This Governor’s Institute of Vermont GIV 2019’s Backpack Journalism story researched and produced by Helena Raddock, Noelani Rupp, and Mei Elander.

Stepping into the winter 2019 GIV’s “Biological Illustration” classroom is like entering a whole new world; the calm, Tolkien-themed music flows through the room peacefully as the students quietly converse, low chatter filling the room. The young illustrators hunch over their work eagerly, rarely looking up. Their fingers flit and fly over the paper, producing, what one might say, magic. Finally, looking down a series of densities, textures, and dimensions pop out at you, it’s as if you’re seeing the piece of nature. What is it? It’s biological illustration.

This GIV strand brings the aspect of science into drawing: it’s all about creating the most realistic image possible. 10th grader Jordan Parenteau said that the first day they walked in and there were shells everywhere. Cynthia Moulton, the biologic illustration instructor of the weekend and biology professor, said that the students only drew with pencil, first drawing “blind contours” of shells. A blind contour is for a limited amount of time, as short as 60 seconds. The pencil must always stay on the paper and you may only look at the shell itself. She went on to say that they all drew the same species of shell, but they tried to do it as accurately as possible so the drawing could be easily identified as what shell it was. Cynthia’s mantra, as explained by several students, was, “just draw what you see.”

Saturday morning, February 9th, finds young illustrators continuing to draw shells with accuracy and proportionality using pencils and pens of extensive diversity. As Jorden Parenteau explains, “I’ve learned from Kelsey Parenteau, ( a TA/teacher assistant at GIV), who said to look at all the shapes within the animal, and break the animal down into different shapes.” Cynthia ’s overall goal for these “little Picassos”? “A lot of times people want to fill in their drawing with details from their memory,” Cythia explains. “I tell people not to use memory or expectations but instead focus on looking and observing and translate the actual specimen onto page.” but more importantly, she adds, just take risks and know it doesn’t have to be perfect the first time, letting go of pieces that aren’t working.

Reflecting on their experiences here, artists Sam Valin and Giselle Rainville muse about the peaceful, flow-like environment they have been able to explore their art in. In contrast with other experiences of art class, Valin describes a marked difference in surroundings, favor GIV’s encouraging, focused, and autonomous nature. He explains that working with so many talented people has provided an exciting push towards new styles and techniques and connections with other emerging artists.

Rainville considers discrepancies between her time at the Governor’s Institute of the Arts and this winter weekend. She reflects on the value of time constraints – of the weekend’s length when compared to a full institute – both within the classroom and without in areas of bonding in addition to the similar vibe of support noticed in both art spaces. In considering this weekend, it is important to consider the relevance of honoring and promoting involvement in programs such as and similar to GIV. It is especially important, in a culture predominated by apathy and favored towards efforts of business or STEM fields, to acknowledge and lift up creative expression. This example, effectively set by GIV’s Biological Illustration strand, is one for all young people to appreciate and follow.

EDITOR’S NOTE: No political views, decentralist or otherwise, were shared over the course of the GIV weekend. Our GIV workshop focused on critical media literacy education, the political economy of news media in the digital age, and multimedia mobile news production.