will be held at the hotel that evening, 6pm cocktail hour, 7pm dinner. The dress is business attire. We will retreat to our hospitality that evening for our final farewell for 2016. th

Holiday IHoliday nn Ka Inn Kalamazoo South 11th Street, 11th StreeWest t, Ka2747 l MI 49009 Phone nuKalamazoo, mber: Tel: 269 375 6000 4

Platinum Donor $10,000

Military Engines is proud to support the American Society of Aviation Artists as you celebrate and immortalize aviation. Pratt & Whitney is a world leader in the design, manufacture and service of aircraft engines, space propulsion systems and industrial gas turbines and has been Powering Freedom for more then 80 years.

Gold Donor $5,000

Boeing is the world’s leading aerospace company and the largest combined manufacturer of commercial jetliners and military aircraft. With additional capabilities in rotorcraft, electronic and defense systems, missiles, satellites, launch vehicles and advanced information and communication systems, the company’s reach extends to customers in 145 countries. The Boeing Company is headquartered in Chicago, Illinois.

Bronze Donor $500

Sikorsky

A m e r i c a n S o c i e t y o f Av i a t i o n A r t i s t s AT T N: Nan ette O’ N eal AS AA Executi ve Secretar y 581 Ai rport Rd. Bethel, PA 19507 emai l : as aacon tact@as aa- avart. org ASAA is a n on -p rof it org ani zati on