tag:blogger.com,1999:blog-64011602886311301102024-03-16T11:52:27.541-07:00Dianne SutherlandBotanical Artist and Tutor: An Art and Science BlogDianne Sutherlandhttp://www.blogger.com/profile/00336704902577001166noreply@blogger.comBlogger160125tag:blogger.com,1999:blog-6401160288631130110.post-15149957430384444522024-02-09T02:45:00.000-08:002024-02-09T02:45:20.501-08:00Sketchbook Update and a New YouTube Channel<p>It's well into February already and the sketchbook continues to grow, I haven't updated for quite some time, probably since the final entry in book 2, which was June 2022! So here goes with the story up to date. I'll begin with my latest page, which was a little different for me, then I'll tell you about my new sketchbook channel and share a few images from last year. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpy8Haz7QwyMqElah2eIV6vsEvck2-FLFwSy0ucnx97z7ooAXIPgnBugSHlsVcLUJYaSDstx0avDxgFVollQnc6lpwNDP4Z0mBYMahcMI0qihYre1Mhuf7rupm8ZGZIGqoeh5vJJ2alo0lDuXa3ujxVnYDn9eBSHRnfcF1MZu5eMi97CbO9o3Dt8LSUtlG/s4032/IMG_2379.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3024" data-original-width="4032" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpy8Haz7QwyMqElah2eIV6vsEvck2-FLFwSy0ucnx97z7ooAXIPgnBugSHlsVcLUJYaSDstx0avDxgFVollQnc6lpwNDP4Z0mBYMahcMI0qihYre1Mhuf7rupm8ZGZIGqoeh5vJJ2alo0lDuXa3ujxVnYDn9eBSHRnfcF1MZu5eMi97CbO9o3Dt8LSUtlG/w400-h300/IMG_2379.JPG" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><div style="text-align: justify;"><span style="font-size: x-small;"><span style="text-align: left;">My latest entry from January 26th 2024. I had to ask myself why I didn't draw this beautiful oak tree before... the answer is that sometimes the obvious things can be 'too close to home' to see, and this reminded me that there is no need to travel the earth to find special things</span><span style="text-align: center;">. that said, my underlying interest in drawing the whole tree probably came from painting the autumn oak branch for the Irish Society of Botanical Artist's, Irelands Native tree exhibition, which was held in October 2023 (image below). I've drawn a few trees or partial trees in the past few years and ventured into drawing trees through keeping a sketchbook.</span></span></div><div style="text-align: justify;"><span style="font-size: x-small;"><span style="text-align: center;"><br /></span></span></div></td></tr></tbody></table><span style="font-size: x-small;">The featured tree is the largest of three oaks (<i>Quercus robur</i>) that can be seen from my window, the age is unknown but after a chat with the landowner, the assumption is that it must be 200 years old, maybe more ... but now that it's stirred my interest I want to know more. That's the other great thing about keeping a sketchbook, you become invested in the subject, you build a relationship and when it's so close to home you can document it throughout the year. There are many oaks around here, including ancient ones at Trentham Woods. Many of the ancient oaks in Britain were planted by landowners for the purpose of ship building, the most famous ship being the HMS Victory, built in the 1700's it is said to have been built from 600 oak trees! The ships survival is testament to the strength of the oak timbers.</span><div><span style="font-size: x-small;"><br /></span><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2CBcOZiKG0mBOn5uFD2vptjzjzSCLzqiZMIXeFBpxWFrtpEmEOo9_5WMRH1glDL3RC13U4qJasQEsPtiBEsskclUtlyp1VONIAZQynNZk-1IzoseDR9K2IJUyigDx4PqRgaEQmgFA7jr6na-xzcMDgB5EQ3pRdjUQBmqjwKRxC5FYTYP3wsuaIJUot3YM/s4032/IMG_2675.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4032" data-original-width="3024" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2CBcOZiKG0mBOn5uFD2vptjzjzSCLzqiZMIXeFBpxWFrtpEmEOo9_5WMRH1glDL3RC13U4qJasQEsPtiBEsskclUtlyp1VONIAZQynNZk-1IzoseDR9K2IJUyigDx4PqRgaEQmgFA7jr6na-xzcMDgB5EQ3pRdjUQBmqjwKRxC5FYTYP3wsuaIJUot3YM/w300-h400/IMG_2675.JPG" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: left;"><span style="font-size: x-small;">Pencils used in the Oak drawing: from left to right, Rotring 600 0.5 mm HB, Faber Castell TK- Fine Vario HB 0.5mm, Faber Castell clutch TK 4600 HB, and 2B (2mm lead) and Faber Castell 9000 HB - 2B. <span style="text-align: left;"> It's a fairly loose drawing, so I kept the range of pencil grades fairly small but if I was making a final larger drawing I would use a wider range, probably 4H to 6B. </span> </span></td></tr></tbody></table><br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtkByBzIHDqIsEWmcn4QwSFxhe4j9hgHVrNSXLa8J6nGR2mZ8WuraCIIyvR1nBxQ1QUoo2WEc9ohYnVC_RVsRcg65Xc5uOGq1csY1Tsjs42yOK8ktHGlXqM_b9dWBQEoQGodMSSanBwGyGI15S4Zso4B04XsNsmvqtqx4LKWtZ5R0JQzdu_em7IOOyxt-c/s4032/IMG_2397.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4032" data-original-width="3024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtkByBzIHDqIsEWmcn4QwSFxhe4j9hgHVrNSXLa8J6nGR2mZ8WuraCIIyvR1nBxQ1QUoo2WEc9ohYnVC_RVsRcg65Xc5uOGq1csY1Tsjs42yOK8ktHGlXqM_b9dWBQEoQGodMSSanBwGyGI15S4Zso4B04XsNsmvqtqx4LKWtZ5R0JQzdu_em7IOOyxt-c/s320/IMG_2397.JPG" width="240" /></a></td></tr><tr><td class="tr-caption" style="text-align: left;"><span style="font-size: x-small;">This page is mostly graphite page and gave me an opportunity to play with a few different pencils. I used the good old Rotring 600 mechanical HB grade for the outline and smaller branches, I do love the weight and balance of this classic Rotring pencil, it suits me and it's beautifully engineered, its more expensive than most mechanicals but the mechanism seems very stable, unlike others which break with heavy use. I also played with the Faber Castell TK-Fine vario, which is and unusual mechanical pencil because it has a hard and soft setting, the soft setting is sprung so that eases pressure on the paper for the heavy handed. I'm not sure it really took off as a concept and got a bit of bad press but it's a novel idea, and I like novel ideas. For the tonal work I used the trusty Faber Castell clutch HB and 2B 2mm leads, which always do the job and a few FC 9000 wooden pencils. I'll write more about other pencils in a different blog post.I added the budding branches with an enlargement in watercolour for additional info about the tree at this time of year, and a little colour lifts the page<br /><br />. </span><br /></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlEGEECRXrnFwMC9D05ml6IIpGCjLWUrAy_6uuEDrsu9a12JUJTC3wr7cQcyh5Z9ZbhFqwiSSuMVx3WN2_zVedvxKKB_TjUdvNKyUasjxMRMOhT-jUTfSnXfjOgxwSpE87qSAbpdEAP7APqv15xl086Dg6IoaJZ5au9YhIjN71Exyl6Viuzlfl3e7kDh9G/s4032/IMG_1929.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3024" data-original-width="4032" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlEGEECRXrnFwMC9D05ml6IIpGCjLWUrAy_6uuEDrsu9a12JUJTC3wr7cQcyh5Z9ZbhFqwiSSuMVx3WN2_zVedvxKKB_TjUdvNKyUasjxMRMOhT-jUTfSnXfjOgxwSpE87qSAbpdEAP7APqv15xl086Dg6IoaJZ5au9YhIjN71Exyl6Viuzlfl3e7kDh9G/w400-h300/IMG_1929.JPG" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><div style="text-align: left;"><span style="font-size: x-small;">Here's the tree alongside its two smaller neighbours, note the photo distortion at the outer edges of the image, which has greatly enlarged and distorted the right side of the tree, this is the reason why these things shouldn't be drawn from photos. I'd like to write more about the perils of photo distortion... but there's no time just now, sometimes we have to use photos to support work but drawing should be from life. </span></div><span style="font-size: x-small;"><div style="text-align: left;">Below is a detail from the Autumn oak branch painted for the ISBA exhibition October 2023 </div><br /></span><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs96p4NikIol_3JY9NdUeyTFqb6f2oCgqSQu_fLVvRL9jJJzFr0EWb0xOuL7o2MUhNK04nd8I3yD782_Ci4Ta5zVjiKKGRNPAZGNM5zQecWjackNIV3P6FzSZadOqiEyT1KN9ZnC1uwPA8tauR7dyKeTXBdGM03NiVPCg7i_9TngHAoNH28MkDdh6q1k97/s1506/IMG_1614.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1477" data-original-width="1506" height="314" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs96p4NikIol_3JY9NdUeyTFqb6f2oCgqSQu_fLVvRL9jJJzFr0EWb0xOuL7o2MUhNK04nd8I3yD782_Ci4Ta5zVjiKKGRNPAZGNM5zQecWjackNIV3P6FzSZadOqiEyT1KN9ZnC1uwPA8tauR7dyKeTXBdGM03NiVPCg7i_9TngHAoNH28MkDdh6q1k97/s320/IMG_1614.jpg" width="320" /></a></div><br /></td></tr></tbody></table><p>My other news is about the new YouTube Channel, which I launched late in 2023. This channel is dedicated to the sketchbook and is titled, the <a href="http:youtube.com/@BotanicalSketchbooker" target="_blank">Botanical Sketchbooker</a>. It's a simple concept, which I wanted to make easily accessible and free, so YouTube is as good a place as any. I do hope to encourage others to sketch from nature and their local surroundings, basically it's just me sharing what I do, my materials, practice, plants and thoughts on the process. There are a number of amazing artists who keep similar books of their native plants and I love them all. </p><p>BUT remember that you can do whatever you want in your sketchbook, it's entirely driven by your own interests, it can be native plants, flowers in your garden, houseplants or even the things that you've been collecting in a box or on a shelf, such as dried seed-pods, leaf skeletons and branches etc. There is no award, certificate or market to bow to with this activity, it's just for you and that can feel quite liberating! (probably the take home point here). </p><p>The sketchbook channel is new so you won't find lots of content yet, it's a bit of a slow approach and to be honest, sometimes it feels a little awkward to share my personal sketchbook but I'm sure that I'll grow into it. On the channel talk is about materials and practical things but also about plants, choices, reasons and general thoughts on nature. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj19p8nXq0oJLg3QDHjVtv2LtidUJv4u1Tbtf8wMjqLugkCxdZ9qsi9sG28UVgR7RQPR3PhOUovmvVswJpxHXXW4wkXcFWQ8DniQtyl8drEZughHfKJ53S6bZGQxOeIhQlVs51CJSwvOXWXiXEqLSwumRlbJpqbY_ts70CVwoaE4z-u-FCwzOkYCTh59qbm/s3565/IMG_1442.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3565" data-original-width="2503" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj19p8nXq0oJLg3QDHjVtv2LtidUJv4u1Tbtf8wMjqLugkCxdZ9qsi9sG28UVgR7RQPR3PhOUovmvVswJpxHXXW4wkXcFWQ8DniQtyl8drEZughHfKJ53S6bZGQxOeIhQlVs51CJSwvOXWXiXEqLSwumRlbJpqbY_ts70CVwoaE4z-u-FCwzOkYCTh59qbm/w281-h400/IMG_1442.jpg" width="281" /></a></td></tr><tr><td class="tr-caption" style="text-align: left;"><span style="font-size: x-small;"><br />My first page for 2024 began January 20th, it includes some found things, a lichen encrusted branch, a tuft of mossy bark </span><span style="text-align: left;"><span style="font-size: x-small;">and an old crow's skull, that's been sitting on the windowsill forever! This was great to do at this time of year because it can be completed from the comfort and warmth of my desk... I'm a fair weather person and trailing around in the cold isn't for me! I do like to start early in the morning though and the thought of a good sunrise is alway motivation. Morning is definitely the most productive time for me but I don't impose any rules on when and where I should complete my pages, so occasionally I'll work into the early hours of the morning, the only broad rule I have is not to spend much more than a day on the pages but this can be split across two days. </span><br /> </span></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwZXemuKwdubssibU0gNPYWWxKju-j07lvos8ADU42LwUIv02DxqTdb8cedlch3G4SqQOoSMEfjUTEcnIdT5m2GbCJjuxe__4gaF87tmf_CzLORZgEFS4o6zT3U3cQG-7xuMU8JAxKkcaRvrl7bcvlQU3gVEer_eN3eREohW8Q6LjAhlh4d9uNoTF4X8c4/s4032/IMG_1918.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3024" data-original-width="4032" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwZXemuKwdubssibU0gNPYWWxKju-j07lvos8ADU42LwUIv02DxqTdb8cedlch3G4SqQOoSMEfjUTEcnIdT5m2GbCJjuxe__4gaF87tmf_CzLORZgEFS4o6zT3U3cQG-7xuMU8JAxKkcaRvrl7bcvlQU3gVEer_eN3eREohW8Q6LjAhlh4d9uNoTF4X8c4/w400-h300/IMG_1918.JPG" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="text-align: left;">The branch in this page was blown my way by recent storms and this page followed on from a previous page of broken twigs, painted in December, which you can see further down the page.</span><span style="text-align: left;"> </span>As you can see I dropped a second branch behind the main one but painted it in lightly, so using aerial perspective which is useful when trying to create depth and separation, whilst creating a little more interest, the branch looked a little too stark without it. </span></td></tr></tbody></table><p>I strongly belive that the sketchbook is good for an my development as an artist, it improves observation, allows me to learn more about plants, to experiment with approaches, techniques and composition and importantly I feel it is good for the mind. The plants that I paint are chosen for the simple reason that they capture my interest and make me think about my surroundings..... and how wonderful nature can be. Often I discover something completely new that amazes me and usually read about each subject in the evening. Most recently I've been adding information about the weather which is very relevant considering that all of the twigs and branches in my recent pages arrived courtesy of the January storms. Comparison between years between weather, flowering times and conditions can be very useful over time and provide an important snapshot of our local environment - such sketchbooks books could even turn out to be a valuable ecological insight in years to come</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsypK8gRDoTjpMHGk7arbCwtRV_gS_I6xfQ3Ui6BDvV6fV-V-lyVk-_kFMkTeewC0L5QesLa3T_T6zePausrgMaUm-9eNYrCjnNlSUMjXwbEi9zvBdqPEtf8rZt9RJxZB0vfy0A3ivVCyQ9LRavYjTlzOpN-_cogZOFlCduxAdpT9dItQlrPL1K59EiT_M/s4032/IMG_1083.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4032" data-original-width="3024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsypK8gRDoTjpMHGk7arbCwtRV_gS_I6xfQ3Ui6BDvV6fV-V-lyVk-_kFMkTeewC0L5QesLa3T_T6zePausrgMaUm-9eNYrCjnNlSUMjXwbEi9zvBdqPEtf8rZt9RJxZB0vfy0A3ivVCyQ9LRavYjTlzOpN-_cogZOFlCduxAdpT9dItQlrPL1K59EiT_M/s320/IMG_1083.JPG" width="240" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Beginnings, pencil sketches and working on each branch</span> </td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj4GrQxZ9Wv26dEPXHx7Ymr5xZRSYd2JR35qjO5hCgJpiwBTZiVLTuZFSNDlB_RP5MOWPO_WXtbWJ9BR8LJMMCUSHB_v4s-Tgr0cdLwYASl6mDAWX7_P401le6Aw2DRaCigJ6Gy5keod39E5fWiS77IAjW0_ZZgzxBfdrcZ0BHXHthZk6hc87s7nSX5Wa6/s4032/IMG_1204.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-size: x-small;"><img border="0" data-original-height="3024" data-original-width="4032" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj4GrQxZ9Wv26dEPXHx7Ymr5xZRSYd2JR35qjO5hCgJpiwBTZiVLTuZFSNDlB_RP5MOWPO_WXtbWJ9BR8LJMMCUSHB_v4s-Tgr0cdLwYASl6mDAWX7_P401le6Aw2DRaCigJ6Gy5keod39E5fWiS77IAjW0_ZZgzxBfdrcZ0BHXHthZk6hc87s7nSX5Wa6/w400-h300/IMG_1204.jpg" width="400" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Four twigs: December 23rd 2023: I had been in Paris for a few days and delayed home by storm Pia, when I finally arrived home an array of material was scattered on the Lane to choose from, So I chose the most diverse selection of twigs. Ash with moss, the second one I was unsure what it was, but it had a large lichen, third was the dark was hawthorn with the wet bright green lichen and finally a silver birch, these poor trees were pretty smashed ups by the storm. </span></td></tr></tbody></table><p>The seasonality here in the uk is always a reminder of time ticking away as is the blooming of any plant, my advancing age is certainly changing my perspective on what's important. For years I worried about whether I was painting the right subjects, and contemplated whether I should paint more commercial subjects, like big flowers or maybe should try a different medium, eventually I just settled into my own skin and found that the things I love, which are reflective of <i>my</i> interests, maybe they're not so commercial but I've actually found that much paid work came my way from the sketchbook too, and that was a surprise, so doing the things that you are passionate about can pay too if you are consistent, lets face it we all have to earn a living and and committing to being an artist isn't always easy.</p><p> The past few years of sketch booking, I have enjoyed it immensely and feel very fortunate, I am forever grateful to my dear friend Debbie Crawford who suggested that we should have a weekly sketch date during the Covid pandemic, that's when really indulged in the book, in more recent years, as things returned to normal, I have time for a weekly entry but try to create a page every couple of weeks, sometimes I'm too busy with other work but that's ok too...and I always look forward to getting back to my book. Below is a seasonal selection from 2023, I picked one to represent each month here.</p><div class="separator" style="clear: both; text-align: center;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj30RFGlzm9Tw6of3DtNq5h_2rCBPJYkqv97Y5DrdeZRyGKdiw1ZNv_lJ4KHoMoR3Ounp3NvOAeN8wWEBKckUFhCyELkLd2XIyYqotqUBnlqvrjBnuDGAhjvQNpJywfcHPZeXLr34OxdCOZPgpU8_va76IHWKw-isoU10dj9EEEXWpw8pnSCNZSZ2KYo_eY/s3729/IMG_8516%202.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2965" data-original-width="3729" height="254" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj30RFGlzm9Tw6of3DtNq5h_2rCBPJYkqv97Y5DrdeZRyGKdiw1ZNv_lJ4KHoMoR3Ounp3NvOAeN8wWEBKckUFhCyELkLd2XIyYqotqUBnlqvrjBnuDGAhjvQNpJywfcHPZeXLr34OxdCOZPgpU8_va76IHWKw-isoU10dj9EEEXWpw8pnSCNZSZ2KYo_eY/s320/IMG_8516%202.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">November 2023 Mistletoe</td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvJ2CxUyIrwgPCfXvzPVWnmVmHKs22CNt_zKz5GarGt3FMq-Bj6cfOkhu_LhtfeyW5NgEr7Mr3IzmkdynpHDcjafGX90bm0fhGZibnvppuxxwfHpX-H8Pw67ktpl6uBvq0647UXDxOPK_MI2jI6-8A0S4e05v2zzHNE2JmGe7NCmDvvMbt79iSYAQaub-I/s4032/IMG_8709.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3024" data-original-width="4032" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvJ2CxUyIrwgPCfXvzPVWnmVmHKs22CNt_zKz5GarGt3FMq-Bj6cfOkhu_LhtfeyW5NgEr7Mr3IzmkdynpHDcjafGX90bm0fhGZibnvppuxxwfHpX-H8Pw67ktpl6uBvq0647UXDxOPK_MI2jI6-8A0S4e05v2zzHNE2JmGe7NCmDvvMbt79iSYAQaub-I/s320/IMG_8709.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">October 2023 Fly Agaric </td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ-xzl4NJGIS2maRm9YPooReFUTMw368mcTr4cOEAiiRbVnAz85FOzZTXyTqwUPeNjn1Jpej7YcOyLYgMFucWUSYJUGta0_gL8amA0XB39KR5_Hy9nh13jtuXxpTlyaDl-YGpkPnWPCuWkLD4KaAd165xdIEfoFUhyb5zUIfqLLVclBbKjAH0WkVw9cPE3/s3815/IMG_2937%203.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2861" data-original-width="3815" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ-xzl4NJGIS2maRm9YPooReFUTMw368mcTr4cOEAiiRbVnAz85FOzZTXyTqwUPeNjn1Jpej7YcOyLYgMFucWUSYJUGta0_gL8amA0XB39KR5_Hy9nh13jtuXxpTlyaDl-YGpkPnWPCuWkLD4KaAd165xdIEfoFUhyb5zUIfqLLVclBbKjAH0WkVw9cPE3/s320/IMG_2937%203.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">September 2023, Wild Strawberry</td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicqDJX_lZJAob8DFWBaOqeJNYFo9HYznwRhKUT3j9z6O0-9L-LuXOae-UoOntN9DaFCTbCIE7hEd6P-LsGf0j0xWcM0jJmOAfVacrWafswfrXrGe3n_x4IKThF9VEC-tHW3MVILNFluLKootaG0CjRTUeiRw44EY-_fWYtSJjOtsF8dbR2sRZ-zGIrSFgA/s3773/IMG_9879.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3024" data-original-width="3773" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicqDJX_lZJAob8DFWBaOqeJNYFo9HYznwRhKUT3j9z6O0-9L-LuXOae-UoOntN9DaFCTbCIE7hEd6P-LsGf0j0xWcM0jJmOAfVacrWafswfrXrGe3n_x4IKThF9VEC-tHW3MVILNFluLKootaG0CjRTUeiRw44EY-_fWYtSJjOtsF8dbR2sRZ-zGIrSFgA/s320/IMG_9879.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">August 2023, Scots Thistle<br /><br /></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLbp75kz9GX2vxnU73fROEXwfK1kim3KPcy5fnyFP2YnanwBV46nJDTW9aTl62BFIbgKW433IwvLqRRSDyTsitxGTomjzvQguQ5mSX81UXDoluazrKzmX-yenJ-i56l09M5wGt6qcQAftHQuf9J8uLMR9y7Jdj6HRDp-pRSTe2cVcuyXbOoI8-S17VnL04/s3895/IMG_3845.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2876" data-original-width="3895" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLbp75kz9GX2vxnU73fROEXwfK1kim3KPcy5fnyFP2YnanwBV46nJDTW9aTl62BFIbgKW433IwvLqRRSDyTsitxGTomjzvQguQ5mSX81UXDoluazrKzmX-yenJ-i56l09M5wGt6qcQAftHQuf9J8uLMR9y7Jdj6HRDp-pRSTe2cVcuyXbOoI8-S17VnL04/s320/IMG_3845.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">July 2023 Wild Raspberries</td></tr></tbody></table><div><br /></div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmF4fspauOYURhR-sT4M_-qQ7kcGbe0-SJwsGKKI-iKr8opBUO4m-2jEFTriWngIJH1XzM251rn6FJ96OeDemMYS8hL3Rhfp01CJmq_m356MLmbXBeBkeXAun8tEtaZ3s1w1ViiJzihCrIDXP7QbzeoTjXANwVx8YAuZdnS6JdTvhe3cLnENBXCnqZDKXi/s4032/IMG_5229.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3024" data-original-width="4032" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmF4fspauOYURhR-sT4M_-qQ7kcGbe0-SJwsGKKI-iKr8opBUO4m-2jEFTriWngIJH1XzM251rn6FJ96OeDemMYS8hL3Rhfp01CJmq_m356MLmbXBeBkeXAun8tEtaZ3s1w1ViiJzihCrIDXP7QbzeoTjXANwVx8YAuZdnS6JdTvhe3cLnENBXCnqZDKXi/s320/IMG_5229.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">June 2023, Flag Iris </td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLGdtJedBNNysp7piLGUx63ZAy9WtVsAE7cYBHon4Wx3PFD1HEdBj2vw8m3lF5cshqEROt_ihIz2DHkuOvnk_zpm52JBHTqXnUA8LIaYdl16gUE8rzQwskgYF4Cq9kf3-A5B1Uc5DQEW6AK7Ct_HIpiVupPDlZc0PsM1KD2Tf33tw7jzIyHcOVr5FFLhcg/s4032/IMG_3466%202.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3024" data-original-width="4032" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLGdtJedBNNysp7piLGUx63ZAy9WtVsAE7cYBHon4Wx3PFD1HEdBj2vw8m3lF5cshqEROt_ihIz2DHkuOvnk_zpm52JBHTqXnUA8LIaYdl16gUE8rzQwskgYF4Cq9kf3-A5B1Uc5DQEW6AK7Ct_HIpiVupPDlZc0PsM1KD2Tf33tw7jzIyHcOVr5FFLhcg/s320/IMG_3466%202.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">May 2023, Creeping Buttercup</td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0T57kqYRiA5J7iggdgDTD3-S2zumaluiOoWW0m-uD9wbrWeTJitzQXKUONPUdy71d8aGrAhHdsfZd5-mEknCUjJBgv4WcU-e2UL93Vklkp5r2FFp8D8NvzDZbMFFzjmn2dBmEYJVRYVK5Nm5VqD5p9tf-vRgHgO1Z8txBgnqhLQqhyphenhyphenWt7JBRJVDfNs2A3/s4032/IMG_2013%203.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3024" data-original-width="4032" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0T57kqYRiA5J7iggdgDTD3-S2zumaluiOoWW0m-uD9wbrWeTJitzQXKUONPUdy71d8aGrAhHdsfZd5-mEknCUjJBgv4WcU-e2UL93Vklkp5r2FFp8D8NvzDZbMFFzjmn2dBmEYJVRYVK5Nm5VqD5p9tf-vRgHgO1Z8txBgnqhLQqhyphenhyphenWt7JBRJVDfNs2A3/s320/IMG_2013%203.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">April 2023, Forget-me-Not</td></tr></tbody></table><div><br /></div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1kUJP-BnUNeVDQzRbFZKN-g3eb42N3a_hvbEiCLbfKeSjXR5RjMJaeZfI1ozLL7iv7eTaC-dCSYEoJ_iGNWB9ezCB7cTXfAPBF-byvzBIVJrBewm2m6kYgQ8UyqcQFrTKmOp0mgdYsm6gl95RH97o7jzUgK5NQPeWsLFq9bMYySMIwU_r8DQv9DJQDGqU/s4032/IMG_8741.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3024" data-original-width="4032" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1kUJP-BnUNeVDQzRbFZKN-g3eb42N3a_hvbEiCLbfKeSjXR5RjMJaeZfI1ozLL7iv7eTaC-dCSYEoJ_iGNWB9ezCB7cTXfAPBF-byvzBIVJrBewm2m6kYgQ8UyqcQFrTKmOp0mgdYsm6gl95RH97o7jzUgK5NQPeWsLFq9bMYySMIwU_r8DQv9DJQDGqU/s320/IMG_8741.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">March 2023, Goat Willow</td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-CUKTyoDOOp1tiGz1hE2S3tfEy6a_tydh_o6vpXuyw28IpSFZDRQ3hVtj9Xb1inIRdhpAvZtbZUcWm4bYq1yNtHQb8yP9rFx2ZIbisJU44DyGBVeENO_1azWkichPZ_mHjXXuevp3PaVEK4bGot8noffJ8AsDBT2aVN-9IUkaOrP6MX7HJ_EiCKjMiFjP/s3773/IMG_2339.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2663" data-original-width="3773" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-CUKTyoDOOp1tiGz1hE2S3tfEy6a_tydh_o6vpXuyw28IpSFZDRQ3hVtj9Xb1inIRdhpAvZtbZUcWm4bYq1yNtHQb8yP9rFx2ZIbisJU44DyGBVeENO_1azWkichPZ_mHjXXuevp3PaVEK4bGot8noffJ8AsDBT2aVN-9IUkaOrP6MX7HJ_EiCKjMiFjP/s320/IMG_2339.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">February 2023, Cyclamen coum</td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXRCsEEJresce7ZCVfS0oMpAPyrC6uLjUnC25Mw5ARkyFHzQHKDyhvtHiehEmDEJfYvDJk_5f0RG9LlLZqUtt_ZubjIoTFiBomCtMauGo5EFwCXLdAjJ1rJzcOrwPz31YO6r5worp_Lm_4DclIZQ5qmtLDtc8pGotXwjtEG1wQwMfR9LoVYV9ZCp44sJNH/s3962/IMG_0079.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2942" data-original-width="3962" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXRCsEEJresce7ZCVfS0oMpAPyrC6uLjUnC25Mw5ARkyFHzQHKDyhvtHiehEmDEJfYvDJk_5f0RG9LlLZqUtt_ZubjIoTFiBomCtMauGo5EFwCXLdAjJ1rJzcOrwPz31YO6r5worp_Lm_4DclIZQ5qmtLDtc8pGotXwjtEG1wQwMfR9LoVYV9ZCp44sJNH/s320/IMG_0079.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">January 2023, Ash tree, back to trees again at the lean times of year</td></tr></tbody></table><p>One other thing that's worth a mention is artists block. A times artists can be afraid of the white paper and the quest for perfection dominates, yet this only seems to hold us back, maybe my perception is wrong but being a 'perfectionist' can make it hard to actually get anything finished or even started because of this self-inflicted pressure - but that pressure can also come from over-thinking what you 'should' be doing as an artist.... I've been there. Not everything has to be perfect, not everything will be perfect, it goes wrong, its normal, its part of the process of learning and learning never stops. Not that much helps when we feel that way and sometimes I think a pause can be part of a process of re- emergence. </p><p>Today pressures are different than they used to be, yes we are more connected but also spend a lot of time alone, endless scrolling of social media can at times be off-putting, especially if we make the mistake of comparing ourselves to others. Don't get me wrong, I absolutely love social media and think it has transformed the artists' world making the globe a much smaller place. In fact if it wasn't for social media I wouldn't know Debbie or all my other botanical friends and neither would I have such an effective means of communicating, for me it nurtures ideas, its like a giant library, but only if you look in the right places - on the downside, constantly seeing the progress of others when we're feeling a little low on inspiration, with daily reminders of successful memberships, certificates, awards, accolades and being accepted into exhibitions, can make us feel like we are failing and it's depressing for some. Being or feeling rejected can feel harsh and defeating. Of course all of these thing are just what happens, and rejection and failure is also part of the artists life, but feeling unsuccessful or not as good as others can contribute to creating a block. In addition, life can throw in other challenges, such as health or relationship problems, this means it's not always possible to achieve what we want, sometimes we fail, at these times the sketchbook can be an amazing safe place to retreat and reflect. </p><p>And so, although a sketchbook may have no obvious or instant reward in material terms, it may seem even pointless to some (yes I've heard that before) it can be surprisingly rewarding with much to be gained and it might surprise you what can come from it. </p><p>Thanks for reading, having returned to my blog again I see there have been over 1 million views! I suppose it's not a lot as blogs go but I guess people are still reading....so thank you. I will try to write more. </p><div><br /></div><br /></div></div>Dianne Sutherlandhttp://www.blogger.com/profile/00336704902577001166noreply@blogger.com0tag:blogger.com,1999:blog-6401160288631130110.post-3285475715625715392023-08-27T15:46:00.007-07:002023-08-29T01:40:04.284-07:00Hawthorn: Two New Works of Crataegus monogyna<p>Last month I competed two new works featuring the Hawthorn, <i>Crataegus monogyna</i>, both paintings have been submitted to the Irish Native Tree Project organised by the Irish Society of Botanical Artists. The first is and enlarged detail of fruits on the branch in autumn and the second is a scaled down drawing of the whole tree in winter, which also has life size details of the bark and branches, painted in watercolour. </p><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM0W4AK6ffd48OxBPto3I5K00cfMcMhxCJeCRmOJ9mkaeMZaWNNyEz0v3wjwl1og59clNeowP0sEHtWSiArnQVtS0Zfwc1e7lWMpjzHrgh4pUmmwmL8ytu7G6D2uBRHy3FCdokDzYs8YTXjGnHP2Ii0eyrRq9lY_8bPm5oA029CGPfHEiXZqEALt9jCLR-/s4032/IMG_8690.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3024" data-original-width="4032" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM0W4AK6ffd48OxBPto3I5K00cfMcMhxCJeCRmOJ9mkaeMZaWNNyEz0v3wjwl1og59clNeowP0sEHtWSiArnQVtS0Zfwc1e7lWMpjzHrgh4pUmmwmL8ytu7G6D2uBRHy3FCdokDzYs8YTXjGnHP2Ii0eyrRq9lY_8bPm5oA029CGPfHEiXZqEALt9jCLR-/w400-h300/IMG_8690.JPG" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><div><span style="font-size: x-small;">Above: An enlarged branch x3 and dissections x 3.5. I don't normally enlarge whole subjects, usually I only enlarge the smaller details - so this was an interesting task. <span style="text-align: left;"> I decided to keep the composition very simple so as not to clutter - to me white space is important. The numerous lichens on the branch added interest. </span></span></div></td></tr></tbody></table></div><p>Both works are not particularly large at A3 in size, they were completed on Saunders Waterford high white paper 140lb (300gsm), this paper is good because it's pretty tough and good for layering rich colour....which is definitely a requirement for these fruits, and this colour is where the Saunders Waterford paper is most beneficial, that said, it's not quite so great with pale washes, which can look a tad dull, so if you err on the pale side with watercolour there are better papers. Also, I find that I have to work that bit harder on neat edges but it comes good if you are careful with controlling the water. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiu6ewjnvq2ETn9IMTx0xNM_iayaqko95jsuOrQOipI7CLOgCm5Rb9r29h4IjLYg-VPa_iceJsGKslobQ9jodhWY1bZurGSfWQvILb1De_CRPcrOfa81pT2PYR3oz_-MFxx8Ho9WjviNedmiMVb9EB9HR_AIlc6-nwz_VMopOewn7ctoD3MIBNdo44Hgbag/s3532/IMG_6393.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2895" data-original-width="3532" height="329" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiu6ewjnvq2ETn9IMTx0xNM_iayaqko95jsuOrQOipI7CLOgCm5Rb9r29h4IjLYg-VPa_iceJsGKslobQ9jodhWY1bZurGSfWQvILb1De_CRPcrOfa81pT2PYR3oz_-MFxx8Ho9WjviNedmiMVb9EB9HR_AIlc6-nwz_VMopOewn7ctoD3MIBNdo44Hgbag/w400-h329/IMG_6393.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><br />Above: Early stages, This shows the slow build of colour, putting in the underlying blue and blue violets first is vital, some of this colour is retained in the receding edges and more distant fruits, to create aerial perspective. I also add the 'hot spots of warmer colour near to the center of the fruits, which is where there is the highest saturation or brightest colour is (with light and shade both being less saturated). The main thing for me is to get a base in for almost everything, rather than finishing any one part - that way I can keep control of the overall light and shade...so I can see the whole painting and what needs to be done. </span></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL_3TYhCRztRmv4GDSL6buXrd7tIxv9AcS0e5jnL5wf6vGN-g6ZGUmC0GaQDeBBdT8T3UjTgfJM7piSbCdiwdHQQKuIYIqhZXbxTdTL9U9ImO7nkWlf2u3hVhQjlgyJyUEGqAqb3MKOE9rH1NcYag9lJuLsYg5Dqs183shQdgrWnqK9NyzLvG6MSQnKOFM/s2059/IMG_6379%203.jpg" style="margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" data-original-height="2059" data-original-width="1654" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL_3TYhCRztRmv4GDSL6buXrd7tIxv9AcS0e5jnL5wf6vGN-g6ZGUmC0GaQDeBBdT8T3UjTgfJM7piSbCdiwdHQQKuIYIqhZXbxTdTL9U9ImO7nkWlf2u3hVhQjlgyJyUEGqAqb3MKOE9rH1NcYag9lJuLsYg5Dqs183shQdgrWnqK9NyzLvG6MSQnKOFM/w321-h400/IMG_6379%203.jpg" width="321" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><br />Rich colours built using dry brush technique, the violets are painted on the receding edges of the fruit. A fairly limited primary palette was used. More distant fruit is paler, less saturated and cooler in colour to create separation and depth. Colours can be seen on the sketch book pages later in this post. </span></td></tr></tbody></table><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiThdf6M81tQYfAjkm1SuB1ewHh6NBS5s1Ulgnq7z80CmQeBEFVS4Mft8emCTzay0VtSdNJ9TdY5lL96n_hxPSIMbOri4sRv__JQWY7cDfERzYNVa_cKYfQT25PlHeqUTlAz5K5EgdfBb5EMD4JNA3ZRnUJDnbXAXl-w-4sZA4xWpbZJAdJsDmYBDUkH26/s3075/3FA48AC1-CA9B-489F-BF81-7313756E5424.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3024" data-original-width="3075" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiThdf6M81tQYfAjkm1SuB1ewHh6NBS5s1Ulgnq7z80CmQeBEFVS4Mft8emCTzay0VtSdNJ9TdY5lL96n_hxPSIMbOri4sRv__JQWY7cDfERzYNVa_cKYfQT25PlHeqUTlAz5K5EgdfBb5EMD4JNA3ZRnUJDnbXAXl-w-4sZA4xWpbZJAdJsDmYBDUkH26/s320/3FA48AC1-CA9B-489F-BF81-7313756E5424.JPG" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Here you can see how the painting builds in stages. I added just 3 leaves which I felt was sufficient, its always best to work with odd numbers, because it creates better visual stimulus and I felt any more would be too much, and I wanter to retain the fruit as the focal point. The final touch was to add the fruit dissection at the space that id left lower left, you can see this in the first image of the finished painting. The later part of the Latin name, <i>monogyna</i>, refers to the fruit, which has a single ovary and therefore seed (mono-gyna) </span></td></tr></tbody></table><p>The next work was the whole tree, this is a a subject slightly out of my comfort zone but I enjoyed the challenge. I decided to complete the tree in graphite because there seemed little point in using colour to paint a winter tree at this size, but the branch and bark details are in watercolour. It's important to make sure the graphite is strong enough and a range of Faber Castell pencils, grades 2H to 5B were used.</p><p>I've been working on preparing for both of these works for rather a long time, a lot of the time was spent looking for the 'right' tree in different seasons and 'the one' I wanted was discovered at a local nature reserve, known as Doxey Marshes. It was quite hard to sketch because of other bushes and trees behind and it's hard to find the best angle, I liked the fact that it was leaning and shaped by the wind, so chose this position. I also did quite a few sketchbook studies, which can be seen if you read on. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhI1oEe199J8PWvvPljgsJPngF7YhMypBdfXg7F7s76hJUD-bvE-fiOogZb9kMnOUekOWuUY0NpY8s252Canh51a9Z741Xm22w5l38xxKR_SgUgb80y4x7vdF9gL2-KWQ8P_hm_qEX6wMHEf5618gWc_p05OC1wqc7XJoKVd2qDflh5KbqB4CN9ysZ627m/s4032/IMG_7961.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3024" data-original-width="4032" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhI1oEe199J8PWvvPljgsJPngF7YhMypBdfXg7F7s76hJUD-bvE-fiOogZb9kMnOUekOWuUY0NpY8s252Canh51a9Z741Xm22w5l38xxKR_SgUgb80y4x7vdF9gL2-KWQ8P_hm_qEX6wMHEf5618gWc_p05OC1wqc7XJoKVd2qDflh5KbqB4CN9ysZ627m/w400-h300/IMG_7961.JPG" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Doxey Marshes in winter, finding a suitable tree <br /><br /></span></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiB21aK0MoTJ6lOe27x8WvNBQ_aWdwWADOa9PocyYKOyvnvML-Jayt6_HlJrS2cyUFQsO8YZCRcNntS-sipWEDEXQK-_BWuOJ4PbvENmfGrS2LjoVGxgklK4hNU_No4mRonT_2I210nfJreemo4QEaBFoPHIag9zVNdeVTb3GsjXMP6UlrC8uuQgPWBIJ7M/s3800/IMG_7154.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3800" data-original-width="2850" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiB21aK0MoTJ6lOe27x8WvNBQ_aWdwWADOa9PocyYKOyvnvML-Jayt6_HlJrS2cyUFQsO8YZCRcNntS-sipWEDEXQK-_BWuOJ4PbvENmfGrS2LjoVGxgklK4hNU_No4mRonT_2I210nfJreemo4QEaBFoPHIag9zVNdeVTb3GsjXMP6UlrC8uuQgPWBIJ7M/w300-h400/IMG_7154.jpg" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">I began with a framework of the main branches, then the smaller branches and details </span></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgz-4tVvCz035Xys7vc9HsjtJJp_hLTvrfLAIdVCgO7egbq0pLIbkrTUnfl0uAX7P1w_rcnpwGRf_DiyM5Uf10MCs_qSrxYzWWw2PK7K5E3rC34Yv8aDqxTyRHWICgahEO4I7n6aIxCmWqENZoFPEwZlRht-SWg2z-kTq7I-6HM8WB_qcLCy1sq2ntTTcWm/s4032/IMG_7294.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4032" data-original-width="3024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgz-4tVvCz035Xys7vc9HsjtJJp_hLTvrfLAIdVCgO7egbq0pLIbkrTUnfl0uAX7P1w_rcnpwGRf_DiyM5Uf10MCs_qSrxYzWWw2PK7K5E3rC34Yv8aDqxTyRHWICgahEO4I7n6aIxCmWqENZoFPEwZlRht-SWg2z-kTq7I-6HM8WB_qcLCy1sq2ntTTcWm/s320/IMG_7294.jpg" width="240" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Hawthorns hold on to some of their haws over winter, so I needed to include this, to help me understand the arrangement I photographed the branches against the cloudy sky using high contrast, this created a silhouette, this helped with my understanding of all the small structures. </span></td></tr></tbody></table><p>When the tree was complete I added details of the bark, thorns and haws in watercolour and along the bottom of the drawing. Many had lichens. </p><p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipRUtxaUsgCoDONx0JVSRZBNlxkLRM_saICoJbCqpt7OfYMBhL0ZQaI9P9KgJI-KfgjIl6VvpSNLzF742Dt1kL-NgiQ8GvKFN3MgQMCQYQGajMgG0DI7aDc6DJhmQiWALm_z-zcR-ZSAES1b6rBnasJy39WB16xqKV2SCNZFBA61Z74SUDOoMMzDoNllw6/s3372/IMG_8387.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3372" data-original-width="2707" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipRUtxaUsgCoDONx0JVSRZBNlxkLRM_saICoJbCqpt7OfYMBhL0ZQaI9P9KgJI-KfgjIl6VvpSNLzF742Dt1kL-NgiQ8GvKFN3MgQMCQYQGajMgG0DI7aDc6DJhmQiWALm_z-zcR-ZSAES1b6rBnasJy39WB16xqKV2SCNZFBA61Z74SUDOoMMzDoNllw6/s320/IMG_8387.jpg" width="257" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Adding the bark details</span></td></tr></tbody></table><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkQddEKhrsV86wWwTl7mTg4c2YPxrTQcbB4RH9-nZSPBt7MVDhsJKAZRJc2ZFp_X2VJWr4jwlsrUwepS5HmsyPl9Q4rDnasqyKHsQL3lgKJ8MJV-rePAkvMhbEBD0l-bgcRB5bxOQY6_4eAgfSZAGd7kbBGt6hSYU7-KNQQ3AAEus2Lm5ynVjlbJQyaaIX/s3692/IMG_8702.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3692" data-original-width="2751" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkQddEKhrsV86wWwTl7mTg4c2YPxrTQcbB4RH9-nZSPBt7MVDhsJKAZRJc2ZFp_X2VJWr4jwlsrUwepS5HmsyPl9Q4rDnasqyKHsQL3lgKJ8MJV-rePAkvMhbEBD0l-bgcRB5bxOQY6_4eAgfSZAGd7kbBGt6hSYU7-KNQQ3AAEus2Lm5ynVjlbJQyaaIX/w298-h400/IMG_8702.jpg" width="298" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><br />The finished tree with bark and branch details, the tree in graphite and details in watercolour </span></td></tr></tbody></table><p>As always various sketchbook studies of the tree were made in advance of the painting, and the composition for the final painting was based on a sketchbook entry made in October 2021, but I used cut branches for colour accuracy as photographic colour is often incorrect. </p><p></p><p>Prior to the paintings - I also painted some habitat studies with black watercolour paint, which I absolutely loved doing! I make such studies because it's important that I get to know a subject..., I suppose it's what the portrait painter does, and once the decision is made to illustrate a plant, much time is spent observing it.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSVz2j-jVuuYT3Ft_nBKeAUN7UYHKh-BlwZG-g_9guQYQtn35lA0tFIp-SxOdZkxBEZtc1NKhGay_viC5R9PGXJxSwVGuS9M0rlQUAPt8oEARlcm5icHPygQnPZ0xBCYQYvMLaekBFf43V9n21EAFBeydjX3tSOmmrJMX0NXmhVe4AyMHs-87mlYl_WoIu/s3833/IMG_0254.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2731" data-original-width="3833" height="285" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSVz2j-jVuuYT3Ft_nBKeAUN7UYHKh-BlwZG-g_9guQYQtn35lA0tFIp-SxOdZkxBEZtc1NKhGay_viC5R9PGXJxSwVGuS9M0rlQUAPt8oEARlcm5icHPygQnPZ0xBCYQYvMLaekBFf43V9n21EAFBeydjX3tSOmmrJMX0NXmhVe4AyMHs-87mlYl_WoIu/w400-h285/IMG_0254.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Sketchbook October 2022, various autumn fruits, including the Hawthorn in Autumn </span> </td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS437Xx0xmhQUQkX8Rz3SxgOonKbW68ozZavFd8FRmcxk5wW-9wGr7AW75jHXBFaS8x0Kyf5K75q4aZYSZarQ1uLj9lPdx18eI3mzzA0zfJW7lGR9hWXGYLiWtBCUYmcZEerGbmjBamfw_rPFMm8XmMe1lweOXvUMCs4fzrACx5qSWflMADPumoN7yV6q4/s3854/IMG_8848.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2890" data-original-width="3854" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS437Xx0xmhQUQkX8Rz3SxgOonKbW68ozZavFd8FRmcxk5wW-9wGr7AW75jHXBFaS8x0Kyf5K75q4aZYSZarQ1uLj9lPdx18eI3mzzA0zfJW7lGR9hWXGYLiWtBCUYmcZEerGbmjBamfw_rPFMm8XmMe1lweOXvUMCs4fzrACx5qSWflMADPumoN7yV6q4/w400-h300/IMG_8848.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Habitat study of the tree in winter, painted with black watercolour </span></td></tr></tbody></table><p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNN6-EJtXIn7JMJbIjEB3BRyBsWmgTfMkNeiaNQv50Vh3dA5kpT91EZdUFlxWkhuagXTL04FCCo3G6DubqYTUqYCL8Tx1IxY8c08wSdIlq21aGuY4I-bzfat5MljInulA-72epXWSTvEGjplAvNPeDKoY_hro8Wec1Ahth3QM-S-C42kYE7y2bcNF4bGkU/s3799/IMG_8824.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2849" data-original-width="3799" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNN6-EJtXIn7JMJbIjEB3BRyBsWmgTfMkNeiaNQv50Vh3dA5kpT91EZdUFlxWkhuagXTL04FCCo3G6DubqYTUqYCL8Tx1IxY8c08wSdIlq21aGuY4I-bzfat5MljInulA-72epXWSTvEGjplAvNPeDKoY_hro8Wec1Ahth3QM-S-C42kYE7y2bcNF4bGkU/w400-h300/IMG_8824.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Some studies of bark, thorns and lichens on the tree. All of these studies were carried out the previous year and helped with my understanding of the tree.</span></td></tr></tbody></table><b><br /></b></p><p><b>About Hawthorn</b> </p><p>Hawthorn is a fascinating tree and fortunately plenty are available in the lane where I live. It's an incredibly important tree, providing all year round food and shelter for wildlife; being a food plant for caterpillars of moths, it is also rich in pollen and nectar for insects and the antioxidant rich haws persist on the tree well into winter, which supports migrating birds and mammals. The dense thorny hedge made by the branches makes a good home for nesting birds and provides cover for other wildlife. </p><p>Flowering of the tree is long associated with May Day when there was a pagan symbol of fertility. On May Day, the branches were fashioned into celebratory garlands to mark the changing seasons, so it was also a sign to put away the winter clothes.</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEW2pdiQ48oh8cg8DIOqAgZc2krfnqzNauxdwTAB4j7yBQyvKClq3FSN3a8gVou54C2i260V5WDN8nTg5SmKsQ4PIXZzwSrydZv4uiQkFaOI86EB6BVedWquzC1YfXWyOHmH1IkDREwmfNGUM2eDhPS7DkDjCVRJVPW2jkV2OGHVZSk64u1KyB-k_nZmNw/s2773/IMG_2359%205.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2703" data-original-width="2773" height="312" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEW2pdiQ48oh8cg8DIOqAgZc2krfnqzNauxdwTAB4j7yBQyvKClq3FSN3a8gVou54C2i260V5WDN8nTg5SmKsQ4PIXZzwSrydZv4uiQkFaOI86EB6BVedWquzC1YfXWyOHmH1IkDREwmfNGUM2eDhPS7DkDjCVRJVPW2jkV2OGHVZSk64u1KyB-k_nZmNw/s320/IMG_2359%205.jpg" width="320" /></a></div><br /><p></p><p>Like several other trees in folklore, it was advised that Hawthorn should never be taken into the house - for fear of bad luck - in fact the flowers are said to have the 'odour of death', and this was noted at the time of the plague of the Black Death during the 1300's. There is an explanation for this story, and the odour is actually attributed to the presence of trimethylamine, a chemical formed in the early stages of animal decomposition. To be honest I can't say that I've noticed a bad smell but maybe I just didn't notice because the flowers with their pretty pink anthers distracted me. </p><p><b>Finally: </b>I have one more tree to paint and will write again about the final work, then they will be judged shortly, so fingers crossed, the paintings may or may not make it into the exhibition but whatever happens it was fun to do and as always I learned a lot!</p><p><b><br /></b></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p>Dianne Sutherlandhttp://www.blogger.com/profile/00336704902577001166noreply@blogger.com0tag:blogger.com,1999:blog-6401160288631130110.post-67243310337302102102023-01-15T06:17:00.033-08:002023-01-16T14:33:06.324-08:00Painting a Royal Tree in Yogyakarta: Back Story and Singapore Exhibition <p>I love a plant with a story and this plant definitely has a story to tell, which is what compelled me to paint it. I was first introduced to the <i>Stelechocarpus burahol or</i> Keppel Fruit tree in October 2018 by fellow artists from the Indonesian Society of Botanical Artists (IDSBA), Eunike Nughoro and Henny Herawati who were kind enough to take me on a tour of many wonderful places in Yogyakarta, Java. This particular tree, is at Taman Sari, otherwise known as the Royal Garden of the Sultanate of Yogyakarta, within Kraton. The tree is also the Royal emblem for the Special Region Yogyakarta and since 2017, <span style="font-family: inherit;">the </span><span><span style="background-color: white;"><span style="font-family: inherit;">historical center of Yogyakarta, including </span>Taman<span style="font-family: inherit;"> Sari has been designated a World Heritage site. </span></span></span></p><p>On November 15th 2022, this painting was exhibited at the Flora of Southeast Asia exhibition at the Singapore Botanic Garden (SBG). The exhibition was organised by the Botanical Art Society (Singapore) (BASS) and SBG. The exhibition runs until February 15th 2023. </p><p>This lengthy blog post covers the story from finding the plant to painting it and finally exhibiting it.</p><div class="separator" style="clear: both; text-align: center;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgw1mNcy1j_w42TNNV-G4HTGyMx8ugzXbAytqU-O1GT1IVEGMwuZWoY9zOXKUmcTObxwHc0JNrTdnr-qMom26oU2KhsZFxKYoXEFvuIVxdY3PqpZRexOqd1B9lzHcRDBR_iMYBzC2VcXuzkHEq3GA6RHrkSw1yv9Ca3UESaT7t3BaPB_KsFLcZBm_XgAQ/s1190/Stelechocarpus%20burahol%20small.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1190" data-original-width="842" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgw1mNcy1j_w42TNNV-G4HTGyMx8ugzXbAytqU-O1GT1IVEGMwuZWoY9zOXKUmcTObxwHc0JNrTdnr-qMom26oU2KhsZFxKYoXEFvuIVxdY3PqpZRexOqd1B9lzHcRDBR_iMYBzC2VcXuzkHEq3GA6RHrkSw1yv9Ca3UESaT7t3BaPB_KsFLcZBm_XgAQ/w284-h400/Stelechocarpus%20burahol%20small.jpg" width="284" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Stelechocarpus burahol</i> painting, approximately A3 in size in watercolour and graphite. The size was a limitation of the exhibition criteria, so I chose to portray it in a deconstructed way, typical of a scientific illustration, showing various parts and stages of development. The initial reference drawings were made in Indonesia during 3 visits. The painting completed in 2022 in my studio, when the call for entries went out by BASS - This was the opportunity to complete and exhibit a painting of this fascinating tree. </td></tr></tbody></table><p><b>The Tree, Location and History</b></p><p>Everything about this tree was interesting to me, firstly its location: Taman Sari was built in the mid 1700's, known as <span style="font-family: inherit;">the Sultan's Water garden it is most unusual with a fascinating history. Built by <span style="background-color: white; caret-color: rgb(32, 33, 34);">the first sultan of </span></span><span style="background-color: white;"><span><span style="caret-color: rgb(32, 33, 34);">Yogyakarta</span></span><span style="font-family: inherit;"><span style="caret-color: rgb(32, 33, 34);">, Hamengkubuwono I, the</span></span></span><span style="font-family: inherit;"><span style="background-color: white; caret-color: rgb(32, 33, 34);"> construction was lead by Tumenggung Mangundipura, who travell</span></span><span style="background-color: white; caret-color: rgb(32, 33, 34); font-family: inherit;">ed to </span><a href="https://en.wikipedia.org/wiki/Batavia,_Dutch_East_Indies"><span><span style="font-family: inherit;">B</span>atavia </span></a><span style="background-color: white; caret-color: rgb(32, 33, 34); font-family: inherit;"> for inspiration (former capital of the Dutch East Indies now Jakarta), which explains the European style. </span><span style="background-color: white; caret-color: rgb(32, 33, 34); font-family: inherit;">The complex consisted of many buildings including</span><span style="background-color: white; caret-color: rgb(32, 33, 34); font-family: inherit;"> a mosque, meditation chambers, swimming pools, 18 water gardens, pavilions and artificial lakes -</span><span style="font-family: inherit;"> 'Taman' me</span>ans garden and 'sari' means beautiful or flowers in Javanese and describes the environment well. <span style="caret-color: rgb(32, 33, 34);">Apparently in its heyday, the </span><span style="background-color: white; caret-color: rgb(32, 33, 34);">gates</span><span style="caret-color: rgb(32, 33, 34);"> could be closed and the main areas flooded to leave just the tall buildings visible. </span>Taman Sari is still impressive today despite its visible decline but you can feel the history of this special place. <span style="background-color: white;"><span><span style="font-family: inherit;"> Today only the central bathing complex is well preserved, the remainder of the site</span></span></span><span style="font-family: inherit;"> being badly damaged through various events during its history, including the British </span>Invasion<span style="font-family: inherit;"> of 1812, </span>the<span style="font-family: inherit;"> war of Java from 1825-1830 and finally a large 7.8Mw earthquake in 1867, which destroyed several buildings. </span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeUVXe-YyaZIz4CFgD4kL6xDpXjgfDxeObZpiD31lJFBiyCaVLrIt-l28FpYE0Mi4M4VlKYUUwWurG7D4bQvSDz1wIzkbm56s-HsLeOgDqNlaUT6fUiWgePW-_CmK27pDAaz1DBEFC63F4hJL9hyE8k_fDZJC3ih8L8hGXsVRkp3xASY2InDjuGAzKYA/s4032/IMG_4018.HEIC" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3024" data-original-width="4032" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeUVXe-YyaZIz4CFgD4kL6xDpXjgfDxeObZpiD31lJFBiyCaVLrIt-l28FpYE0Mi4M4VlKYUUwWurG7D4bQvSDz1wIzkbm56s-HsLeOgDqNlaUT6fUiWgePW-_CmK27pDAaz1DBEFC63F4hJL9hyE8k_fDZJC3ih8L8hGXsVRkp3xASY2InDjuGAzKYA/w400-h300/IMG_4018.HEIC" width="400" /></a></div><div><br /></div><div>Work in the 1970's restored the main bathing pool, shown above, this is where the former Sultan's viewed and selected women from the tower in the 1700s. </div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-GJhWF2WhPYMNUrxufP8Y4K40tZWq_G04uVzIzyzRFtVuKK_m9YVZhvA-K6yMj9Be3xoezONA5BplOp0B11X_CBaX6_iNYnDrY0HY0DKb_YwB1Jj9bD1T2cKb_BKQ__qocwNihFdnGtoPzPIq-EuKIRof2ly0YO7m4giivVFxsxtDzPZhgDFvMPquUQ/s3196/IMG_6856.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2397" data-original-width="3196" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-GJhWF2WhPYMNUrxufP8Y4K40tZWq_G04uVzIzyzRFtVuKK_m9YVZhvA-K6yMj9Be3xoezONA5BplOp0B11X_CBaX6_iNYnDrY0HY0DKb_YwB1Jj9bD1T2cKb_BKQ__qocwNihFdnGtoPzPIq-EuKIRof2ly0YO7m4giivVFxsxtDzPZhgDFvMPquUQ/s320/IMG_6856.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Botanical Artists visit 2018: Eunike, myself and Henny on the right </td></tr></tbody></table><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1ucGTBYM9t7iSv1ZNCOLCKNC5AHekM8ZJscFXP_gQEcJwOmzDoDzoOuxCPrYh4vxytI3JfO9I617SeRuqHhs-UZ_64TbA59GvHv3_m8EuLEewOdB5JkSm4B04hz1ew3J88L7LOmKWCBlAp27yppKoMnFQ1lHDh2UrC0LuLq4J-nJGsZ3UCutWCZ_hrA/s4032/IMG_3998%202.HEIC" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="4032" data-original-width="3024" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1ucGTBYM9t7iSv1ZNCOLCKNC5AHekM8ZJscFXP_gQEcJwOmzDoDzoOuxCPrYh4vxytI3JfO9I617SeRuqHhs-UZ_64TbA59GvHv3_m8EuLEewOdB5JkSm4B04hz1ew3J88L7LOmKWCBlAp27yppKoMnFQ1lHDh2UrC0LuLq4J-nJGsZ3UCutWCZ_hrA/w300-h400/IMG_3998%202.HEIC" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">First time seeing the protected tree, with the yellow flowers emerging from the trunk, a good example of cauliflory. </td></tr></tbody></table><div><br /></div><div>The first tree can be found near to the entrance, it is encased in wire to protect the trunk, this where the female flowers and fruit are found. This is an example of cauliflory, where the flowers and subsequent fruit grow from the woody parts, presumably this is beneficial to larger animal pollinators or seed dispersers within certain habitats, the trees normal habitat is in the forests of Central Java, so a very different environment to Taman Sari. The smaller male flowers are found on the higher branches. Cauliflory is found in a number of notable species, Jackfruit and the spectacular Cannonball tree spring to mind.<a href="https://mastergardener.extension.wisc.edu/files/2015/12/cauliflory.pdf"> Click here for a short read with nice examples about this adaptation on the Master Gardener website.</a></div><div><br /></div><div><span style="font-family: inherit;"><i style="caret-color: rgb(32, 33, 34);">Stelechocarpus burahol</i> </span> is a member of the Annonaceae family, the Custard Apples, the Keppel fruit is said to have a soft texture and mango like taste, I didn't tase it, many people recount eating it when they were young but today it is more scarce. The fruit <span style="font-family: inherit;">was much treasured by some, particularly the princesses and was known historically for its properties as a deodorant, also</span><span style="background-color: white; font-family: inherit;"><span> a symbol of unity and mental and physical integrity and it was thought to act as a temporary contraceptive after the fruit was consumed. However, its uses were met with suspicion by some, and this meant that many people did not want to have this tree planted because they believed they would be cursed, so they removed it. The tree became rare over time and reserved for royalty, bearing in mind that the Sultan is said to have had up to 40 princesses, the fruit was no doubt popular and useful. </span></span></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSYKSLEhtBRC1v2tQXCoAr5oceSITkId-iiITetZU-wbcCZilJ97uImJDYyCZu8QGQLl5Tdtm9fQVcc-MGjILrUg4kE1sIz_IguKGIO_dqSM6E3i-YYVkeGqDmSsNK_PuA_r42ht9H6eG1ChN3RefBTv14Oh9qSRGGysuzpmIdexOfa8c7sicRlDFsTA/s4032/IMG_0605.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3024" data-original-width="4032" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSYKSLEhtBRC1v2tQXCoAr5oceSITkId-iiITetZU-wbcCZilJ97uImJDYyCZu8QGQLl5Tdtm9fQVcc-MGjILrUg4kE1sIz_IguKGIO_dqSM6E3i-YYVkeGqDmSsNK_PuA_r42ht9H6eG1ChN3RefBTv14Oh9qSRGGysuzpmIdexOfa8c7sicRlDFsTA/w400-h300/IMG_0605.jpg" width="400" /></a></div>Above, my sketches of the tree, I returned three times to observe. Below are some images of the tree, showing some of its stages, from flower to fruit. <div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhqcE3KtvClhUSgNAlmlUra7zf_oogPJNhggqjBK_bmc3o63AUXVHh8A3YYKrcDa_IjEfUPLuIA63tpAwqRPamQ-N5To9ju4V6-SQa9UczdSaoIjwA3DCYmUY_UyNC104XSJuWLKhD2WbYSHa79_0BpsE1f-24KXxQA7xyd8yQNu9w4leLq9B0XaYt4g/s2950/7797487920_IMG_2550.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2880" data-original-width="2950" height="390" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhqcE3KtvClhUSgNAlmlUra7zf_oogPJNhggqjBK_bmc3o63AUXVHh8A3YYKrcDa_IjEfUPLuIA63tpAwqRPamQ-N5To9ju4V6-SQa9UczdSaoIjwA3DCYmUY_UyNC104XSJuWLKhD2WbYSHa79_0BpsE1f-24KXxQA7xyd8yQNu9w4leLq9B0XaYt4g/w400-h390/7797487920_IMG_2550.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The waxy female flower emerge from 'plaques' on the trunk </td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAGskMNkTfuQvmbM-0OkbSi7bm5Qrj5lfeSIp7TA93pe17bmVAyvpWKK2nzTvosxUEEwn6S-IDJ6Y2u0097NaFHnlYQP93uwanCfMDqdhkppWNw3i6l30YXa0UAGBTUxwhzD4L0ibrt0iQby8VGRvp4m7UBvjWjCql8Md-SoU10thGn1ha2iHNytJz4w/s3024/IMG_4041%202.HEIC" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3024" data-original-width="3024" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAGskMNkTfuQvmbM-0OkbSi7bm5Qrj5lfeSIp7TA93pe17bmVAyvpWKK2nzTvosxUEEwn6S-IDJ6Y2u0097NaFHnlYQP93uwanCfMDqdhkppWNw3i6l30YXa0UAGBTUxwhzD4L0ibrt0iQby8VGRvp4m7UBvjWjCql8Md-SoU10thGn1ha2iHNytJz4w/w400-h400/IMG_4041%202.HEIC" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Once pollinated the round fruit develop, there are a large number of fruit on the trunk </td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOqyMuukRQVtPK--xoGJZYGrDd0jVwxUfv44BW5jes_f0iRElxONaPz-7hxCZw9MO_CWthT6b9LuYMDho327-BjcoRArpJ6pPLdanDZJ7_rqHs86zdiITe7N7zDNiBQCuV-AZdk590TiiOEg-LzmPGBB6Vhn2O_ZDUTeKjGAKj5IDXqDQYajKsYGWmhw/s4032/IMG_4035%202.HEIC" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4032" data-original-width="3024" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOqyMuukRQVtPK--xoGJZYGrDd0jVwxUfv44BW5jes_f0iRElxONaPz-7hxCZw9MO_CWthT6b9LuYMDho327-BjcoRArpJ6pPLdanDZJ7_rqHs86zdiITe7N7zDNiBQCuV-AZdk590TiiOEg-LzmPGBB6Vhn2O_ZDUTeKjGAKj5IDXqDQYajKsYGWmhw/w300-h400/IMG_4035%202.HEIC" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">This is another tree are the other side of the complex (the exit) which is next to the Kampoeng cyber village and Zuckerberg Street. This area was a settlement on the ruins of Taman Sari by families made homeless during the 1867 earthquake. They became a thriving community of artists who made Batik. The area declined in the 1990's but in 2003 a group of artists and residents revitalised the area and sought sponsorship to buy computers and it's now an area filled with murals, batik makers and tech!....but that's <a href="https://www.insideindonesia.org/kampoeng-cyber">another story</a>. </td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghk7WrP2v5_ttNVITL0RL1mXoWsJfklEwiH5zx1d-xctqtns-ESgJoFcx7X6t8nv_6n-U5xuFqCfYDrHjZGc-gz3vuyvN3qiyxC60Sbcy5skSwYMitGvKds17fyLqUYSjc0Dl0mh2nyz3QasVyvqTQig1BwM-bMLhY6SwPS-xjDB__aU0ibt8YFL7-3g/s3208/IMG_4053.heic" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3208" data-original-width="2454" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghk7WrP2v5_ttNVITL0RL1mXoWsJfklEwiH5zx1d-xctqtns-ESgJoFcx7X6t8nv_6n-U5xuFqCfYDrHjZGc-gz3vuyvN3qiyxC60Sbcy5skSwYMitGvKds17fyLqUYSjc0Dl0mh2nyz3QasVyvqTQig1BwM-bMLhY6SwPS-xjDB__aU0ibt8YFL7-3g/w306-h400/IMG_4053.heic" width="306" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"> The same as the previous tree but from a different visit, I visited three times to document it. The new leaf growth is pink, red to dark red, which makes the palette interesting. <br /><br /></td></tr></tbody></table><br /><div><b>The Painting and Exhibition </b></div></div><div><b><br /></b></div><div>When the BASS call for entries went out for the Flora of Southeast Asia exhibition, <i>Stelechocarpus burahol</i> came to mind immediately. The exhibition was to be a collaboration between four Societies from <a href="https://www.botanicalartsocietysingapore.com">Singapore (BASS)</a>,<a href="https://idsba.com/?fbclid=IwAR1GDhqPys_QwcdJ1m_mX1X6KpR_S29gJbL9tvmh0Lal_FZdjAGGl6HR5zg"> Indonesia (IDSBA</a>, <a href="https://www.facebook.com/ThaiBotanicalArtists/">Thailand (THBA)</a> and the <a href="https://www.facebook.com/groups/philippinebotanicalartsociety/">Philippines (PhilBA)</a>, the subjects had to be native to one of the participating countries. As a member of BASS I planned to illustrate the Indonesian tree, but this meant that I would have to complete the painting from my reference sketches and photographs, which is always more difficult than having the subject at hand, but I felt in this case it could be done as I had extensive reference. </div><div>The plant names had to be submitted via a spreadsheet to be checked by a botanist , and this ensured that no-one was wasting time on the wrong plants, which seemed very sensible. I have to say that the organisation from start to finish by BASS was excellent, given that they are a new society, and the support from the Singapore Botanical Garden made a brilliant collaboration. </div><div><br /></div><div>From my own perspective I always think it's a good idea to find a plant that is not well represented by illustrators, it feels like a more useful pursuit to document those little documented plants. In addition, in a juried exhibition, more common plants can have several artists illustrating the same plant so that makes it less likely to be accepted. I Googled various sites, such as http://plantillustrations.org, to find out how well illustrated <i>Stelechocarpus burahol </i>was and found very little -with<i> </i>only four images, see this <a href="http://www.plantillustrations.org/species.php?id_species=973664&mobile=0&uhd=0">link</a>. There was only one colour illustration, from Blumes, Flora of Java (1851) Volume 2, an illustration by A J Latour under the synonym <i>Uvaria burahol</i>, which is a former name for the species. This illustration did not show the fruit.</div><div><br /></div><div>The size restrictions for the painting is a practical consideration for exhibition space, so in this case I had to work within an A3 format. I made a start at the beginning of February 2022 after pulling together all of my notes and sketches, these had all the sizes of plant parts and colour notes. I drafted a composition which showed the various stages and phases of the plant rather than trying to paint a large section of the tree, it made more sense to do it that way to tell as much of the story as possible in the space permitted, it was easier to compose given that I didn't have access to the tree. </div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEkIvZ-tclQW6Cy-COVKE8-0lL8Pe7Ezegpm8FxH99ukzGFsjs84znz0fm3FnNhrGONdSi86ZvX_hTAS8Z-H8erVEPv-0oiy1QyF_oUNoEl7CjfcvyYB-yQJjBQvSFCT8gfQrtv-CgWpvH5kawwhs9JgeBM0upvmsdRVw8I-E-vlqfmdkYck8Pqf1rTA/s2975/IMG_7610%202.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2975" data-original-width="2925" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEkIvZ-tclQW6Cy-COVKE8-0lL8Pe7Ezegpm8FxH99ukzGFsjs84znz0fm3FnNhrGONdSi86ZvX_hTAS8Z-H8erVEPv-0oiy1QyF_oUNoEl7CjfcvyYB-yQJjBQvSFCT8gfQrtv-CgWpvH5kawwhs9JgeBM0upvmsdRVw8I-E-vlqfmdkYck8Pqf1rTA/w395-h400/IMG_7610%202.jpg" width="395" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td class="tr-caption" style="text-align: center;">The draft composition upper left, I drew all of the parts and arranged them within the A3 space. I had a fairly clear idea of how I wanted to arrange and tell the story of the plant it in my head prior to this, so it was just a case of creating comfortable spacing between parts and making a balanced composition within the format. Also important was to include <i>only</i> the relevant parts without duplicating anything that wasn't necessary. </td></tr></tbody></table><span style="text-align: left;"> </span></td></tr></tbody></table><div>The line drawing was complete by February 10th, at this point I left it for a couple of days to think about the arrangement. I viewed it on my easel in passing and also took some images on my phone to view away from the studio, this helped me to decide whether any changes were needed, it's best not to rush into painting too quickly as there's no going back if I miss something or make a mistake, patience is worthwhile. I made a few minor adjustments but overall I was happy enough with it.</div><div><br /></div><div>The next stage was to transfer the image onto Stonehenge Aqua HP 550gsm watercolour paper. I used an A2 light pad for this job, and keep the room darkened by closing the blinds. A very light touch of the pencil is needed to keep the outline as pale as possible. The rocker switch on the light pad was switched off at intervals to check the line weight and to ensure that I wasn't going over the same lines more than once. </div><div>The paper used was nearer to A2 in size and I intended to trim it once complete, I prefer to work on larger paper and sometimes make notes as I work on the edge. For me Stonehenge paper is good because of the smooth surface but its important to paint on the correct side as the underside is a little felt like, it also only really suits 'dry' painters and the surface isn't terribly robust, so it you like to push paint around and paint wet - its probably not the best option. </div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMzLzkH0a0F6SUDu6UBkXiznJ9FZSCwytCD18GuyyR-ERab9iSt53U9YYedFnIGh6TuqN97oZ-XjntLAWrcGKGBxOqvA50U0Li9RF6ZKbSPCn1Bm1xvzg_wxAI1GYIoOxoWq9bmObBgNVhQ2DZTvf8svxmdPJNWIEoHj6r3F3eidnWX-nhLwdrzPTkcw/s4032/IMG_7662.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4032" data-original-width="3024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMzLzkH0a0F6SUDu6UBkXiznJ9FZSCwytCD18GuyyR-ERab9iSt53U9YYedFnIGh6TuqN97oZ-XjntLAWrcGKGBxOqvA50U0Li9RF6ZKbSPCn1Bm1xvzg_wxAI1GYIoOxoWq9bmObBgNVhQ2DZTvf8svxmdPJNWIEoHj6r3F3eidnWX-nhLwdrzPTkcw/s320/IMG_7662.JPG" width="240" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Beginning: I cover the painting with tracing paper revealing only the part being worked on - this prevents splashes or oils from hands marking the paper. Some people like to wear cotton fingerless gloves but I find them slightly restrictive. </td></tr></tbody></table><div><br /></div><div>I began in the middle with the leaves because the leaves are alway he tough part, I didn't have the problem of wilting flowers as with a live subject, so this wasn't an issue. I always think that a painting is made (or lost) on the strength of the leaves and bad leaves will ruin it, so I practice them first and often paint leaves first, that way if the leaves are wrong I can start over until I feel they are right. Light is super important too and when working without the subject I had to make sure it was consistent across the painting. On shiny leaves I pretty much always use pale blue underneath, usually Cobalt, this is for the shine or highlights. </div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1wegb77I42-MdUJC0j7awWAWa4EcVtlnBwQWT2d-7cpQscVZ2S4B2XRZtrnV_ARg_RlakhUvznOaT30x7VX5RxmgmKeBzOf-_HptJXYDGLtYbSOwvatKZsStTMeoIAPhFpKtJr6_MmvCmY6oPM8m2iiK2mpF__0enZSgSlv72EdfOrv7oPiLQJcUKtw/s4032/IMG_7940.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4032" data-original-width="3024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1wegb77I42-MdUJC0j7awWAWa4EcVtlnBwQWT2d-7cpQscVZ2S4B2XRZtrnV_ARg_RlakhUvznOaT30x7VX5RxmgmKeBzOf-_HptJXYDGLtYbSOwvatKZsStTMeoIAPhFpKtJr6_MmvCmY6oPM8m2iiK2mpF__0enZSgSlv72EdfOrv7oPiLQJcUKtw/s320/IMG_7940.JPG" width="240" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">February 20th. Leaves are not painted to a finished stage but enough so that I can see that they will be ok. I then proceed to paint all parts to a certain 'not quite finished stage' before completing the whole painting in stages, going back at the end to deepen and adjust where necessary. I believe this approach creates cohesion across the work (for me anyway) </td></tr></tbody></table><div><br /></div><div><br /></div><div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxc8eVeFcNqX-qVOc38ZnzG1GB9fOOFsPemU6CDQuvNqYZ5HkQMG4dQAm9-5oFR-XRvm2VX5qVq8l0mfO-p0Df6xtixqWEOYfE99oAYXgUiHNaAjIwqvKFSif5uAr1b9mwTFboYk6qLQ00B8MNNW1mb-cbEWXD5y_aOmS9DGp1WABL3aHwQmtNTMz2zg/s4032/IMG_9473%202.JPG"><img border="0" data-original-height="4032" data-original-width="3024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxc8eVeFcNqX-qVOc38ZnzG1GB9fOOFsPemU6CDQuvNqYZ5HkQMG4dQAm9-5oFR-XRvm2VX5qVq8l0mfO-p0Df6xtixqWEOYfE99oAYXgUiHNaAjIwqvKFSif5uAr1b9mwTFboYk6qLQ00B8MNNW1mb-cbEWXD5y_aOmS9DGp1WABL3aHwQmtNTMz2zg/s320/IMG_9473%202.JPG" width="240" /></a></div></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td class="tr-caption" style="text-align: center;"><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;">This was the 9th of March, you will note that I wasn't working on this continuously, </blockquote></td></tr></tbody></table> I like to think between parts, this the complete opposite to my approach in a sketchbook, which is often done in one or two sessions.</div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3BvfQTgVazDt27Rq-Uti8E5Os1W0uNANGp86pjWeZdfj_TwtgiS0aJJtv3YgxIXnBakbxVyJdHiyTRIRo_Z6xZoe4a_aedc2N60JE6AxWGVdKJAauoXqv5FUv4gzVTLqpQGgeeCXb56Iur8DiC0TbIkU41cnoucwfPoA1TP0_m83YXaAazMwHilj0rg/s3681/IMG_0653.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3681" data-original-width="2825" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3BvfQTgVazDt27Rq-Uti8E5Os1W0uNANGp86pjWeZdfj_TwtgiS0aJJtv3YgxIXnBakbxVyJdHiyTRIRo_Z6xZoe4a_aedc2N60JE6AxWGVdKJAauoXqv5FUv4gzVTLqpQGgeeCXb56Iur8DiC0TbIkU41cnoucwfPoA1TP0_m83YXaAazMwHilj0rg/s320/IMG_0653.jpg" width="246" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">March 21st. I painted the plaques around the flowers lightly then plotted stems and finally added petals and flower centers. I also started the fruit at the same time. It's important to keep parts evenly weighted, so never work on any part to a finished stage. <br /><br /></td></tr></tbody></table><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9zeKAIJp2AcB_omIwTWmeTefBqbg81IpvPpR2Ixqh7FinOJkXLOEACeDB_KQx38TRRVKvlv0fFcSZuCqgS0X-6VDUlMvOnMTYHJYgxpWr4FCf9_Ung2rUyr48PVvQXDUlk9WpllJY4Nx9DLA1xGfEtElDsaAs5JmljmgeymIkw1g6xMySYJuygby0Fw/s4032/IMG_0650.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4032" data-original-width="3024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9zeKAIJp2AcB_omIwTWmeTefBqbg81IpvPpR2Ixqh7FinOJkXLOEACeDB_KQx38TRRVKvlv0fFcSZuCqgS0X-6VDUlMvOnMTYHJYgxpWr4FCf9_Ung2rUyr48PVvQXDUlk9WpllJY4Nx9DLA1xGfEtElDsaAs5JmljmgeymIkw1g6xMySYJuygby0Fw/s320/IMG_0650.JPG" width="240" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;">March 21st. The fruit really aren't very attractive, they're essentially dull brown balls! the light was going to be extra important to create the rounded form, as were the soft edges. The rear fruit was left paler to create depth and distance with a good bit of violet used as the underlying colour. I know there was a danger of these dominating the piece and was cautious not to over do it.<br /> The surface has small hexagonal type shapes across the surface but I add those at a later stage, see below. This is a common shape in nature - its the energy efficient shape, that a shape that best fills a surface without need for waste, it takes less energy to construct a surface comprising hexagonal shapes that fit together neatly, its also mechanically more stable because of the tension pulled across a surface on the different sides of the shape. Thats also why bees use the hexaganol in their honey comb construction, it creates strength. </span></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWw4-ZWqwBgxwaMymhJBNTsMnSm0XFBCnQ02HQM7n5ZJrYKyKIUgMPjOZvj6myLD8_CHyq1nsJAs5EmGyGzQ5L5YIf7ffbWS3ZxhodIz677u9sER9Iwu7q-ojQKDsCwZahed1SPpOJAqrEQgJ8mwpREb6nBkvjp3udAn_5OmsXfZZ5bcfp6Df5GounLw/s1446/IMG_0648.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1284" data-original-width="1446" height="284" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWw4-ZWqwBgxwaMymhJBNTsMnSm0XFBCnQ02HQM7n5ZJrYKyKIUgMPjOZvj6myLD8_CHyq1nsJAs5EmGyGzQ5L5YIf7ffbWS3ZxhodIz677u9sER9Iwu7q-ojQKDsCwZahed1SPpOJAqrEQgJ8mwpREb6nBkvjp3udAn_5OmsXfZZ5bcfp6Df5GounLw/s320/IMG_0648.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The texture and hexagonal type shapes on the surface, added using dry brush </td></tr></tbody></table><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpf50nN-VT9bvLUVkp6z9-vcsidTVKlr0ILhHtirEKEvQ854zSKfzpO1fhcSm01XfquKMIKlNK1k78TBXICAVusTLWxMDUX4qD0hlRgln_HQ--BBXIMkENN6qHXs7Zzh3zAR0-OuL1CTRRs2prP9ftGFP-6X6ZOnoYFFJ9WTzLB-jqmXJ1f9vlyGmONQ/s2823/IMG_1114%202.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2823" data-original-width="2290" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpf50nN-VT9bvLUVkp6z9-vcsidTVKlr0ILhHtirEKEvQ854zSKfzpO1fhcSm01XfquKMIKlNK1k78TBXICAVusTLWxMDUX4qD0hlRgln_HQ--BBXIMkENN6qHXs7Zzh3zAR0-OuL1CTRRs2prP9ftGFP-6X6ZOnoYFFJ9WTzLB-jqmXJ1f9vlyGmONQ/w325-h400/IMG_1114%202.jpg" width="325" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">30th March. Fruit dissection and developing fruit and pretty much everything else was added at this point </td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBFGATu6MjH16ROQ6k7yLuuxJwt34D8faR2A7BmMhTIqSAONXb3QMMtphscsF8Oh2mKeHNY7xTNW7Pr9cFZkQJ6BlygqhY9ut1CIZUP5T8l_3PgCfP-H_Gw84ZvrPmQ8zKPS74WmZzQYZU3cIU1WvzITbjAGSHuEsDQHM28JhAxb31suK6HMkTo18rmg/s3024/IMG_1236%202.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1857" data-original-width="3024" height="197" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBFGATu6MjH16ROQ6k7yLuuxJwt34D8faR2A7BmMhTIqSAONXb3QMMtphscsF8Oh2mKeHNY7xTNW7Pr9cFZkQJ6BlygqhY9ut1CIZUP5T8l_3PgCfP-H_Gw84ZvrPmQ8zKPS74WmZzQYZU3cIU1WvzITbjAGSHuEsDQHM28JhAxb31suK6HMkTo18rmg/s320/IMG_1236%202.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">March 31st Top branch with male flowers </td></tr></tbody></table><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv2pEewYoLrrKMIMCN6OsWUejTFuHO50gly_-vYaPfeI3-11yhrcGuJXe7eCPy0CPN32OYMaiAxgX8-i61XmLU9zqV9eC1RnfeAZoNjNwG_i2uxqPn0MZenwtB9dNHIDQhdIDhRG7_OcgBFYcuEvTU2EGvKHMFfbyf7v8VzIY-9auyim6xzTpDwvYPrA/s2268/IMG_3103.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2268" data-original-width="1655" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv2pEewYoLrrKMIMCN6OsWUejTFuHO50gly_-vYaPfeI3-11yhrcGuJXe7eCPy0CPN32OYMaiAxgX8-i61XmLU9zqV9eC1RnfeAZoNjNwG_i2uxqPn0MZenwtB9dNHIDQhdIDhRG7_OcgBFYcuEvTU2EGvKHMFfbyf7v8VzIY-9auyim6xzTpDwvYPrA/s320/IMG_3103.jpg" width="234" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">April 13th The graphite parts were added last, a scaled down drawing of the trunk with fruit </td></tr></tbody></table> and the flower details completed the story. I used graphite because this would attract too much attention in watercolour - I like to think about how it looks from a distance and don't want too many 'bit's or unclear parts. Despite all of the time I had this still ended up very close to the submission date. <br /><div><br /></div><div><b>Submission</b> </div>And so it was finished in advance of the submission date, which was April 15th. The next task was to photograph and submit the digital image, normally I would use a professional service but was short on time. I did the initial photograph myself using a DSLR camera and photography box lamps, I also have a photography box which the work can sit inside with the camera above, this is great for making the light even, but it was a little small and I didn't want to trim the paper yet. I had to do some editing, which was done in Photoshop using the 'Levels' tools. It's very important to ensure that the background is clear and even and the image is true to actual painting, BASS were insistent on these points, they provided clear information and links and advise on how to achieve this. The signature could not be added at this stage for anonymity with judging. I also refrained from sharing the finished painting on social media. The online submission met the quality control but I knew I needed a professional image if the painting was accepted. <div><br /></div><div>There were two rounds of judging with 12 judges comprising botanical artists and botanists, with three representing each country. The second round was judged by 5 judges including the Singapore Botanic Garden botanist and curator. <div><br /></div><div>Acceptance came by the beginning of September, I then had time for the work to be professionally photographed, I prefer photography to scanning when delicate graphite is involved. The organisers needed a high resolution image to print the work in the catalogue and on panels in the garden. So it was important to have a good image with the correct resolution and dimensions that was print ready and colour corrected. Home computer screens are generally not calibrated for print - at least mine isn't - firstly I've no idea how to do it and secondly I prefer to leave the image quality work to a professional. It's really not a expensive service and takes the worry and time out of it.<br /><div><br /></div><div>I rolled and packed the painting in tissue and placed into heavy duty cardboard tube, approx 12cm diameter, it needed to be wide enough not to cramp the work and to make the rolling easy. Finally I made sure the package was waterproof! It arrived in successfully in Singapore on September 15th, taking about one week to arrive. It was checked by BASS upon arrival....and a relief to find that all was well. </div><div><br /></div><div><b>The Exhibition </b></div><div>The exhibition opened on November 15th and I was fortunate enough to be at the opening event. It's a wonderful space and the botanic garden is beautiful being one of the few UNESCO botanic gardens in the world it is very impressive. Michele Rodda, the Curator of the exhibition is most supportive of BASS and botanical art and the Society worked with the garden to create an programme of events throughout the duration of the event and during the exhibition opening week. The Gallop extension has recently been refurbished and makes a wonderful dedicated botanical art venue, 80 works were accepted for the Gallop Extension gallery space and the remaining 40 entries were printed and shown in displays throughout the gardens. </div><div><br /></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7_c5VSZ2FWcVHvZdPJNeCT9yjBwOhFmlOjgLEWrkWySfROCt7nLkf7xXg21vyrUuNobN_xQ-dvl4A1Iwn5s6cL79CH53-zZxVVu7TOP1WeaVoQpT1uk-mFDsTolc0mmHFGVuTk_yTI_iQVmQXCKSEVXrYFaoCH-5FXd04cc9NlfFs9HWsJjRIU9VEuQ/s4032/IMG_6349.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3024" data-original-width="4032" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7_c5VSZ2FWcVHvZdPJNeCT9yjBwOhFmlOjgLEWrkWySfROCt7nLkf7xXg21vyrUuNobN_xQ-dvl4A1Iwn5s6cL79CH53-zZxVVu7TOP1WeaVoQpT1uk-mFDsTolc0mmHFGVuTk_yTI_iQVmQXCKSEVXrYFaoCH-5FXd04cc9NlfFs9HWsJjRIU9VEuQ/w400-h300/IMG_6349.JPG" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><div style="text-align: left;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td class="tr-caption" style="text-align: center;">The ornate gates at the main Singapore Botanic Garden entrance. Entrance to the garden and gallery is free. There is a charge to visit the amazing orchid garden. </td></tr></tbody></table></div><div style="text-align: left;"> </div></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhT6x1q6_ENS6MFO_5jlwbBIZ67ausWePB_tjIOR2tvswsNZb5YKVd4Iq-g-XsXAhZ-WrcPo0Ek63nMIGx66biPkiPtxmFlbJR2Bo2MEOiLsdqXgDbrt_q1RvYkq3NpAGrqtdts6hKbDwxkNn0yfs3bLHVNh-iKJAO5orcJnClOCFWsUZAQmwUrtd6y7Q/s4032/IMG_5230.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3024" data-original-width="4032" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhT6x1q6_ENS6MFO_5jlwbBIZ67ausWePB_tjIOR2tvswsNZb5YKVd4Iq-g-XsXAhZ-WrcPo0Ek63nMIGx66biPkiPtxmFlbJR2Bo2MEOiLsdqXgDbrt_q1RvYkq3NpAGrqtdts6hKbDwxkNn0yfs3bLHVNh-iKJAO5orcJnClOCFWsUZAQmwUrtd6y7Q/s320/IMG_5230.JPG" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Heading up to the Gallop Extension Gallery, it's quite a walk from the main entrance to the gallery, especially with the 32C and almost 90% humidity, so its worth <span style="text-align: left;">entering at the Gallop Gate entrance. The Public transport MRT is excellent and there's a taxi drop at each of the 4 gates. The facsimile works are also displayed at each of the gates. Read about the history and design of the building <a href="https://www.nparks.gov.sg/nparksbuzz/issue-28-vol-1-2016/main-feature/a-journey-through-time--the-gallop-extension-of-the-singapore-botanic-gardens-learning-forest">here</a><br /><br /></span></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizd1bk8n9oq8_sUviCJV6oPnfI1qC-N1yI5kCVN_uZELFST5VzHzGTSmb53ezUnkPQLAL0jWX1rCljBwW6pdONoW6K3WcFf8Qjf1BEZp9lM-X6gemFPBGlvLPnHMONEYOzkEC0qXt18WdcCD3jeaIDNh-l0PEc0vKX4MPzDin2dlJHCEtcvBky1MvjFg/s4032/IMG_5157.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4032" data-original-width="3024" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizd1bk8n9oq8_sUviCJV6oPnfI1qC-N1yI5kCVN_uZELFST5VzHzGTSmb53ezUnkPQLAL0jWX1rCljBwW6pdONoW6K3WcFf8Qjf1BEZp9lM-X6gemFPBGlvLPnHMONEYOzkEC0qXt18WdcCD3jeaIDNh-l0PEc0vKX4MPzDin2dlJHCEtcvBky1MvjFg/w300-h400/IMG_5157.JPG" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Banners were places throughout the garden</td></tr></tbody></table><br /><div><br /></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxDuwAp_cUiw1VExK4oCju55Cb4FemQ44avtOpU9HiyZPJTWSKHKGgfUVVFa663zcJj1B3fXHNHvYN7n6ZlssRaTvoVKHfSnTQ1_b4_9qVC8fJi2fXx6d0j6eJGOX6XmT8RjX3-x3xU5pw2KOIU0_sIZ21RDiOCOUsl68xfL97SxXo122_5nAbci2MKQ/s4032/IMG_5449.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3024" data-original-width="4032" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxDuwAp_cUiw1VExK4oCju55Cb4FemQ44avtOpU9HiyZPJTWSKHKGgfUVVFa663zcJj1B3fXHNHvYN7n6ZlssRaTvoVKHfSnTQ1_b4_9qVC8fJi2fXx6d0j6eJGOX6XmT8RjX3-x3xU5pw2KOIU0_sIZ21RDiOCOUsl68xfL97SxXo122_5nAbci2MKQ/s320/IMG_5449.JPG" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">First of the two downstairs Galleries </td></tr></tbody></table><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidK4QGS2LNaztsDCHrTI2bGxZFD76Hzq1NVB4YMmGhd7C5WND0yeW4udjWzW15vZ1A3KJwdh7ZfRxyrLXt9dpzQxGv5eUwi7QdkzNUUSXJN7pzv571xccomHIkpKTuIImmDpmsat9eR39-aadjdBAHUQQmHz3OOwMoH3txI7Oip1f4RVdss_cOB6vOug/s4032/IMG_5283.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4032" data-original-width="3024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidK4QGS2LNaztsDCHrTI2bGxZFD76Hzq1NVB4YMmGhd7C5WND0yeW4udjWzW15vZ1A3KJwdh7ZfRxyrLXt9dpzQxGv5eUwi7QdkzNUUSXJN7pzv571xccomHIkpKTuIImmDpmsat9eR39-aadjdBAHUQQmHz3OOwMoH3txI7Oip1f4RVdss_cOB6vOug/s320/IMG_5283.JPG" width="240" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Beautiful graphics using the artworks to compliment the cases were printed throughout </td></tr></tbody></table> the gallery <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx2Wq_QRKc-9wXLEdpMuGoHiYpqkueLnSk2qYb3MQiovO7QF9oeAvW7ZN25pqdBRTvbVzP-FzejFC2LZLM1noNvzBbseH40VxsI_nhZmDNq5Y_UvDkRKfHavsEiWg8_S0GOq69QMcq_s1JHkgy0keborNmaJRxBtvq7kUZ5BuuEDEDSaMaW_D2rFq4dw/s4032/IMG_5290.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3024" data-original-width="4032" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx2Wq_QRKc-9wXLEdpMuGoHiYpqkueLnSk2qYb3MQiovO7QF9oeAvW7ZN25pqdBRTvbVzP-FzejFC2LZLM1noNvzBbseH40VxsI_nhZmDNq5Y_UvDkRKfHavsEiWg8_S0GOq69QMcq_s1JHkgy0keborNmaJRxBtvq7kUZ5BuuEDEDSaMaW_D2rFq4dw/s320/IMG_5290.JPG" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">In the center of the first gallery is a very nice large display of sketchbooks and artist materials<br /> </td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiK0rWYg_dAdInorNbqJcBqkficmnm1pXoH7xFvn6mrkX_NN-z7qvG-dIN48pVsRFlPKbDbKN9Oat_YGC5Xz06_mZmzif9W8KC-8Q2xb9OQVHEK63WzirVtBB7wuQRcq5fjSI46t3U34cVsmgPgo8tC6quojGS73QPLsRsrGrgtfJXrhRDzYDAHNaqY-g/s4032/IMG_5289.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4032" data-original-width="3024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiK0rWYg_dAdInorNbqJcBqkficmnm1pXoH7xFvn6mrkX_NN-z7qvG-dIN48pVsRFlPKbDbKN9Oat_YGC5Xz06_mZmzif9W8KC-8Q2xb9OQVHEK63WzirVtBB7wuQRcq5fjSI46t3U34cVsmgPgo8tC6quojGS73QPLsRsrGrgtfJXrhRDzYDAHNaqY-g/s320/IMG_5289.JPG" width="240" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Display case featuring Angelina Cheong's beautiful works, Angelina also has two works in the exhibition </td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><br /></div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7gZYeH1LKqj3hKwHViOPG_-K_NT-Chq3ShZoXsDJEwQVrdmPngH3NAg0PGH8B3ku5M7cD7tbjILJTehJ0dM00b9pIJRPNci0lsXiA4wWgOloInvPkTTTbdu3yAwUJN0szSaBqJEEONI3U88MhETpledhapFnCoFc-C0hHg5WEMuHg0wUuAAW2AaVVWw/s4032/IMG_5276.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4032" data-original-width="3024" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7gZYeH1LKqj3hKwHViOPG_-K_NT-Chq3ShZoXsDJEwQVrdmPngH3NAg0PGH8B3ku5M7cD7tbjILJTehJ0dM00b9pIJRPNci0lsXiA4wWgOloInvPkTTTbdu3yAwUJN0szSaBqJEEONI3U88MhETpledhapFnCoFc-C0hHg5WEMuHg0wUuAAW2AaVVWw/w300-h400/IMG_5276.JPG" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The second downstairs gallery, brimming with colour!</td></tr></tbody></table><br />Upstairs is another gallery showing the judges work and a lovely light space where artists gave demonstrations during the exhibition. <br /><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCI-gMEHg_8_1Ssd_SxLPygCV2gee0yYEyhpJXQ10RkX_A_UJeW3pp8MPcNYJGowkNF2GMWujhPbKNJxa4SpuzUmk0QEBYfSvp9iPHCLtSZ4s2jp1mj7MXIb702J4-PLdxkIVgzS6_LjUD3Swo8kXr6oWubgcGrRca_jVzVoDSMFRevjZ0tbETEMrtcw/s3583/IMG_5410.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3583" data-original-width="2939" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCI-gMEHg_8_1Ssd_SxLPygCV2gee0yYEyhpJXQ10RkX_A_UJeW3pp8MPcNYJGowkNF2GMWujhPbKNJxa4SpuzUmk0QEBYfSvp9iPHCLtSZ4s2jp1mj7MXIb702J4-PLdxkIVgzS6_LjUD3Swo8kXr6oWubgcGrRca_jVzVoDSMFRevjZ0tbETEMrtcw/w329-h400/IMG_5410.jpg" width="329" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="text-align: left;">The added bonus was to win a best in show award alongside Teo Nam Siang from Singapore and Deinitisa Amarawi from Indonesia. Here are our works together in a display case at the entrance of the gallery, we each spoke shortly about our works during the event for invited dignitories. Top left is my Stelechocarpus burahol, top righ</span><span style="text-align: left;">Teo Nam Siang's Ant Plant no.1 <i>Hydnophytum </i></span><i>formicarum</i> and bottom is <span style="text-align: left;">Deinitisa Amarawi's The Blooming Fruit: Beneath the Canopy, <i>Sterculia oblongata. </i><br /></span></td></tr></tbody></table><div><br /></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqHgmrVWhUSQLJZaLe8eWNxtYHk8Yq7l8rlKnp0daaiBnYa_28dM4eE_eI1o3HbgPNcCrLDQ1IxybjiPohYqLq5E3y6mTIJhZ5QjhQeeaJmVNrpNOY6jI87ICDcFS4kWjKn0sow7wZ_qN3dyC5DRsBFgRmIVT5kE3lOKQkoQ_oyKQ9i_ZwctaDhKhY5g/s3844/IMG_5486.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2751" data-original-width="3844" height="229" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqHgmrVWhUSQLJZaLe8eWNxtYHk8Yq7l8rlKnp0daaiBnYa_28dM4eE_eI1o3HbgPNcCrLDQ1IxybjiPohYqLq5E3y6mTIJhZ5QjhQeeaJmVNrpNOY6jI87ICDcFS4kWjKn0sow7wZ_qN3dyC5DRsBFgRmIVT5kE3lOKQkoQ_oyKQ9i_ZwctaDhKhY5g/s320/IMG_5486.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">We were presented with a certificate and this beautiful engraved award, art materials from sponsors and a catalogue</td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBgX9882Dc-24zotHk4GSbn_m0EZVdDQrV-8AB_MhghfUkMibgFoVqWVr5m7Nr5PspvtnjvNW9zNhxs7mpAbEi47jhHIw8E-u86bDEMq3SfCFTHldhPe41avVaJKNjrpenW3mZQVuKY45EDQ7smImr8Sfd0Dwxj40n2jo4A0zunxqNKd5nMcoHFeDH9Q/s1651/22790755-78A7-44E2-9D1A-8FD7FECE1823.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1651" data-original-width="1440" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBgX9882Dc-24zotHk4GSbn_m0EZVdDQrV-8AB_MhghfUkMibgFoVqWVr5m7Nr5PspvtnjvNW9zNhxs7mpAbEi47jhHIw8E-u86bDEMq3SfCFTHldhPe41avVaJKNjrpenW3mZQVuKY45EDQ7smImr8Sfd0Dwxj40n2jo4A0zunxqNKd5nMcoHFeDH9Q/w350-h400/22790755-78A7-44E2-9D1A-8FD7FECE1823.JPG" width="350" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Works were also exhibited on information panels in the garden <br /><br /></td></tr></tbody></table>It was a wonderful opportunity and I met so many incredible artists and made new friends. It's hard to believe the BASS was only established in 2019 and all of the contributing Societies are young, some artists in this exhibition have been painting for two years! All societies are very proactive and welcome overseas members. The thing that I like is that they focus on the native flora, having previously spent a good bit of time in different parts of Southeast Asia, it was nice to feel so welcome. <div><br /></div><div>If you can, do visit this exhibition, I highly recommend it but if you're far away there is an online gallery <a href="https://www.botanicalartsocietysingapore.com/exhibitions/flora-of-sea">here</a>. <div><br /></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPI4dJ1QuTQJllYs8W4UiG958-NlluXCeEbGJa6fs1QXcwWwVyuPy7QWcIiIlknWj3VlWPe-h29-Art13YOtCj4SZw-nzslAdsKKC7VAsIzVHDQq5y0_HeZCSupnUiTcOmgmkGu94q-ZrVbR8txkaU5pqDV2tfpLCjuY-BuetAlpYOvAGGQ8jyRYOfoA/s3394/IMG_5096%202.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3394" data-original-width="2943" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPI4dJ1QuTQJllYs8W4UiG958-NlluXCeEbGJa6fs1QXcwWwVyuPy7QWcIiIlknWj3VlWPe-h29-Art13YOtCj4SZw-nzslAdsKKC7VAsIzVHDQq5y0_HeZCSupnUiTcOmgmkGu94q-ZrVbR8txkaU5pqDV2tfpLCjuY-BuetAlpYOvAGGQ8jyRYOfoA/s320/IMG_5096%202.jpg" width="277" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The exhibition catalogue available for 20sd (about 12 gbp or15usd) plus10sd international postage. Available <span style="text-align: left;">by visiting the </span><a href="https://www.botanicalartsocietysingapore.com/shop" style="text-align: left;">BASS shop</a> </td></tr></tbody></table><div><br /></div><div><div> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3lOVCxHmcFRftaZ6UTghqcJo_5yrRa72mRYvX7g5i5qDrnGBPRdOjophCJRQNdB52wI09srlny7mi7HL-3lybkteb_9rxtJBQ7EY8oQOhqzxI1MUXQo7uD2oZjm-tn32z83rifhKJpLnOdmlRcsVw_E8mz-XmGe53rLB3XAzpIaSDiYJWdG3V-a_rvg/s720/IMG_6412.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="540" data-original-width="720" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3lOVCxHmcFRftaZ6UTghqcJo_5yrRa72mRYvX7g5i5qDrnGBPRdOjophCJRQNdB52wI09srlny7mi7HL-3lybkteb_9rxtJBQ7EY8oQOhqzxI1MUXQo7uD2oZjm-tn32z83rifhKJpLnOdmlRcsVw_E8mz-XmGe53rLB3XAzpIaSDiYJWdG3V-a_rvg/w400-h300/IMG_6412.JPG" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Artists from all over SE Asia and further afield gather on the green for a final photo. It was a great day for botanical art in SE Asia!</td></tr></tbody></table><br /><div><br /></div><div><br /></div></div></div></div></div>Dianne Sutherlandhttp://www.blogger.com/profile/00336704902577001166noreply@blogger.com0tag:blogger.com,1999:blog-6401160288631130110.post-10557814064052223132022-11-06T07:37:00.003-08:002022-11-06T07:42:39.546-08:00Sketchbook Update, March - June 2022<p>My last update was early spring, so it's time to add more about the sketchbook. I've not completed so many pages this year but that was expected as we come out of the pandemic, and, with other work to do it's a big ask to complete a page every week. The aim this year was a page every two weeks, which is achievable, given that 23 are completed to date. There are too many for one post so will do this in two. So here goes with March to June, entries 7 - 13: </p><p>I left off in the last post with the promise of Celandine for entry no. 7, and it was indeed completed, but I completed another painting first, it was the wild daffodils at the ancient woodland at George's Hayes, Longdon, Staffordshire. It was March 11th and the day before my 58th birthday, so thought I'd take a bit of a trip out. A bit of a rushed page painted in situ because it started raining.... so that was the end of that. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz14U0-txHKg3qf433zuaStLmmqyy_Y0ASL1x37dOpu_-MsN2HO1NEr0DAYa6JFvtaDcINhEJRxQCaTXo7_tgT-sCuh0hhfZxodbp3_yMN39Hk_ah1vAo880pOk87zXBJZC5eli6xxWoSIdMfc-n6Y-WsLfT0LKzBoRVtRMosVA6LucKJG6q8033eWiQ/s1800/DSutherland26102022-018.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1350" data-original-width="1800" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz14U0-txHKg3qf433zuaStLmmqyy_Y0ASL1x37dOpu_-MsN2HO1NEr0DAYa6JFvtaDcINhEJRxQCaTXo7_tgT-sCuh0hhfZxodbp3_yMN39Hk_ah1vAo880pOk87zXBJZC5eli6xxWoSIdMfc-n6Y-WsLfT0LKzBoRVtRMosVA6LucKJG6q8033eWiQ/w400-h300/DSutherland26102022-018.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Narcissus pseudonarcissus</i>, wild daffodil at Georges Hayes Wood. March 11th 2022</td></tr></tbody></table><br /><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLyWZNvXQqgKmsz_DYyqykgixRnAzm6iKJzkwwRh2K2BUMwZFDvxQgvVNXcCUlJzfBcaUy3LaDRfPDX5PnkzlEPc-5mFfUmw0mbntiGw-32HoOki20CehcvlQvPT-iqivMS3GWDjSHBSQep3RFVxz_JbzUVFnSk208_PLe_xNMo5fulMJJOZspiS18Iw/s4032/IMG_9634.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3024" data-original-width="4032" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLyWZNvXQqgKmsz_DYyqykgixRnAzm6iKJzkwwRh2K2BUMwZFDvxQgvVNXcCUlJzfBcaUy3LaDRfPDX5PnkzlEPc-5mFfUmw0mbntiGw-32HoOki20CehcvlQvPT-iqivMS3GWDjSHBSQep3RFVxz_JbzUVFnSk208_PLe_xNMo5fulMJJOZspiS18Iw/w400-h300/IMG_9634.JPG" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Beautiful sight and the largest stand of wild daffs in Staffordshire </td></tr></tbody></table><br /><p>No. 7. Heres the Lesser Celandine, yes yet another yellow flower. This was early April and at that time of year Celandine is everywhere. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9lp1OoqxwUR4sVEd0eJK6gLahCWBd1DY7csqVkZrvAzmAPuCkyhOvBy-W8BkMqYMVSefeuBmpRHqKxG0CATF4wW-7sZaPbdq4cQZ7RJsZJ-eoEZE5NElDswNAV1doLmTFETTQ4RmgYwMSAU99YnamyFm44AfS9WUoLidjA5dSm21ZdKKYVGzMAlmaMw/s1800/DSutherland26102022-019.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1350" data-original-width="1800" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9lp1OoqxwUR4sVEd0eJK6gLahCWBd1DY7csqVkZrvAzmAPuCkyhOvBy-W8BkMqYMVSefeuBmpRHqKxG0CATF4wW-7sZaPbdq4cQZ7RJsZJ-eoEZE5NElDswNAV1doLmTFETTQ4RmgYwMSAU99YnamyFm44AfS9WUoLidjA5dSm21ZdKKYVGzMAlmaMw/w400-h300/DSutherland26102022-019.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Ficaria verna</i>, Lesser Celandine April 2nd 2022</td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcpp8PQwKylU-VZsDXPTthvr-245DHKFNqSFjRPaxBovrznkzJrB6N20v815FoSIgNhVCRCwlnWYgJlfgUnXKFwje7n4LrJa7tNrm4U8JGbbfGFSvHtwfAT3oyC6tal4CHyquPCLPtZPQ0Hoa9GDZaTD_8z0kCCxsqYKiDMoAuZYUr85g0HD_wSz5VWQ/s4032/IMG_1475.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4032" data-original-width="3024" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcpp8PQwKylU-VZsDXPTthvr-245DHKFNqSFjRPaxBovrznkzJrB6N20v815FoSIgNhVCRCwlnWYgJlfgUnXKFwje7n4LrJa7tNrm4U8JGbbfGFSvHtwfAT3oyC6tal4CHyquPCLPtZPQ0Hoa9GDZaTD_8z0kCCxsqYKiDMoAuZYUr85g0HD_wSz5VWQ/w300-h400/IMG_1475.JPG" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Roadside down the Lane in Checkley, my old stomping ground</td></tr></tbody></table><p>No. 8 Next up, its yellow again! with Cowslip. I planted this on the edge of the garden and it's doing well this year, I also had a few in pots which is always handy, it was a lovely sunny day so I sat out and drew it, then finished it off indoors, because it was way too bright outside. It seemed complicated to draw but was much easier than I thought and took about an hour. I try not to spend more than one day for each page but often this is split into and hour snatched here or there. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEYaueg8Yhhm3MlJVcdPKIl0AtvPK2Ff3oBlRS-hHaNkt5c_7NKCiZWn_P9MyLzUBOR17zb02ItsQLsiGbBmO9p38tGaS2SAZhVD8myGwdKB4mZb65PvTw-6zg10vE3OEHA1FjITb7odbFctGs96owHFSOOfG0Pk7Rf7j4SM8ywrUX6p3lFIlvsIuPpw/s1800/DSutherland26102022-020.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1350" data-original-width="1800" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEYaueg8Yhhm3MlJVcdPKIl0AtvPK2Ff3oBlRS-hHaNkt5c_7NKCiZWn_P9MyLzUBOR17zb02ItsQLsiGbBmO9p38tGaS2SAZhVD8myGwdKB4mZb65PvTw-6zg10vE3OEHA1FjITb7odbFctGs96owHFSOOfG0Pk7Rf7j4SM8ywrUX6p3lFIlvsIuPpw/w400-h300/DSutherland26102022-020.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Primula veris</i>, Cowslip. My garden, April 2nd 2022</td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyLBwdVy5RMgH2Fixvjf3xJJu8o0Y3OeAiq_Gwr0z0BojtZMiuSG2zQiz_o2Db4RBEsJsoxUCQrp8N0ilR44xfWD4AFVSzipV2_NEC7s_umHiZicQ2G9kw_B2WNb4TuIbAHgPOEYBP6kzAHw4a8bXhPNzrwc6N6Bi24l7ZcDZYQgewTjigNeHzgh9SnQ/s3308/IMG_3336.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3308" data-original-width="2642" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyLBwdVy5RMgH2Fixvjf3xJJu8o0Y3OeAiq_Gwr0z0BojtZMiuSG2zQiz_o2Db4RBEsJsoxUCQrp8N0ilR44xfWD4AFVSzipV2_NEC7s_umHiZicQ2G9kw_B2WNb4TuIbAHgPOEYBP6kzAHw4a8bXhPNzrwc6N6Bi24l7ZcDZYQgewTjigNeHzgh9SnQ/w320-h400/IMG_3336.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div>No. 9 Spot the odd one out, not a British native plant for the next page because I took a holiday to Malta! and of course the sketchbook came too. I have to paint this gorgeous little Barbary iris. A walk to the cliffs at Sannat in the morning, revealed the presence of the dead long leaves, like little snakes but the flowers don't open until later in the day, it was extremely hot and a swarm of tiny flies descended, which filled my hair, eyes, nose and clothes...its was pretty awful but didn't stop my return later that day to paint this little beauty. <div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlSI5gXWWeRDL7WQrFFJ3NMmj-eUugI6AGeU8sN-k3RmvkOz6rHQv2r2kdZsnCv4yNuHrI7KIPb6R6gOJndxff3CoWeoU2isTcg9jZf0BdNqeZrGxhJLDO-saz-viiPPaJYrnJJti1lmA6sBNtH_cWQtBi3wKh85KOXmLXsID1DGBJuxeHa1Ve9Aedvw/s1800/DSutherland26102022-021.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1350" data-original-width="1800" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlSI5gXWWeRDL7WQrFFJ3NMmj-eUugI6AGeU8sN-k3RmvkOz6rHQv2r2kdZsnCv4yNuHrI7KIPb6R6gOJndxff3CoWeoU2isTcg9jZf0BdNqeZrGxhJLDO-saz-viiPPaJYrnJJti1lmA6sBNtH_cWQtBi3wKh85KOXmLXsID1DGBJuxeHa1Ve9Aedvw/w400-h300/DSutherland26102022-021.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Morea sisyrinchium</i>, the Barbary Nut, Sannat Cliffs, Malta, 25th April 2022 </td></tr></tbody></table><br /><div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUj6HmFzbou_gR-xWRSGdE3yfA_kXvDOyKRiJxGwzA7i8V6sLvvEBXzWvIIkJ0SlAvvUZvwCrOTdouHarlOCTvdrb0eosMX1ELHRR6_5pavVgZ9DIy0W-Qbqws1-aY8SxFxKV0rQg739sOUlpBtNFYWHTjomvtKnOB79LHqo_8aImsnMNe1MRD3OHQZg/s3427/IMG_4891.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1723" data-original-width="3427" height="201" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUj6HmFzbou_gR-xWRSGdE3yfA_kXvDOyKRiJxGwzA7i8V6sLvvEBXzWvIIkJ0SlAvvUZvwCrOTdouHarlOCTvdrb0eosMX1ELHRR6_5pavVgZ9DIy0W-Qbqws1-aY8SxFxKV0rQg739sOUlpBtNFYWHTjomvtKnOB79LHqo_8aImsnMNe1MRD3OHQZg/w400-h201/IMG_4891.jpg" width="400" /></a></div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUYPq8O19GEtMGlpf4HloatRTbRq37K-uB5uo48OVOUuJEDOr2lLk8d_an1EF3tt7M5C74dcwRB93XpHF2ix-i77TIlvH0FXjdXGF2pdYeUXx545CQe-BinHgBj6Vk9vtrxuPeyqNlmC0F4MXHd5YGJSJqqVGlT0AAt3G6ESEYK8ubcscOF9tG9O8lsg/s4032/IMG_4943.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4032" data-original-width="3024" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUYPq8O19GEtMGlpf4HloatRTbRq37K-uB5uo48OVOUuJEDOr2lLk8d_an1EF3tt7M5C74dcwRB93XpHF2ix-i77TIlvH0FXjdXGF2pdYeUXx545CQe-BinHgBj6Vk9vtrxuPeyqNlmC0F4MXHd5YGJSJqqVGlT0AAt3G6ESEYK8ubcscOF9tG9O8lsg/w300-h400/IMG_4943.JPG" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">See how tiny it is! </td></tr></tbody></table><br /><p>No. 10 Back home again and back to dandelions, I became slightly obsessed following the realisation there are so many species. This one was at the SSSI at Allimore Green, Haughton, Staffs. I think its Taraxacum faeroense, very cute little dandelion. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXjfebZex3qZwEWNMMgvbvBhdPr_XqxeAPdVG03i7kEUiHVr83UHIcsfm2RICIHuqSHvZyJVIwSxe0umw5y3OqiAZppNt0txHS78fOVnBpWAe7jZzZ1gWs9l-aiECbEVj7IDKXwibXGM7IFAS7Ixf3i-UBxmqrMgtVjVzWShqGAG8pu9pUocm_hd9rrQ/s1800/DSutherland26102022-022.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1350" data-original-width="1800" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXjfebZex3qZwEWNMMgvbvBhdPr_XqxeAPdVG03i7kEUiHVr83UHIcsfm2RICIHuqSHvZyJVIwSxe0umw5y3OqiAZppNt0txHS78fOVnBpWAe7jZzZ1gWs9l-aiECbEVj7IDKXwibXGM7IFAS7Ixf3i-UBxmqrMgtVjVzWShqGAG8pu9pUocm_hd9rrQ/w400-h300/DSutherland26102022-022.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Taraxacum faeroense</i>, Allimore Green SSSI Haughton, Staffordshire, 8th May 2022</td></tr></tbody></table><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4U8yfw6yXBs1e_8QpPB7sMnttZjTg4aBAkO6vOryH0CCJvnqKBDRoFyZATo7a7edGsOR4EayfIkuNPU6of0SHSm8RGNjbbptM7IZaBBrAnWAHPU8F6IHWOguQKdvSySJiJWkeEyKnyNH3VUx0vfxX2kqsEvOCRcHLvpkPb1R3fQm5zYQOkkTydMLbGw/s1444/IMG_5890.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1117" data-original-width="1444" height="248" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4U8yfw6yXBs1e_8QpPB7sMnttZjTg4aBAkO6vOryH0CCJvnqKBDRoFyZATo7a7edGsOR4EayfIkuNPU6of0SHSm8RGNjbbptM7IZaBBrAnWAHPU8F6IHWOguQKdvSySJiJWkeEyKnyNH3VUx0vfxX2kqsEvOCRcHLvpkPb1R3fQm5zYQOkkTydMLbGw/s320/IMG_5890.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The bracts are all important in identification</td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhM1T4l6yZYlMEPxudm3PFQicKN6PPuQp7XiKoi74NNw4OcpsCaZ1wxDIu7svdfOCaa1VkHAm_03lLTAKEtRAotDzoxCDb5xPXgvUvfjd8gXjPdFwTk-UP1fGAwwD-oteL66FiqNzHyM079v8LcIFqu7um7vt2KveNRO04jhOQuEBV2fwF9NCYhkjvx8Q/s4032/IMG_0425%202.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3024" data-original-width="4032" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhM1T4l6yZYlMEPxudm3PFQicKN6PPuQp7XiKoi74NNw4OcpsCaZ1wxDIu7svdfOCaa1VkHAm_03lLTAKEtRAotDzoxCDb5xPXgvUvfjd8gXjPdFwTk-UP1fGAwwD-oteL66FiqNzHyM079v8LcIFqu7um7vt2KveNRO04jhOQuEBV2fwF9NCYhkjvx8Q/w400-h300/IMG_0425%202.JPG" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Allimore Green, a rare piece of land the wasn't drained and has been preserved that way, a designated SSSI <br /><br /><br /></td></tr></tbody></table>No. 11 Another dandelion, one from the Hamata section I'm told, <i>T. lamprophyllum</i>, it seemed too small but that's not always important. anyway it was in my garden, so not much effort required for this one. A lazy option when there isn't much time available but goes to show that there's always something to paint. </div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVF_DJz7GmB61YybAYX5ekwPb9iw0ZU1p1REU2gwfxo0Qn60xgv7xlom208jJtZco5n_3TV5HgR5gsE-g2FmAdDIjd4xwFKUejYqfpL5mP0rK6QzAtYccthsh-lo2JZpgW7fv6shzwppuryoPU7KeUxrTH_BPXHYhnRyoLbzkfPUpqhxU2xNJO7AcP8g/s1800/DSutherland26102022-023.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1350" data-original-width="1800" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVF_DJz7GmB61YybAYX5ekwPb9iw0ZU1p1REU2gwfxo0Qn60xgv7xlom208jJtZco5n_3TV5HgR5gsE-g2FmAdDIjd4xwFKUejYqfpL5mP0rK6QzAtYccthsh-lo2JZpgW7fv6shzwppuryoPU7KeUxrTH_BPXHYhnRyoLbzkfPUpqhxU2xNJO7AcP8g/w400-h300/DSutherland26102022-023.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Taraxacum lamprophyllum (maybe), in the garden, 16th May. 2022</td></tr></tbody></table><div><br /></div>No 12, the last full page in the book before starting a new one is <i>Silene dioica</i>, Red Campion. It's one of my favourite flowers and as the name suggests it has separate male and female plants. There was an abundance of females but barely any males. I'd saved some seed podss from last year and added them to the page. When I went to finish the painting the lot had been strimmed, so I took some home and painted finished it off overlooking the field. <div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl2OWCWeLXtPuTTLPUJmygM7C-TcJJyuUTeZ3IPAbnbYJnRhAQilTQ6qmDX_R3pjxYDOpt7JB-Pwu8HdRRvlLWscRlg_CT3-zmO_-lgno8jS34Usr0KebplSa0ADQzB7OYUwa4GZl-utihVCgZ4Wosw7xqVitKean6xh9eyEmhzOm684hF6b3V28xYhg/s1800/DSutherland26102022-024.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1350" data-original-width="1800" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl2OWCWeLXtPuTTLPUJmygM7C-TcJJyuUTeZ3IPAbnbYJnRhAQilTQ6qmDX_R3pjxYDOpt7JB-Pwu8HdRRvlLWscRlg_CT3-zmO_-lgno8jS34Usr0KebplSa0ADQzB7OYUwa4GZl-utihVCgZ4Wosw7xqVitKean6xh9eyEmhzOm684hF6b3V28xYhg/w400-h300/DSutherland26102022-024.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Silene dioica, Common Lane, Stone. 21st May 2022</td></tr></tbody></table><br /><div><br /></div><div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQgL3bpRxnL86TBKG3B3DN0XTlEB2GLTH7ZHheYVyDzGmwe0Cwb8eoK7bsCCwPE9QL8HMB3IW4aAPKNTes34TUhuRSAMIvNYiGm4Z8FqTIaq2ZhA1ZFOG6_oo2HsQJp0__NgaeqIlpix84j1jeQ48tipaXLmSyqm0QEzcq3VbIrEDkJkaneGjdMvvUwQ/s4032/IMG_7806.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4032" data-original-width="3024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQgL3bpRxnL86TBKG3B3DN0XTlEB2GLTH7ZHheYVyDzGmwe0Cwb8eoK7bsCCwPE9QL8HMB3IW4aAPKNTes34TUhuRSAMIvNYiGm4Z8FqTIaq2ZhA1ZFOG6_oo2HsQJp0__NgaeqIlpix84j1jeQ48tipaXLmSyqm0QEzcq3VbIrEDkJkaneGjdMvvUwQ/s320/IMG_7806.JPG" width="240" /></a></div><div><br /></div><div><br /></div>So that marks the end of the second sketchbook and will stop there apart from one more end piece, no. 13 Comfrey with a bee, bit of a rush job! </div><div><br /></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDDHWQKRpp9Sct-OFII_DEh1mNhsMMHkiYBpHHy1tllgBecIAIJmrrXAdFESItHwT73Gjiko5v6KcPDGMmIvjM5jDpI7IgRVBjr4lot2vpgdkDTcCShuWpnVdss13cFoyjmB7C_tDZP_2Hnd0aLuGKH3fZ5hIz-i39B4_OQ1hOb2kNBhSHZsxjsigIng/s1800/DSutherland26102022-025.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1350" data-original-width="1800" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDDHWQKRpp9Sct-OFII_DEh1mNhsMMHkiYBpHHy1tllgBecIAIJmrrXAdFESItHwT73Gjiko5v6KcPDGMmIvjM5jDpI7IgRVBjr4lot2vpgdkDTcCShuWpnVdss13cFoyjmB7C_tDZP_2Hnd0aLuGKH3fZ5hIz-i39B4_OQ1hOb2kNBhSHZsxjsigIng/w400-h300/DSutherland26102022-025.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Symphytum officinale, Common Lane Stone, </td></tr></tbody></table><div><br /></div><div><br /></div><div>For the next book I have more pages and its back to Saunders Waterford hight white paper. I'll post the next batch soon. </div><div><br /></div><div>This project has been ongoing since February 2021 and I have been doing it with my good friend Debbie Crawford from the US. You can see all of our entries on Instagram under the hashtags botanicalsketchdates, which got hijacked by lots of folk, which it fine, so we started another with the hashtag botanicalsketchdates2022. </div><div><br /></div><div>Also on my own IG and Facebook page Dianne Sutherland Artist, where there's lots of other artwork too. </div><div><br /></div><div><br /><br /><div><br /></div></div></div><br />Dianne Sutherlandhttp://www.blogger.com/profile/00336704902577001166noreply@blogger.com0tag:blogger.com,1999:blog-6401160288631130110.post-25677675279326275972022-03-07T11:09:00.002-08:002022-03-07T11:18:46.534-08:00Sketchbook: The Early Flowers (and their stories) <p>We're already into the third month of the year and spring will be upon us soon, so, it's time for a quick sketchbook update following on from my <a href="http://diannesutherland.blogspot.com/2022/01/a-new-year-of-painting-and-plants.html">previous blog post.</a> This year I don't have time to make a sketchbook page every week, but want to keep momentum with recording plants and fungi and aim to complete one at least entry every other week. The project has now come full circle and I'm seeing the plants painted last year back in bloom, this is definitely driving me forward with the project. Sticking to native and naturalised plants makes it slightly more challenging but there is really no shortage of plant material available at this time of year, here are some of the plants and one fungi illustrated between January and early March this year, but I begin with a look through the book in this short video clip. </p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="283" src="https://www.youtube.com/embed/eCP_vI7LJ8E" width="435" youtube-src-id="eCP_vI7LJ8E"></iframe></div><p>Below is a little about each entry because I can never fit enough information on the sketch pages. Each subject usually has at least one fascinating fact, including medicinal uses, pollination strategies, animal plant interactions, symbolism and folklore, food sources and much more. </p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj4xO1zfBJ72Yhc4z_AJpR8vZMMg4I0Gnt6eY3drxKzFkc2eSytD6Q4V7r-1midzilc_BfPb6iiJkLS8f9kDAUT3-T39F5Rqe9Cx5wbLN0ex06P5IzfGaLrGuAqM3ped6_OlQ-UjmEHC6ZGFXkTfXddqdeY_ME1Uz3pm0qn0EFfvrn5OQ07FQB_xq-dfQ=s3528" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2629" data-original-width="3528" height="299" src="https://blogger.googleusercontent.com/img/a/AVvXsEj4xO1zfBJ72Yhc4z_AJpR8vZMMg4I0Gnt6eY3drxKzFkc2eSytD6Q4V7r-1midzilc_BfPb6iiJkLS8f9kDAUT3-T39F5Rqe9Cx5wbLN0ex06P5IzfGaLrGuAqM3ped6_OlQ-UjmEHC6ZGFXkTfXddqdeY_ME1Uz3pm0qn0EFfvrn5OQ07FQB_xq-dfQ=w400-h299" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: left;"><br /><div style="text-align: center;"> January 25th, my second entry for the year was the Wood Blewitt, <i>Lepista</i><i> nuda</i></div><i style="text-align: left;"><br /></i><span style="text-align: left;">F</span>ound at Keele woods, which is on the site of the University where my daughter is a student. I've made a few studies here before and there are some interesting plants and fungi which I hope to record in the future. The Wood Blewit is one of the latest mushrooms of the season which was unexpected in January, the colour is a very attractive blue/ lilac and apparently they are a gourmet mushroom that appear through the leaf litter, this made a nice setting against the violet colour. I'm not overly confident in my identification skills of fungi and won't be eating these mushrooms any time soon as they are very similar to several poisonous species, such as the Cortinaruis fungi. Whilst scanning the surrounding area, as all nature artists do, I was also excited to spot a Medlar tree next to these mushrooms. Note that I switched to using walnut ink here for the notes.....hence the top left splodge! </td></tr></tbody></table><br /><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhFhhXi0U8Ir9sps8vcEKN24Z3FZA2svX787b1W8I1YCCawAakqrSiQVVc4zyZ8mtAQh-XyfdQiRChuUEsGCNrAuVnz4um1l1psbqfi-WbuR2AE2qGnuET8yP_SR4kLIEohhzJvyCUqqtkj-KrP7RwEL2uuIaVgDg2JHtav7OzlzTGaQbQ1fhNNGyqe4g=s3539" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2704" data-original-width="3539" height="305" src="https://blogger.googleusercontent.com/img/a/AVvXsEhFhhXi0U8Ir9sps8vcEKN24Z3FZA2svX787b1W8I1YCCawAakqrSiQVVc4zyZ8mtAQh-XyfdQiRChuUEsGCNrAuVnz4um1l1psbqfi-WbuR2AE2qGnuET8yP_SR4kLIEohhzJvyCUqqtkj-KrP7RwEL2uuIaVgDg2JHtav7OzlzTGaQbQ1fhNNGyqe4g=w400-h305" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><div style="text-align: left;"><br /></div><div style="text-align: center;"> January 29th, the third entry of the year was <i>Ulex europaeus</i>, the common gorse (family: Fabaceae), also known as Furze </div><div style="text-align: left;"><br /></div><div style="text-align: left;">These very common plants were found at Barlaston Downs, which is a national Trust woodland and heath, just a couple of miles from home. Gorse is a beautiful plant with a perfume of coconut, it always reminds me of my time living in Scotland and I can recall seeing the Yellowhammers flying in and out of the bushes, which surrounded my house. </div><div style="text-align: left;">I always like to find out about medicinal or other uses for plants and Gorse is no exception, as an important plant in identifying the rare blood type known as the Bombay or HH or Oh Phenotype, first identified in Bombay in 1952. It turns out that <i>Ulex europea</i> contains Lectin in the seeds, which binds to 'H' substance in red blood cells. </div><div style="text-align: left;">Most people will never know they have this blood type unless they are unlucky enough to need a blood transfusion. Individuals with this blood type are deficient in the H antigen, this is the antigen found on all red blood cells which is the precursor to the production of all other ABO antigens. As a result those with the Bombay phenotype may appear to be type O, however they carry an extra antibody which makes then them incompatible with the O blood type because they lack the precursor antigen known as 'H'. Thus they can only receive blood from other H deficient blood types, giving them a transfusion of another blood type will cause a very severe reaction. <span style="font-family: inherit;">With only 0.0004% of the population having this blood type, it's pretty rare, so gorse has been instrumental in ensuring that those with the Bombay phenotype are identified and not given the wrong blood type. </span></div><div style="text-align: left;"><span style="font-family: inherit;"> </span></div></td></tr></tbody></table><p></p><div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiJpf20W-VZzgBY0yFTgtESLYyKlKqrRuntA0g6xhXnOeMuYw4pt62Hj5mcoauKDWN3I-rUujKiGglyb8kw_h9RekKsMc5MTMnV71Qu8CcSlgVA-oS8f7Zk1z2Dto80lgCAec4hQ2wjkR7Sw_NKID1r_hNPTBQTqGgt1IiXPSF-l9Ozx9p0E1_dMXPCPw=s700" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="532" data-original-width="700" height="305" src="https://blogger.googleusercontent.com/img/a/AVvXsEiJpf20W-VZzgBY0yFTgtESLYyKlKqrRuntA0g6xhXnOeMuYw4pt62Hj5mcoauKDWN3I-rUujKiGglyb8kw_h9RekKsMc5MTMnV71Qu8CcSlgVA-oS8f7Zk1z2Dto80lgCAec4hQ2wjkR7Sw_NKID1r_hNPTBQTqGgt1IiXPSF-l9Ozx9p0E1_dMXPCPw=w400-h305" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: left;"><br /><div style="text-align: center;">February 17th <i>Galanthus nivalis, </i>the common snowdrop (Family: Amaryllidaceae) </div><br /><span style="font-family: inherit;">These milk white snowdrops grow at the bottom of the lane where I live. It's not a native plant but one that became naturalised and is thought to have arrived in Britain in the16th century. Although I try to complete pages in the equivalent of one day, this one took longer and I moved on the the next and returned to it over a week later. The idea of backgrounds is appealing but have to keep in mind that it's more time consuming.<br /><br />The snowdrop is known as the plant of hope, simply because they signal the first signs of new growth in advance of spring but it also offers other hope to Alzheimer sufferers. This plant that has important medicinal uses, snowdrops contain the alkaloid galantamine, which is approved for use in the management of Alzheimers disease in over 70 countries, including the UK. The anecdotal use of the snowdrop in medicine has long been recorded and Greeks first acknowledged the effects of galantamine in Homer's Odyssey, when Odysseus used the snowdrop to clear his mind of bewitchment. In modern medicine galantamine was reportedly first extracted in the 1950 after a curious Bulgarian pharmacist witnessed the use of snowdrop leaves and bulbs being rubbed on the forehead of villagers, it was noted to be a chemical of importance in cerebral function. Galantamine was approved as a drug in Bulgaria in 1958 and in the US in 2001, it acts as a treatment for memory improvement for those with Alzheimers and mild dementia. </span></td></tr></tbody></table><br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgQxKaGXMJU9lEVeU-TrP-DrQ0Uy9UXw6y85QEVubRYYNAdXDJHazWBLiE1TnjgWRjR5U6b69OTyRiD-5BvAJFCAzzIhuht4_AXo-JQkDNISq168-JbVeKb8fw_jW2z21-TNN6bOWxnTuy2MyV69OnOISvHU6SDwM9AlAY5XSJ8-fBjhRTiybeD-ummWw=s4032" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3024" data-original-width="4032" height="300" src="https://blogger.googleusercontent.com/img/a/AVvXsEgQxKaGXMJU9lEVeU-TrP-DrQ0Uy9UXw6y85QEVubRYYNAdXDJHazWBLiE1TnjgWRjR5U6b69OTyRiD-5BvAJFCAzzIhuht4_AXo-JQkDNISq168-JbVeKb8fw_jW2z21-TNN6bOWxnTuy2MyV69OnOISvHU6SDwM9AlAY5XSJ8-fBjhRTiybeD-ummWw=w400-h300" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="text-align: left;"><br /><div style="text-align: center;">February 20th, the fifth page of the year is <i>Eranthus hyemalis </i>or Winter Aconite (Family: Ranunculaceae)</div><div style="text-align: right;"><span style="text-align: left;"><br /></span></div><div style="text-align: justify;"><span style="text-align: left;">These little plants were blown clean out of the ground during storm Dudley, which followed two other nasty UK storms. It was an opportunistic find when I saw them lying on the ground and gathered them up, they made a nice interval to painting the snowdrops. Winter aconite is another naturalised species first recorded growing wild in Britain in the 1830's although introduced in the 1590's. </span></div></span><span style="text-align: left;"><div style="text-align: justify;"><span style="text-align: left;"> It's a poisonous plant if consumed, although not as poisonous as Aconitum which it was at one time erroniously classified alongside because of its leaf shape, it is however in the same family, and all Ranunculaceae are poisonous to some degree. It contains some useful medicinal properties with the chemical khellin, this is a toxic chemical that acts as a vasodilator but can be converted into a harmless sodium chromoglicate used as a prophylaxis for the treatment of asthma attacks. Also amiodarone which is used for atrial fibrillation and arrhythmia treatment.</span></div></span></td></tr></tbody></table></div><div><b><div><br /></div>A Final Thought: Why are so many early flowers white or yellow?</b></div><div><b><br /></b></div><div>you may have noticed thet many of the available UK native flowers at this time of year are white or yellow and quite small, which makes them challenging to paint, the inclusion of backgrounds or habitat can be useful when painting such colours because it makes them stand out. This approach is not completely unrelated to the existence of these pale coloured flowers in nature. <br />In fact one of the reasons commonly cited in the prevalence of white and yellow flowers is related to the generalist pollinators, which tend to be small flies early in the year, these flies have an innate preference for white and yellow and with their dichromatic vision it's easier for them to spot the flowers against the dark background of foliage or the soil beneath them, so pollinator preference is believed to have driven the evolution of early white and yellow flowers. </div><div>There are of course many other reasons why pollinators prefer certain plants and it's a pretty huge subject to delve into, so I won't go any further with it for now but will no doubt touch on pollinators and flower preferences in the future. </div><div><br /></div><div>My next sketchbook subject is also a yellow flower and another from the Ranunculaceae family, it's Lesser Celandine, <i>Ficaria verna,</i> which is just coming into flower. This plant is known as pilewort, for medicinal reasons which you can no doubt guess! </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjxsY81e_cpBxkcEyk_wU9L5nGDd7ZV3w3kmf9n_JWEVN87Hn809K9gTsH-5fPc5TAZclMNXVo4CK66VV1TdprMQpiTG2WF3l6bF0E4BW3k6Yu7Owipwdwt_bHa74bTrxp3Z15fOAOEDnk_WNNUZV7rqn0oJGyS5j1K3yAiXg-IM2ULuqg6_IwP7V7boQ=s4032" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4032" data-original-width="3024" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEjxsY81e_cpBxkcEyk_wU9L5nGDd7ZV3w3kmf9n_JWEVN87Hn809K9gTsH-5fPc5TAZclMNXVo4CK66VV1TdprMQpiTG2WF3l6bF0E4BW3k6Yu7Owipwdwt_bHa74bTrxp3Z15fOAOEDnk_WNNUZV7rqn0oJGyS5j1K3yAiXg-IM2ULuqg6_IwP7V7boQ=w300-h400" width="300" /></a></div><br /><div><br /></div><div><br /></div><div>This sketchbook project is a continuation of the botanicalsketchdates project which began in February 2021 with my friend from the US, Debbie Crawford.</div><div><br /></div><div><br /></div><div> </div><br /><div><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br />Dianne Sutherlandhttp://www.blogger.com/profile/00336704902577001166noreply@blogger.com0tag:blogger.com,1999:blog-6401160288631130110.post-60327482386471150302022-01-16T10:47:00.013-08:002022-01-17T09:23:05.704-08:00A New Year of Painting and Plants<p>Another year has passed and I've just completed the first of the 2022 sketchbook pages. This is a continuation of the same project as last year, 'Botanical Sketch Dates', which I've been doing with friend Debbie Crawford. My last post was up to week 38 of the book, there have been a few more entries since that time, so here they are. </p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjAyVIc1XtjESs0oS6tCQVy5MyoV_NPW0vxHOhUueDq40bMCqx3gZA64Hew0xdMkR0pdk6rrwFBKOhcpqvZvNbGV-bYDK12e63BXcK1SmHWksGm0VrlJijiw50T2pkQGYGx-UxySg6UJkZwUQjG8qSVoBeGeI_HeDY0dfg6FIS6i6aSkIA_gFDBPXpHiA=s3758" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2819" data-original-width="3758" height="300" src="https://blogger.googleusercontent.com/img/a/AVvXsEjAyVIc1XtjESs0oS6tCQVy5MyoV_NPW0vxHOhUueDq40bMCqx3gZA64Hew0xdMkR0pdk6rrwFBKOhcpqvZvNbGV-bYDK12e63BXcK1SmHWksGm0VrlJijiw50T2pkQGYGx-UxySg6UJkZwUQjG8qSVoBeGeI_HeDY0dfg6FIS6i6aSkIA_gFDBPXpHiA=w400-h300" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">First entry January 2022<i> Corylus avellana</i>, Common Hazel</td></tr></tbody></table><br />The first for 2022 is <i>Corylus avellana</i>, Hazel. The catkins were out by the first week of January so seemed the obvious choice. It's a monoecious native tree which means it has separate male and female flowers on the same plant, being self incompatible it needs pollen from a nearby tree for pollination and to bear fruit. Cross-pollination is the preferred strategy for most plants because it increases genetic diversity but many plants can self- pollinate if all else fails, Hazel isn't one of those plants. <p></p><p>The hazel nuts should be ready by July this year and I look forward to adding them. You can see that a rough sketch of the Lane where the trees are located is included, this is something I may start doing on a more regular basis and first tried it in the Yew tree entry below, which included the medieval crosses at St. Mary's Church, Checkley. By the way, if you click on the images in the post I think you open a clearer image than the ones embedded in the blog post. </p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjIuFBTbhZbr77IIDdHDm1ZENC_9CAddYQbOBJEcocP5vNe9sI3xv3K6-1ueJ_k632rI7rqMo4c8uXm2EYU6Moc_dx0UWv4lPR0ErhG5-B7KJi4nWb1YAPNRSimslddzH88akQo3GRFtKAHZgvbcj82iJo4WP2D3m6w5WFtM-kxRHdeGLrjnIYLxmB1hQ=s3992" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2994" data-original-width="3992" height="300" src="https://blogger.googleusercontent.com/img/a/AVvXsEjIuFBTbhZbr77IIDdHDm1ZENC_9CAddYQbOBJEcocP5vNe9sI3xv3K6-1ueJ_k632rI7rqMo4c8uXm2EYU6Moc_dx0UWv4lPR0ErhG5-B7KJi4nWb1YAPNRSimslddzH88akQo3GRFtKAHZgvbcj82iJo4WP2D3m6w5WFtM-kxRHdeGLrjnIYLxmB1hQ=w400-h300" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Week 40 December 1st 2021, <i>Taxus baccata</i>, English Yew at the Churchyard, Checkley, Staffs. Featuring three medieval crosses at the site. <br /><br /></td></tr></tbody></table>With moving to a new year I did consider switching focus to garden plants, but in the end decided to stick with native, naturalised and some commonly found plants here in the UK. At the start of the project I had a broader scope but as the project developed, decided that native plants are my focus, they always have been really, and that's why I started painting plants all those years ago. With nearly 1400 native British plants and 1100 naturalised there are plenty to keep me busy. <p></p><p>My interest is in learning about plants and habitats, so I'm sticking with the natives and hope to travel to a few new locations to paint this year, coastal plants would make a good addition and I'm definitely going to pursue some of the many dandelion species, this was something I learned about last year - did you know there are over 240 species of dandelion! This doesn't mean I won't document the plants in the garden at a later date, they're certainly more colourful and easy access but I've hardly scratched the surface of our beautiful plant life to date! </p><p>If you read my previous <a href="http://diannesutherland.blogspot.com/2021/11/the-value-of-sketchbook-botanical-and.html">post</a> about sketchbooks and study pages, which included a video walk through of the book, you will know I also included fungi, this continued in November when I came across the wax caps at a local cemetery next to the Trentham Estate. The warm weather made it a good year for fungi, these little mushrooms are absolutely beautiful and very important too. The Parrot wax caps were found at Checkley graveyard the same week. I made a fun composition of them all together with some of the surrounding mosses and yew fruits, they seem to have an association with moss and I like to paint the substrate beneath - using a negative painting approach. Waxcaps are found in unimproved grasslands, but sadly I haven't seen them in too many other places, which says something about the state of our grasslands. The UK has lost 97% of its traditional meadow and grassland habitat and last year <a href="https://www.plantlife.org.uk/uk/discover-wild-plants-nature/habitats/grassland/waxcaps-fungi/waxcapp-survey">Plantlife ran a campaign </a>with an app for people to look out for these beautiful little mushrooms, waxcaps are part of the species rich grasslands that are so important in carbon storage. Hopefully if Plantlife can find out about patches of remaining species rich grassland they can protect these areas. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhS_PavTxH3nyQlXaA9DlLYq6-jTEwM3dxUq40P_cLj3VD2qJ8btEIbfJxU7CGwZLj4F8OWxsPz0V6PPImYVu_R87sfUAXwyg1Hkid2h9Hz7KTUHrvgDpmCB9p__dXoVLluFBe55k8BjnoBIp2_FxEC1aOl82GbQqx55ESTRtgPNj7yWuk1frvEFpUDUQ=s3888" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="2935" data-original-width="3888" height="304" src="https://blogger.googleusercontent.com/img/a/AVvXsEhS_PavTxH3nyQlXaA9DlLYq6-jTEwM3dxUq40P_cLj3VD2qJ8btEIbfJxU7CGwZLj4F8OWxsPz0V6PPImYVu_R87sfUAXwyg1Hkid2h9Hz7KTUHrvgDpmCB9p__dXoVLluFBe55k8BjnoBIp2_FxEC1aOl82GbQqx55ESTRtgPNj7yWuk1frvEFpUDUQ=w400-h304" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Week 39 November 14th - 21st 2021 Waxcaps: <i>Hygrocybe coccinea</i> (scarlet wax cap), <i>H. chlorophana</i> (golden wax cap) and <i>Gliophorus psittacinus </i></td></tr></tbody></table><p>Christmas week I painted that old favourite, Holly, <i>Ilex aquifolium</i>, which is of our very few native woody evergreen angiosperms. Holly is dioecious, which means it has separate male and female plants, so you will only find fruit on female trees. It has such a beautiful glossy dark leaves and they take a while to paint because colour should be built slowly, I made use of aerial perspective to make the task easier and to increase the depth of the whole branch. The spikes are tricky to paint as they point forwards and backwards, so good lighting is our best friend when painting holly! That said the spikiness varies, young leaves and those low down have more spikes, no doubt to protect from browsing, the top of the plant has more smooth edged leaves. </p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEggihSBHrfLqKHl6WucTk8RllRZRtCDsQevXjQtNop6UQZVF0T8PdIhNcDS7g4LcRM0WayCwRQjuY-lFQ9Km2MQqTmsdt_r35HekfvJXnvmlLTGdc714AGwqaf8-8XSb4WNEHsia2bqUC74u_YcqPIasKvIDsfy1jjmxgzFn4313oGk7_g2vq9UeoKeOQ=s3910" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2932" data-original-width="3910" height="300" src="https://blogger.googleusercontent.com/img/a/AVvXsEggihSBHrfLqKHl6WucTk8RllRZRtCDsQevXjQtNop6UQZVF0T8PdIhNcDS7g4LcRM0WayCwRQjuY-lFQ9Km2MQqTmsdt_r35HekfvJXnvmlLTGdc714AGwqaf8-8XSb4WNEHsia2bqUC74u_YcqPIasKvIDsfy1jjmxgzFn4313oGk7_g2vq9UeoKeOQ=w400-h300" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Week 41 December 23rd to 27th, 2021 Holly, <i>Ilex aquifolium </i></td></tr></tbody></table><p></p><p>My final entry for 2021, was a simple dead oak leaf. I look out on the oak trees from my window everyday as I paint, so it seemed a fitting end to the year. It also prompted me to start a small book of leaf paintings in a concertina sketchbook ....yes another sketchbook project! </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjwzSh_Nk8WnIjyWpJeZXw3Ci1TUoExeUqOs-BHP3V6pHlL8Z39EtAaFC60hkeQY_1HHSLzPnKiR8_HoYuCL4IlWwy4x2b_2hdeAW07V5ttfllK9COODVcUQNXkLRglSu6SXycAa8aK7aUnK6QlyEabgi-fnRoNlizuMWYw3xKifNZujF_uShgznkpWxg=s4032" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3024" data-original-width="4032" height="300" src="https://blogger.googleusercontent.com/img/a/AVvXsEjwzSh_Nk8WnIjyWpJeZXw3Ci1TUoExeUqOs-BHP3V6pHlL8Z39EtAaFC60hkeQY_1HHSLzPnKiR8_HoYuCL4IlWwy4x2b_2hdeAW07V5ttfllK9COODVcUQNXkLRglSu6SXycAa8aK7aUnK6QlyEabgi-fnRoNlizuMWYw3xKifNZujF_uShgznkpWxg=w400-h300" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: left;">Week 42 on <span style="text-align: left;">31st December 202, a dried oak leaf, ready for the new year of plants and painting</span></td></tr></tbody></table><p>Finally, here are the first few entries in the little sketchbook of leaves. I promised a post about leaves a while back - haven't forgotten but still working on it....it's a big old topic. </p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiQPTRlqOVq5JA3Iksww0bhRKUDYAaU-CxqYHRrLcuwbrb3h3SecUlUIqUJTXIWGZvjBCLDBURaLfqL-mAlpHhnNokcDsY08tqsJdvo84Hw7-I5w2pWYJU5O67Zi0vyHF-H6OxQ-_C-GpQhJKl8ncfMC2tHcedEUYqSTV92ITNiWe3oYiBXYk4EqmemTg=s4032" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3024" data-original-width="4032" height="300" src="https://blogger.googleusercontent.com/img/a/AVvXsEiQPTRlqOVq5JA3Iksww0bhRKUDYAaU-CxqYHRrLcuwbrb3h3SecUlUIqUJTXIWGZvjBCLDBURaLfqL-mAlpHhnNokcDsY08tqsJdvo84Hw7-I5w2pWYJU5O67Zi0vyHF-H6OxQ-_C-GpQhJKl8ncfMC2tHcedEUYqSTV92ITNiWe3oYiBXYk4EqmemTg=w400-h300" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">A sketchbook of leaves for 2022</td></tr></tbody></table><br /><p></p><p>So that's all, I painted 51 species in 2021 over a 42 week period, it was great fun and I learned a lot about plants and painting. </p><p>Looking forward to completing some actual paintings this year too and <a href="http://www.botanicalart-online.com">developing the website with more new tutorials to share.</a> Also thinking of doing a short presentation on some of the sketchpages so will keep you posted here.<br /><br /></p><p>Wishing you all a happy new year filled with plants and painting! </p><p><br /></p>Dianne Sutherlandhttp://www.blogger.com/profile/00336704902577001166noreply@blogger.com0tag:blogger.com,1999:blog-6401160288631130110.post-77073864429413723942021-11-19T06:51:00.031-08:002021-11-19T07:45:28.463-08:00The Value of a Sketchbook: Botanical and Nature Journal Insights<div><div>In late January 2021 fellow artist and friend from the US, Debbie Crawford, invited me to join her in a weekly botanical sketchbook project. The idea of a weekly painting seemed ambitious initially but here we are at week 39 and still going strong... we may be almost 3,500 miles apart but we keep in contact every week, most days in fact - to discuss our subjects, life, art and how we are getting along, this is a zero pressure activity yet it challenges us in a good way. The project and friendship became much more important as time passed through various pandemic lockdowns, we called it #botanicalsketchdates. It's filled the year with colour and learning and given me so many new insights into my own working practices with time to appreciate the seasonal nature of my surroundings with a good friend.</div><div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyzCXj0hoqo5UrnpZkylvqxD_U9wPC3ETIHSdo6dnz8Nrp8iv4_Vjt54vz46bnnD-S7J-Nu7J_nU_NYpuQAgluKoInkTOMVx98YyaIbnRJWyLZmCL0U9Nqj0syDhOw5MGMHhYaFvOKyA79/s3625/IMG_2438.jpg" style="margin-left: auto; margin-right: auto;"><img alt="Arbutus undo watercolour painting" border="0" data-original-height="2706" data-original-width="3625" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyzCXj0hoqo5UrnpZkylvqxD_U9wPC3ETIHSdo6dnz8Nrp8iv4_Vjt54vz46bnnD-S7J-Nu7J_nU_NYpuQAgluKoInkTOMVx98YyaIbnRJWyLZmCL0U9Nqj0syDhOw5MGMHhYaFvOKyA79/w400-h300/IMG_2438.jpg" title="Arbutus undo painting" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Figure 1</b>. Week 38 The most recent entry <i>Arbutus unedo, </i>the Strawberry Tree. Not a native in England, but is found in southwest Ireland and the Mediterranean. An introduced species here it grows in my garden and is doing very well, most importantly it's beautiful and interesting. No strict rules exist about what can and can't be included in the sketchbook. Too many rules can make the process restrictive and it can stall. As a result not entries are not native plants, others and are not botanical, fungi are included as part of the wider nature for their interaction with plants. Most entries are made from my wanderings of the local area where I live, others are further afield. </td></tr></tbody></table> </div><div><b>The Art of Deconstruction</b> </div><div>Keeping sketchbooks is something that's preoccupied me for several years and reflecting upon my wider sketch page history, I hadn't realised quite how important sketchbooks are in my practice. Being science trained definitely made me more curious about plants with a desire to understand how things work but I've always had an element of curiosity, it was just less organised.... as a child I used to dismantle (i.e. break) toys, in particular dolls - to see how they fit together, a sketchbook is just my way of dismantling plants, making sense and understanding the features in relation to other factors such as environment, documenting, then working out how to put it back together together on a page etc. </div><div><br /></div><div>This deconstruction approach isn't for everybody, some people are more spontaneous, which is great, sometimes I am too and paint out of sheer desire to do so, there's no rule that a sketch page <i>must</i> be made for every painting - but the part I love most about plants is learning about them, and, if I'm going to make a finished painting it needs to be well informed - I guess it's a mechanism to remove the element of uncertainty and to get to know the subject up close - just as the portrait painter does. This is why study pages and sketchbooks feature so heavily in my teaching, it's a process of learning about the plant, its habit, environment and then how to approach it in a painting, it certainly makes it more interesting. I've recently been putting together my sketchbooks, study pages and finished paintings to show how I use them as research in my process. Of course most of these sketchbook entries never make it to a final painting, but all are important reference and some do. </div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC21lYmLTVNLPhLd6sbbipRfRKXlxh7Yq9APKE9_VJuPzkQcRtW5mfaXD6d20HFrKnS_HEaJzB0uuuhwr9FUJ0jzzHfW_zzUnV6FCIKJJ0ff7LedslTeKpdXZiQTikR-A3lab7csNFxKyM/s3607/IMG_2305+2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3607" data-original-width="3024" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC21lYmLTVNLPhLd6sbbipRfRKXlxh7Yq9APKE9_VJuPzkQcRtW5mfaXD6d20HFrKnS_HEaJzB0uuuhwr9FUJ0jzzHfW_zzUnV6FCIKJJ0ff7LedslTeKpdXZiQTikR-A3lab7csNFxKyM/w335-h400/IMG_2305+2.jpg" width="335" /></a></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguWLQjfQjIAZQCrp92ZPyPBaQgLi9cmYW0pukQ5efm_5D4rgNqbA2_eLUTr33tAy5avFbgWB-XuJ5Mo2kuk3BviMgGqATSP8Oi7F_9xU3e8w-2oqMS1Rf43K4M7BO7oPyTGzuos8xsNUUG/s4032/IMG_2300+2.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3024" data-original-width="4032" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguWLQjfQjIAZQCrp92ZPyPBaQgLi9cmYW0pukQ5efm_5D4rgNqbA2_eLUTr33tAy5avFbgWB-XuJ5Mo2kuk3BviMgGqATSP8Oi7F_9xU3e8w-2oqMS1Rf43K4M7BO7oPyTGzuos8xsNUUG/w400-h300/IMG_2300+2.JPG" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Figure 2.</b> Above: <i>Calotropis gigantea</i>, Giant Milkweed, sketchbook and finished painting (2018). I made these sketches in Indonesia, under difficult sticky hot conditions but it was essential to gather as much materials as possible because the painting was to be finished at home. I've been posting these 'Sketchbook to Painting' posts on my <a href="https://www.facebook.com/diannesutherlandart/?show_switched_toast=1&show_invite_to_follow=0&show_switched_tooltip=0&show_podcast_settings=0&show_community_transition=0">Dianne Sutherland Artist Facebook page</a> if you would like to see more. I believe that I've understood a plant well enough when I can make a rough diagram from memory showing the following: floral morphology, basic reproductive strategy and parts, the leaf shape, venation and arrangement on the stem - only then do I feel like I'm in a good position to paint the plant. I decided this was a good approach after reading that it was a requirement that was employed in an examination by Ernest E Clarke, to draw a plant from memory! Clarke wrote the Handbook of Plant Form in the early 1900's. </td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><br /></div><div><b>Always Something New to Learn </b></div><div>The excitement of learning something new about a plant - one that I never studied or painted before is unrivalled for me, last week for example, when adding <i>Arbutus undo </i>to the sketchbook (figure 1), I cut open the bell shaped flower to find the these devilish little red anthers inside, then to make the connection - it's a member of the Ericaceae family, it has poricidal anthers with 'awns' which feature in other species this plant family. If you don't know what poricidal anthers are, they have a pouch type structure with a pore where the pollen comes out, pollen is only readily available available to pollinators that are capable of vibrating the anthers to release that pollen.... that's a whole subject in itself so I'll move on. They were worthy of getting the microscope out to investigate further and I was compelled to feature them in the sketchbook. I learned something new about a plant that pass everyday, that information is now fixed to memory. </div><div><br /></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4qUkBAG7vB2x4Mk4MenS7xohZYMVDJ0zWGIOiCRfZQZCu9wBY4n9HnovQiVyybGGBC4djW46UIQTGfQYbCOkaFtcZOI4haXXsp_jSiRsIZM5PLkdUyAfaHNjGB62bIqLSFTs-eSm8HKGq/s1395/poricidal+anther+.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1395" data-original-width="1372" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4qUkBAG7vB2x4Mk4MenS7xohZYMVDJ0zWGIOiCRfZQZCu9wBY4n9HnovQiVyybGGBC4djW46UIQTGfQYbCOkaFtcZOI4haXXsp_jSiRsIZM5PLkdUyAfaHNjGB62bIqLSFTs-eSm8HKGq/s320/poricidal+anther+.jpg" width="315" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Figure 3.</b><i> Arbutus unedo</i> poricidal stamen, the strange appendages or 'awns' the whole thing looks devil or ant like. You can see the pollen grains scattered beneath as they spilled out of the pores at the top of the anther. These parts are are pretty small, a long arm binocular microscope was used - it's actually for inspecting circuit boards rather than using a traditional dissection microscope. It's low magnification and I fit a camera in the other lens socket. To be honest I don't use it all that much but its handy when I want to photograph and can't quite see enough with a hand lens. </td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFgJjh00u1siCKEufW-SfVoioQqpk6gctInimyHLXZlyDHAQNI5sSph26UM3YkZf3Z8iRFiquiaL9xaTcJ1L9FbHyXanwBQXHXukcV2XayaOrbbuZGOY8r9_9t8vEKCuPhKqaTZcCDNJBL/s2048/IMG_1738.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1643" data-original-width="2048" height="257" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFgJjh00u1siCKEufW-SfVoioQqpk6gctInimyHLXZlyDHAQNI5sSph26UM3YkZf3Z8iRFiquiaL9xaTcJ1L9FbHyXanwBQXHXukcV2XayaOrbbuZGOY8r9_9t8vEKCuPhKqaTZcCDNJBL/s320/IMG_1738.JPG" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Figure 4. </b>The reproductive parts inside the flower, once measured and drawn a better understanding is achieved</td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzYS4W19xsnSiJRvKgmD6UmpxhUCX_C5PL9LURR5HKgF5Hvn4AW2Cebg9LPIHfBUgm0yJNLV7BorT5UH6RcHR6AZpFO-YJTbREz7iqR9CkOrscW5d2VgRcwfHrKPdh5pLq6GtDEY-_hffa/s1356/A82EE3A6-C0A4-4A57-8786-BCBB776B1240.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1356" data-original-width="1032" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzYS4W19xsnSiJRvKgmD6UmpxhUCX_C5PL9LURR5HKgF5Hvn4AW2Cebg9LPIHfBUgm0yJNLV7BorT5UH6RcHR6AZpFO-YJTbREz7iqR9CkOrscW5d2VgRcwfHrKPdh5pLq6GtDEY-_hffa/s320/A82EE3A6-C0A4-4A57-8786-BCBB776B1240.jpg" width="244" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Figure 5. </b>Adding the anthers and dissections to the page</td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><br /></div><div><b>Recording and Legacy </b></div><div>The other side of sketchbooks is the importance in documenting or recording plants from an environmental perspective. For the botanicalsketchdates project I've documented many native plants in my locality, in the future such sketchbooks could provide important insights on species distribution, flowering time and habitats and plant communities, especially when accompanied by notes and location, comments about weather and of course dates. I always encourage my students to keep a sketchbook. For me it's not all about making perfect finished paintings but about process, recording and understanding - although I also learn a lot about composition and painting painting of a weekly subject. I often go back to an entry adding mature fruits or additional comments about something that Iv'e noticed, it's important to note the date next to any additions, it will be interesting to observe the same plants over the years. I try to be mindful about what I'd want to know if I was looking at such a book in the future. </div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjic5Q6LFN35-1iRRakKD8rm6kV7SNLlI1pPJ4DRT9l0_I7ynEhyGojg-7fOtuy7aDJ-531czYMukc7bv-tVGSmCWJWE4GiCghUO4nsqhIi9VGD2_NndJlAS-emgXOODn_1FwSWxFDNLAP-/s2894/IMG_2474.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2631" data-original-width="2894" height="365" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjic5Q6LFN35-1iRRakKD8rm6kV7SNLlI1pPJ4DRT9l0_I7ynEhyGojg-7fOtuy7aDJ-531czYMukc7bv-tVGSmCWJWE4GiCghUO4nsqhIi9VGD2_NndJlAS-emgXOODn_1FwSWxFDNLAP-/w400-h365/IMG_2474.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Figure 6. </b>Making later additions, in August fruit is added to the earlier honeysuckle entry, made in early July </td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvZ70xFGzR84O9RGqhJsX6uxjzV7fVOXR_sUau7eBhLBKwHnBq92ao7zsN82CTxXnk6aPAPMRygn2I01oMTTH41v_v7vSwqmdhSsiD34tqhHSNzRdVVl4wVsSp1AHj6cOuNtQFoljEQHRb/s2048/IMG_8021.heic" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1536" data-original-width="2048" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvZ70xFGzR84O9RGqhJsX6uxjzV7fVOXR_sUau7eBhLBKwHnBq92ao7zsN82CTxXnk6aPAPMRygn2I01oMTTH41v_v7vSwqmdhSsiD34tqhHSNzRdVVl4wVsSp1AHj6cOuNtQFoljEQHRb/w400-h300/IMG_8021.heic" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Figure 7. </b><i>Lonicera periclymenum</i>, from Down Banks, Barlaston, Staffordshire </td></tr></tbody></table><br /><div>I leave space if there's something that I want to add later - even though it can leave an uncomfortable space on the page, I know its going to be filled later, the space has a purpose. </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixR7_7O16WWU7sTqajZO72cIgw_E2Xvv-Y_9zMeoGNGxINGSAMqDY7d7Jn4rJQFc7dngz2Bo6lGhXWvnzft6q1fiUOkOHPuHBZ0W0JCI7K07i-0BoHdlQBCOUpP7HziF0bWsCIwjaSfPh-/s2048/IMG_7276.heic" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1536" data-original-width="2048" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixR7_7O16WWU7sTqajZO72cIgw_E2Xvv-Y_9zMeoGNGxINGSAMqDY7d7Jn4rJQFc7dngz2Bo6lGhXWvnzft6q1fiUOkOHPuHBZ0W0JCI7K07i-0BoHdlQBCOUpP7HziF0bWsCIwjaSfPh-/w400-h300/IMG_7276.heic" width="400" /></a></div><b>Figure 8</b>. <i>Virburnum opulus</i> Guelder Rose. A large white space is left top right but with the intention to return and add flowers next year. <br /><div><br /></div><div><br /></div><div><b>More About #botanicalsketchdates</b></div><div>This part was written several weeks ago but never finished or published - it's got some practical information on making a sketchbook and tells the botanicalsketchdates story up to week 34. Theres a little video walk through of the book and some fitting music for the passing seasons from Gavin Sutherland and Irmi Wolvin. </div></div><br /><div><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/qlGqKgV7Tk0" width="500" youtube-src-id="qlGqKgV7Tk0"></iframe></div><div> <span style="font-size: x-small;">Video walk through up to week 34, with music from Gavin Sutherland and Irmi Wolvin</span></div><div><br /></div><div>Prior to the pandemic travel had figured heavily for me.... probably too much and to be honest I was feeling tired, then out of the blue I was home...for a long time, this was the opportunity to explore my surroundings, taking walks, learning and recording the plants near to home - by March no one here in the UK could venture very far under lockdown - this project turned out to be the perfect antidote to isolation. Later on I was able to venture a further afield to paint and even made a return journey to Scotland. Before the pandemic I'd not spent a full Autumn at home for several years, so have really enjoyed this time of year again. <br /><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Making a Sketchbook </b></div><div style="text-align: left;">To begin, I set about making my own sketchbook, watched a few YouTube videos on different methods, gathered all the materials, a <a href="https://www.amazon.co.uk/dp/B07GWFCXT2/ref=cm_sw_em_r_mt_dp_4SKC6FRPTER2ZTZ321F2?_encoding=UTF8&psc=1">basic bookmaking kit from Amazon</a> was under £10, and set to work. There are a few important points to bear in mind and the two excellent resources from<a href="https://youtu.be/S2FRKbQI2kY"> Sea Lemon </a>and <a href="https://youtu.be/tjyQ7ZErlY8">Will J Bailey</a>, are a great way to start, much thanks go to the people who take the time to share information in this way. My heuristic approach seemed to work out ok and the sketchbook, although far from perfect, was very usable with the best quality paper for watercolour. I also use Stillman & Birn books but felt that I wanted to use my usual watercolour paper for this project. </div><p>I only had one block of Saunders Waterford HP High White that was the correct size (9 x 12 inches) and couldn't be bothered cutting paper because of all the issues with paper grain direction etc. and likely error on my part making mistakes when cutting. So I decided to work with what was at hand rather than buying more stuff, I figured that more stuff doesn't make anything better but this limited the number of pages, so I ended up with two volumes. I used the cardboard from the back of the watercolour block to make the hard cover, glued fabric to it from an old pillow case and covered it with some William Morris wrapping paper! to be honest it wasn't terribly well made but it worked and subsequent books are much better in construction, but it served a purpose. SW paper isn't always the easiest for fine detail but I like it and it's tough stuff and good quality - the beauty of this is that you can choose your own paper. For the second volume I switched to Stonehenge Aqua, my other favourite paper, which I find facilitates better fine detail (in my opinion). </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmM_bgGgJpJgCFjWMAOSF2s-QUSRFuoOUIXThEjneirzevRweVSjMc6hrJi9oIG2jR09U_GbDN7eG3TOwZFMB3HTCXiMXY1mH9XgdHKTd4_dGE0ycnbGGVaKn_GT0bldklqY4E6j_P3IyJ/s2048/IMG_7333+2.heic" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1701" data-original-width="2048" height="334" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmM_bgGgJpJgCFjWMAOSF2s-QUSRFuoOUIXThEjneirzevRweVSjMc6hrJi9oIG2jR09U_GbDN7eG3TOwZFMB3HTCXiMXY1mH9XgdHKTd4_dGE0ycnbGGVaKn_GT0bldklqY4E6j_P3IyJ/w400-h334/IMG_7333+2.heic" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: left;"><b style="text-align: center;">Figure 9. </b>This is my most recent book with 52 double page spreads. I used the 4 needle Japanese stitch (you can find this on Sea Lemon's You Tube), it sits pretty flat, a hardback cover was added and<span style="text-align: left;"> the spine was glued with linen, so represents a step up for me from my first book which has some big gaps between some pages, I don't mind the gaps but I do like to work across the centrefold so wanted to remove and any gaps this time - it's still far from perfect but I'm learning. It takes about a half day to make this book but if gluing the spine it will need to be left overnight to dry under heavy books. <br /><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTt6PSy0vcizwCPh5pzujK7vkaTKC9NLQXbmRtAv3nkeB2AO8FuCx_1lgx9JhKEj13lGOkePUaN7_bihjNumWJjrHB1-U8gL3VRy7-6RbdRqUsnwUITrGCkgWy2XQwu-6MSLxyzUio3FMk/s4032/IMG_2485+2.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4032" data-original-width="3024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTt6PSy0vcizwCPh5pzujK7vkaTKC9NLQXbmRtAv3nkeB2AO8FuCx_1lgx9JhKEj13lGOkePUaN7_bihjNumWJjrHB1-U8gL3VRy7-6RbdRqUsnwUITrGCkgWy2XQwu-6MSLxyzUio3FMk/s320/IMG_2485+2.JPG" width="240" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Figure 10</b>. Finished book ready for 2022</td></tr></tbody></table></span><br /><br /></td></tr></tbody></table><div style="text-align: left;"><b>Choosing Subjects</b> </div><div style="text-align: left;">Some times I'm not so happy with my choice but always stick with it - other times I am, that's just the nature of painting plants. However, I <i>always</i> enjoy the process of choosing the subject, some subjects fill me with enthusiasm, other seem inviting but then don't turn out as I thought and then there are those that I never expected to paint but stumbled across and really enjoyed, this can actually change our direction in interests and facilitate a whole new area of work. My choices are not planned much in advance and are often opportunistic finds. One such subject was a fungi, which isn't even botanical but whilst out walking I came across this fly agaric in the strangest way - setting off for a daily walk and for no reason at all, I was thinking that I hadn't seen fly agaric for years, maybe 15 years or more. For some reason wandered left into the trees, which I seldom do and there it was! under nearly every birch tree, so it had to be included and fungi has such an association with plants and the environment that I felt it deserved a place. Such was the excitement that I've since added Ink caps and my week 39 is wax caps. It seems to be a bumper year for fungi here - that goes back to the possible historic importance of recording what we observe in nature. </div><div style="text-align: left;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXvQpL8k4uAQjJD1iUB-4wmFhYvmWxbjDsCW2b2LdoXhe373qzqwpoZ2EQDmij_5ScYtEUW0xeL20tW5qFxohLpxlvTP3rxy1Ve1I2qdwxtS-JSpE9kmpJmq6RRiWPdDazyh9FXA4GLODe/s2048/IMG_7764.HEIC" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1536" data-original-width="2048" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXvQpL8k4uAQjJD1iUB-4wmFhYvmWxbjDsCW2b2LdoXhe373qzqwpoZ2EQDmij_5ScYtEUW0xeL20tW5qFxohLpxlvTP3rxy1Ve1I2qdwxtS-JSpE9kmpJmq6RRiWPdDazyh9FXA4GLODe/s320/IMG_7764.HEIC" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Figure 11</b>. A chance finding <i>Amanita muscari</i></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_ZMogN_OQcNWbQ2lsTeDAMnPElz-LV7XGkXIWRx41nu5afYLK1ncrnLd8IqB9HFvKwK1msbLxmW-A25T92lWGQ2i0RsZmaFArLPwFM6oEjFFTBzUavdBNX1HIaqecLKbc49sW-tYGyY5k/s2048/IMG_0006.heic" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1536" data-original-width="2048" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_ZMogN_OQcNWbQ2lsTeDAMnPElz-LV7XGkXIWRx41nu5afYLK1ncrnLd8IqB9HFvKwK1msbLxmW-A25T92lWGQ2i0RsZmaFArLPwFM6oEjFFTBzUavdBNX1HIaqecLKbc49sW-tYGyY5k/w400-h300/IMG_0006.heic" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Figure 12</b>. An absolute pleasure to paint, Fly Agaric. If it appears next year its going on vellum <br /><br /><br /></td></tr></tbody></table><div style="text-align: left;"><b>The Rule of no Rules </b></div><div style="text-align: left;">Sometimes I'm asked about 'rules' for creating sketch pages, there are no rules that I'm aware of, I just begin by putting down the main focal point, i.e. the part of the plant or subject that anchors the illustration to the page. I don't really give it much thought, it's intuitive and I let the plant lead the way in an organic way, for example, a long curved flowing stem, such as honeysuckle (Figure 7.) is asking to crawl across two pages, with the flowers in a key position making the focal point for the viewer. It's kind of common sense, like where you put furniture in a house, then just add the bits around it, most important is to observe and learn about every plant, return later for the fruits and leave a gap for them. You can't analyse it because every plant or entry is different but there are some common features. Sometimes I do the whole dissection/deconstruction and other times I don't, it depends on the direction that the plant leads me into. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>Every Subject is Different </b><br />I have a number of approaches but it's dictated by the plant. Sometimes using a combination of watercolour and graphite to create depth and separation enables me to create a jumbled growth habit, shown in the bramble, figure 15. This also speeds up the process of completing something that would otherwise take too long - I try not to spend more than one day on each entry, I grab a bit of time when I can often first thing in the morning but also spend time looking at the subject and reading about it or asking myself questions and have to make decisions dependent on available time for each plant, some can be completed quite quickly whereas others are more complex.</div><p> For small graveyard plants in figure 12, I painted three little habitat clumps as micro habitats over three weeks. The dandelion I made studies in figure 14 of but felt I had to paint it from above because that's the way I generally encounter it, seen in figure 13. All are different.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiouXiQPb95AucBOJTzdRlLJ8MCA10cflgMcZIIlK5lKe-Ac5VBaHajy04sqvaIluJKwkvl3VjyjuWa7c1CPJUaOF7-l9Sjh6QKtz4Mz8BsiH4M2L34E_w8XZPLVnz_QlEGDSRmLjUwQQM0/s2048/IMG_5381.heic" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1536" data-original-width="2048" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiouXiQPb95AucBOJTzdRlLJ8MCA10cflgMcZIIlK5lKe-Ac5VBaHajy04sqvaIluJKwkvl3VjyjuWa7c1CPJUaOF7-l9Sjh6QKtz4Mz8BsiH4M2L34E_w8XZPLVnz_QlEGDSRmLjUwQQM0/w400-h300/IMG_5381.heic" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Figure 12</b>. Three little habitat clumps Viola, Oxalis and Daisy from the graveyard</td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghm2PH72dDo-QqwqJyW4Xlf0M4PfAJISBsC1R2IA6yUFG5clFcY3ucV2k88tHX_g8wHL4TGF5a1oFmEseOy2cVbtkv32902z32_W884w2MQzZgRc6rGPk-ChHFKheYj35smota7uvcguIJ/s2048/Dandelion2+sketchbook.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1536" data-original-width="2048" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghm2PH72dDo-QqwqJyW4Xlf0M4PfAJISBsC1R2IA6yUFG5clFcY3ucV2k88tHX_g8wHL4TGF5a1oFmEseOy2cVbtkv32902z32_W884w2MQzZgRc6rGPk-ChHFKheYj35smota7uvcguIJ/w400-h300/Dandelion2+sketchbook.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><br /></div><b>Figure 13</b>. I made two Dandelion entries for this the first was a deconstruction (below), the second was the usual habitat view </td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrAmL9kOA1r7Iy5yyKAZ7jqnYhwxzL4e3LThYF_8hHWQJHbNEvf06uhAKdv3_srJBBOG0QPxaum3MpE947Y5B4Nqo2A1mSisnBt0u4ENczg6wxJE2kAWekhuJudr0IhAS9-2ls2n0wHgog/s2048/IMG_8699.heic" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1536" data-original-width="2048" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrAmL9kOA1r7Iy5yyKAZ7jqnYhwxzL4e3LThYF_8hHWQJHbNEvf06uhAKdv3_srJBBOG0QPxaum3MpE947Y5B4Nqo2A1mSisnBt0u4ENczg6wxJE2kAWekhuJudr0IhAS9-2ls2n0wHgog/w400-h300/IMG_8699.heic" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Figure 14.</b> The Taraxacum officinale deconstruction </td></tr></tbody></table><br /><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUvm5RwGJ4bF_uCT5W8xv07gTld330q3v6eoEaM8kx4e5k-27e6cFYfhNzgbjdEC1z8hOkgOr6feNmhRn_s85bdPTwPqeakHT9Xhi-NbREp7AlK_OxFo4v1sYp9rvdjEHN4y13uDv3ocsf/s2048/IMG_3008+2.heic" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1536" data-original-width="2048" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUvm5RwGJ4bF_uCT5W8xv07gTld330q3v6eoEaM8kx4e5k-27e6cFYfhNzgbjdEC1z8hOkgOr6feNmhRn_s85bdPTwPqeakHT9Xhi-NbREp7AlK_OxFo4v1sYp9rvdjEHN4y13uDv3ocsf/w400-h300/IMG_3008+2.heic" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Figure 15</b>. Using graphite to create more complexity a Bramble another two page spread </td></tr></tbody></table><br /><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMIxoevHWiPrz1JdkF6EZDM4_xr4lPIkS0NtzQzNi2yWaciqPLyWDqbdsh3F-nEqjYvOD1_2dRAvmqF-4znkZMqjcbx-u8dJFD9p-wpNUvoPY4sLZXEfagbDzMsHgkS4UplZ3Bjx-QIJWk/s2048/IMG_4832.heic" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1553" data-original-width="2048" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMIxoevHWiPrz1JdkF6EZDM4_xr4lPIkS0NtzQzNi2yWaciqPLyWDqbdsh3F-nEqjYvOD1_2dRAvmqF-4znkZMqjcbx-u8dJFD9p-wpNUvoPY4sLZXEfagbDzMsHgkS4UplZ3Bjx-QIJWk/w400-h305/IMG_4832.heic" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Figure 16.</b> A mixed composition of wildflowers made in Scotland. I think this was may favourite to do - probably because of my associations with Scotland, and the lovely road trip exploring, which was a treat after being home for so long. Its a memory page!<br /><br /></td></tr></tbody></table><div><b>To Conclude: Anyone can keep a sketchbook! </b></div><div>The main take home point with a sketchbook is to never be afraid of a blank sheet of paper - fear only prevents things from happening, just enjoy the process and learn about nature. After each entry I wipe the decks clean and forget last week and start making the mess again. Some entries are painted outdoors, at least in part, and others are painted at my desk looking over the fields from my window, the strawberry tree, dandelions, harthown, hips and many others conveniently grow in or next to the garden. I grab an hour early in the morning or late at night if I'm short of time. Of course it depends what's available with plant material and how much time you have but anyone can keep a sketchbook and there's always something to draw or paint... the plants will lead the way.</div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCh23Dqwas7k-MHUSjYCELB3UWdmAFAnVBJExoDVLegTcKAGK9pOGHDC8n9T2JHrF7zlToaVUaSNGybP4JMtg9lUzUgnNJs6uLXfgdv7UnAzhi-YUIa3Dw7y5m6NgDkzA49PRFa11-FES7/s3061/IMG_1039.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3048" data-original-width="3061" height="319" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCh23Dqwas7k-MHUSjYCELB3UWdmAFAnVBJExoDVLegTcKAGK9pOGHDC8n9T2JHrF7zlToaVUaSNGybP4JMtg9lUzUgnNJs6uLXfgdv7UnAzhi-YUIa3Dw7y5m6NgDkzA49PRFa11-FES7/s320/IMG_1039.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Early morning painting </td></tr></tbody></table><br /><div><br /></div><div><br /></div><p><br /></p><p><br /></p></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><br />Dianne Sutherlandhttp://www.blogger.com/profile/00336704902577001166noreply@blogger.com0tag:blogger.com,1999:blog-6401160288631130110.post-23835664317369313182021-10-08T08:41:00.005-07:002021-10-08T09:25:23.147-07:00Cup and Saucer Plant Project: Cobaea scandens Study Page<p>As with many larger painting projects this <i>Cobaea scandens </i>is being painted over a two year growing period. I first grew it<i> </i>from seed, in March 2020 and now into the second year, so hope to finish before the end of 2021. <i>C. scandens</i> is a plant that's remarkably easy to grow from seed, it germinates quickly and grows rapidly and flowers for a long time, from August and into late December, although this year it's only recently flowered. This is the story of my progress with the painting to date with the study page and initial composition....it's a fairly lengthy process from start to finish with such a complex plant.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsYHOJcijcS5lPb35Q-ridGrgnQJoCXbLLgJ9gtYdGfHzVXqz5cbOsgBXHCkLzeEsDiQb5kC811NkzqUmg6qXOZJanEJfzT2JXaR5TBRjgQTJo89MgmyxW2FJvUb1kdVfkjThOYvY2rwK9/s2048/4C48B391-D5BD-41E6-AE2C-6A8D767855EB.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="2048" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsYHOJcijcS5lPb35Q-ridGrgnQJoCXbLLgJ9gtYdGfHzVXqz5cbOsgBXHCkLzeEsDiQb5kC811NkzqUmg6qXOZJanEJfzT2JXaR5TBRjgQTJo89MgmyxW2FJvUb1kdVfkjThOYvY2rwK9/w400-h400/4C48B391-D5BD-41E6-AE2C-6A8D767855EB.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Details from the study page</td></tr></tbody></table><p></p><p><i></i></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyuIiSsAQXVnZvyQsZ5DDDic1BofX5ENB7shdWbt3wlW9wAa9TlPoZ0ehQJzb7C-fdJOJJl6nTo52k85eYOzJdEaszin96iifzZhahyphenhyphen23yhyphenhyphenxJN-CSJDuhNb3c4YGr8rekDHmfDK2mEfjT/s2048/IMG_8074+2.heic" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1654" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyuIiSsAQXVnZvyQsZ5DDDic1BofX5ENB7shdWbt3wlW9wAa9TlPoZ0ehQJzb7C-fdJOJJl6nTo52k85eYOzJdEaszin96iifzZhahyphenhyphen23yhyphenhyphenxJN-CSJDuhNb3c4YGr8rekDHmfDK2mEfjT/w324-h400/IMG_8074+2.heic" width="324" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The A2 study page completed 2020. I was able to take many large cuttings from the plant</td></tr></tbody></table><i><br />Cobaea scandens</i>, is a member of the Phlox family Polemoniaceae, commonly known as the Cup and Saucer Vine, Canterbury Bells or Mexican Ivy, originally from South America it does well in many locations around the globe. The Latin 'scandens' means climber, Charles Darwin studied a number of climbers and his observations were published in 1875 in <a href="https://www.gutenberg.org/files/2485/2485-h/2485-h.htm" target="_blank">' The Movements and Habits of Climbing Plants' </a> which had been made available by the Gutenberg project. Darwin made special note of the vigour of<i> C. scandens, </i>which he said revolved more rapidly and vigorously than any other tendril bearer he had seen, with the exception of one species of passiflora. He wrote: <p></p><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><p style="caret-color: rgb(32, 33, 34); color: #202122; font-size: 14px; margin: 0.5em 0px 0px; text-align: left;"><i><span style="font-family: times;">The long, straight, tapering main stem of the tendril of the Cobaea bears alternate branches; and each branch is several times divided, with the finer branches as thin as very thin bristles and extremely flexible, so that they are blown about by a breath of air; yet they are strong and highly elastic. The extremity of each branch is a little flattened, and terminates in a minute double (though sometimes single) hook, formed of a hard, translucent, woody substance, and as sharp as the finest needle. On a tendril which was eleven inches long I counted ninety-four of these beautifully constructed little hooks. They readily catch soft wood, or gloves, or the skin of the naked hand. With the exception of these hardened hooks, and of the basal part of the central stem, every part of every branchlet is highly sensitive on all sides to a slight touch, and bends in a few minutes towards the touched side. By lightly rubbing several sub-branches on opposite sides, the whole tendril rapidly assumed an extraordinarily crooked shape. These movements from contact do not interfere with the ordinary revolving movement. The branches, after becoming greatly curved from being touched, straighten themselves at a quicker rate than in almost any other tendril seen by me, namely, in between half an hour and an hour.</span></i></p></blockquote><p> </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHo8B4J_HIxntH3KKxRkmOJAmgisUSlCcj29vcRpi11wE2bdShiI7FWXsJriggnDqnsFQxkSMek5UfRFiV3fOhQ2KPjroGZzgk61ZTZ3dJRG1xzODqcKOgNBJO7e9mVzjVUV8OJjiXIyTk/s2048/IMG_7606+3.heic" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1734" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHo8B4J_HIxntH3KKxRkmOJAmgisUSlCcj29vcRpi11wE2bdShiI7FWXsJriggnDqnsFQxkSMek5UfRFiV3fOhQ2KPjroGZzgk61ZTZ3dJRG1xzODqcKOgNBJO7e9mVzjVUV8OJjiXIyTk/w340-h400/IMG_7606+3.heic" width="340" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The long twisting tendrils described by Darwin, you can see how they branch with their small hooks...grabbing anything and everything in their path</td></tr></tbody></table><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgns0mbBrhOkfpm7jaYCBKQGUVM-gemnatTvgW9GrwH4oMmkR96C7tpBQ2Vpszr5L2NNgsq-34yW1ZAfxEywT3Wm3cLJVwhRz8kjewVaMuktzaIFS4zfG5UsB7ilbgR5ucm6uDv92cpu6DM/s2048/IMG_7523.heic" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1536" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgns0mbBrhOkfpm7jaYCBKQGUVM-gemnatTvgW9GrwH4oMmkR96C7tpBQ2Vpszr5L2NNgsq-34yW1ZAfxEywT3Wm3cLJVwhRz8kjewVaMuktzaIFS4zfG5UsB7ilbgR5ucm6uDv92cpu6DM/w300-h400/IMG_7523.heic" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Keeping sections of plant in florist tubes to keep them fresh<br /> </td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqjdtBU6M_ppzMtrsF7dOtwQV6kOBAi9wjUx_l3afzkK5dJmH5cpZF6cd6xtnr5KZ8uXsIfX5_wvOjeMP_63jXFY6mNMkswn2-sV_4c9G-g7pMw9qtZIsXYzG9w4M-tf1xtcdpZgwMuHdC/s2048/IMG_3631.heic" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1553" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqjdtBU6M_ppzMtrsF7dOtwQV6kOBAi9wjUx_l3afzkK5dJmH5cpZF6cd6xtnr5KZ8uXsIfX5_wvOjeMP_63jXFY6mNMkswn2-sV_4c9G-g7pMw9qtZIsXYzG9w4M-tf1xtcdpZgwMuHdC/w305-h400/IMG_3631.heic" width="305" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The compound leaves with tendril<br /><br /></td></tr></tbody></table> My observations start as always with research and a study page, I used a large sheet of A2 Stonehenge Aqua HP 300 gsm paper. The first interesting point to note is the change in the flower colour, which are pale green to creamy white upon opening and gradually turn to a rich purple, as colour spreads from a small spot. I thought there must be some purpose for this and after a little research learned that the pale flower has a fairly unpleasant odour, which attracts bats, many bat pollinated flowers are white so that makes sense, thereafter the scent becomes sweeter as the colour changes and bees are attracted. I made some studies on colour paper as I am still trying to decide on the final substrate for this work, Initially I thought of Kelmscott vellum but may opt for the dark veiny vellum.<p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhM2TKB53ePVTfa1k_6CxPIg6okie9d7MTnmKXV_N_vQIQWu2GXnx-H_PP2yUVNnRlt9A8t3-90a4q0Nps05AeTMZXx8UFXB9onb5wSFz58G_5NsvE2_rxDamWLiUbV4w_uYpkroX6boEgT/s800/Cobaea+scandens+small.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="766" data-original-width="800" height="383" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhM2TKB53ePVTfa1k_6CxPIg6okie9d7MTnmKXV_N_vQIQWu2GXnx-H_PP2yUVNnRlt9A8t3-90a4q0Nps05AeTMZXx8UFXB9onb5wSFz58G_5NsvE2_rxDamWLiUbV4w_uYpkroX6boEgT/w400-h383/Cobaea+scandens+small.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Studies of the newly opened flowers on coloured paper, pale subjects always look good on a colour background </td></tr></tbody></table><div><br /></div><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAiiaA63dpMwhjpZnXmdIcIkjZS_mvh4bdN09pnM1qhRhhMR2zNNjlsBftN2UjuUzzqpAWWu6Qei3nY4genK4cl2y2Q-XWRQDV4YRBI_jOgTtGqpKmeGfFrgugspGep_LH1u4Z_9Gi1Ro0/s1434/IMG_8231.heic" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1434" data-original-width="1383" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAiiaA63dpMwhjpZnXmdIcIkjZS_mvh4bdN09pnM1qhRhhMR2zNNjlsBftN2UjuUzzqpAWWu6Qei3nY4genK4cl2y2Q-XWRQDV4YRBI_jOgTtGqpKmeGfFrgugspGep_LH1u4Z_9Gi1Ro0/s320/IMG_8231.heic" width="309" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Study on dark veiny vellum </td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3uTxyPgIoTwDBrcNIN_6b2xldaJKl_SHM492m3rxFHjUJokdkTVR0iWzCa3mgxSX4tKsnDkaLbrdg7TIbcj1ft-FKq9mskawajfSXZ_hv_YF9SqR5jHzCCkMIrcQB3gAfkIZ7E8fcEe8d/s2019/IMG_8356+2.heic" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2019" data-original-width="1560" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3uTxyPgIoTwDBrcNIN_6b2xldaJKl_SHM492m3rxFHjUJokdkTVR0iWzCa3mgxSX4tKsnDkaLbrdg7TIbcj1ft-FKq9mskawajfSXZ_hv_YF9SqR5jHzCCkMIrcQB3gAfkIZ7E8fcEe8d/s320/IMG_8356+2.heic" width="247" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Study on deer skin </td></tr></tbody></table><br />I made measured studies of all parts with colour notes, mature leaves, new leaves, stems, tendrils, flowers in various stages from bud phase to post pollination, dissection, suit and finally seed. This took a while as I had to wait for each stage to develop. Below you can see the development of the flower colour, note also the sequential opening of anthers, the male phase begins shortly after the flower opens, within 24 hours and then releases pollen sequentially, this maximises the time for cross pollination, once the pollen is released, the female style grows and the stigma becomes receptive, this reduces the risk of self pollination. Cross pollination is always favourable to plants because it increases genetic diversity, although I'm not sure if <i>Cobaea</i> is self compatible.<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCKid-bSaWQwBkZ2G_XtALI9jwFMN2qbprd6hepabz3J5uxxofVl1GW8R8lwDdqMmR7y4lDXY1E3t46OPzzYiXT40MZXS7GnuKmGxMoorgY8TW-oK9bKfkFbX_rafO_j6Gu3Nem54h02AC/s2048/IMG_7620+2.HEIC" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1536" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCKid-bSaWQwBkZ2G_XtALI9jwFMN2qbprd6hepabz3J5uxxofVl1GW8R8lwDdqMmR7y4lDXY1E3t46OPzzYiXT40MZXS7GnuKmGxMoorgY8TW-oK9bKfkFbX_rafO_j6Gu3Nem54h02AC/s320/IMG_7620+2.HEIC" width="240" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguZfUuxwgazgArecPQgt47-sFlqcmzz_n8-FMgDvOpNbmDZlgBBXUCWgx0Ot8PDQKcF59DFe4YDnb6_-FVvUss-qOaM-ng6LxUStymJOpiflm6cT4Lp0hfbRM18jeSUdPu0KmpEM2E-mK2/s2048/IMG_3603.HEIC" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1536" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguZfUuxwgazgArecPQgt47-sFlqcmzz_n8-FMgDvOpNbmDZlgBBXUCWgx0Ot8PDQKcF59DFe4YDnb6_-FVvUss-qOaM-ng6LxUStymJOpiflm6cT4Lp0hfbRM18jeSUdPu0KmpEM2E-mK2/s320/IMG_3603.HEIC" width="240" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgssQTguB5AI80cbhGoP3I1PXTWOV_7MOyzQhRyHwjTWlmExSfIcmNWfcivwMGfUTFS7wHQ9Xw6QETQ2TLFH-tSbOAMiBp2BqjybhoRTzzWa4VFRLbs2UOFnw-SYcppz-ylYUzbpTgENjZF/s2048/IMG_3699.HEIC" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1536" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgssQTguB5AI80cbhGoP3I1PXTWOV_7MOyzQhRyHwjTWlmExSfIcmNWfcivwMGfUTFS7wHQ9Xw6QETQ2TLFH-tSbOAMiBp2BqjybhoRTzzWa4VFRLbs2UOFnw-SYcppz-ylYUzbpTgENjZF/s320/IMG_3699.HEIC" width="240" /></a></div><div><br /></div>Each part is carefully measured and documented and a dissection is made, the beauty of growing your own plants is that there is plenty of plant material. <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh83_dw9w8x9IaKmJOcLOLJC_MU30Y_NyjO1KtR4ygUvQfQPnQeaYb8RAM2qe587-X3pa1GxMXquRZhTjFR9jHUpRXQKPwCSBsSc23eU9geL2KDoO6pQgLD9l5cKwthvmu2Y6Cl4PQmiabM/s2048/IMG_7860+2.heic" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1784" data-original-width="2048" height="350" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh83_dw9w8x9IaKmJOcLOLJC_MU30Y_NyjO1KtR4ygUvQfQPnQeaYb8RAM2qe587-X3pa1GxMXquRZhTjFR9jHUpRXQKPwCSBsSc23eU9geL2KDoO6pQgLD9l5cKwthvmu2Y6Cl4PQmiabM/w400-h350/IMG_7860+2.heic" width="400" /></a></div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhD1lct6HW2yzqOSM7nRe-XlhGxCsFKu4WzSla8x0BYHMvLZU0YWPu6dtW-inKEpj4GsEgVL788sRMs4fAxmA3l3GftWk8nP88APqXK8pvnpgHd2Gsip8rj0VeJ2qyTof-wRhb3xRnHf4M7/s2048/IMG_8243.heic" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1867" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhD1lct6HW2yzqOSM7nRe-XlhGxCsFKu4WzSla8x0BYHMvLZU0YWPu6dtW-inKEpj4GsEgVL788sRMs4fAxmA3l3GftWk8nP88APqXK8pvnpgHd2Gsip8rj0VeJ2qyTof-wRhb3xRnHf4M7/w365-h400/IMG_8243.heic" width="365" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Dissection of the flower, I also painted the individual male and female parts</td></tr></tbody></table><br /><div>Once the study page was complete I started on the composition, making very rough drawings and having large sections of the plant suspended on my easel. The aim is to show the various stages of the plant and its growth habit, its difficult with a plant like this as there are many stages, the bud, flower stages, fruit development and seed pod, plus dissection, also leaves, leaflets, tendrils, stems. Much overlapping is required but repetition should be avoided as far as possible and hopefully the final painting should aim to be aesthetically pleasing. It's a lot to think about but I believe that this study page process makes it easier and more accurate. </div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHcp8rymvzRikmVTr0OmHn-2Hq8mYVpwR2hlT2zca_e9sjlNkayH-Xlba9a1RsNY96eoyHaugYnSfECsm8s5uBQHGApFmrngn51zYrE8VHuSs_DTJrNfSaXHiB1tD9MlantW5h7j1tQqCP/s2048/IMG_8303.HEIC" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1536" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHcp8rymvzRikmVTr0OmHn-2Hq8mYVpwR2hlT2zca_e9sjlNkayH-Xlba9a1RsNY96eoyHaugYnSfECsm8s5uBQHGApFmrngn51zYrE8VHuSs_DTJrNfSaXHiB1tD9MlantW5h7j1tQqCP/s320/IMG_8303.HEIC" width="240" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Rough compositional sketches underway</td></tr></tbody></table><br /><div>The study has given me a good understanding of the plant, the next stage of the process is to think about overall light and shade and the tonal values. This is particularly important in complex plants when many parts overlap, separation between parts becomes important, and, if all parts are equal in saturation things can become confused. A common strategy is to make further away parts paler and closer parts more saturated and stronger, this is known as aerial or atmospheric perspective, a strategy traditionally used in landscape painting, where further away parts in the landscape are paler and more blue due to the effect of atmospheric light. In a painting this approach creates the illusion of depth or recession and is also useful in creating the separation between overlapping parts- so that parts are clear. The same strategy can be used in botanical painting to but it should be subtle. </div><div>Also, the tonal values between parts needs to be carefully observed, i.e. which parts are lighter and which are darker. Finally, light direction should be clear and consistent, cast shadows within the subject can also be used to create separation.</div><div><br /></div><div>I find the best way of dealing with this is to make a painted tonal study using black paint, this helps me to make sense of all of the potential issues with overlaps, tonal values and lighting. It's also useful in cross checking whether or not the composition is working or not and is also a last chance to make alterations. </div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs13fiLpD1JZ5Iw89eEPMRTjz2jyWrrJhL5TFOzA-heXMnByS7Mf-kw_tZALlxsQvJDFMrxgqJVCyoTqqdawMSEh7903yI01rv18k8FWkg_Sfujqb7DFwKo55_SPegSNb_e_0UrBvoxFuM/s2048/IMG_6489.HEIC" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1536" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs13fiLpD1JZ5Iw89eEPMRTjz2jyWrrJhL5TFOzA-heXMnByS7Mf-kw_tZALlxsQvJDFMrxgqJVCyoTqqdawMSEh7903yI01rv18k8FWkg_Sfujqb7DFwKo55_SPegSNb_e_0UrBvoxFuM/w300-h400/IMG_6489.HEIC" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Beginning the tonal study </td></tr></tbody></table><br /><div><div>In the next post I will share the tonal study, transfer to the substrate and development of the final painting. </div></div><div><br /></div><div><br /></div>Dianne Sutherlandhttp://www.blogger.com/profile/00336704902577001166noreply@blogger.com0tag:blogger.com,1999:blog-6401160288631130110.post-9164142964662114802021-09-13T02:10:00.030-07:002022-11-25T23:05:21.004-08:00The Botanical Artist: The Art of Earning a Living<p>This isn't my typical blog post but I think it's important to talk about the business of being a botanical artist. It's not an easy choice to work as a full time artist and illustrator - I made the decision at a young age and took the plunge in 1989 when I relocated to Scotland - being an artist meant that work location was flexible and what better place for inspiration, although in reality it took a little longer to become a full- time botanical artist!</p><p>Prior to this, just one year was spent at art school before leaving to work at the Royal Doulton design studio, which was good experience but I still wanted to be a botanical artist. So, I just started painting, researched the 1980's art market and wrote a half-baked business plan with advice from someone who had even less idea than myself. I successfully applied for a business start up grant for under 25's from the Princes Trust, .... and so it began. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifjJxW8wTY-5LWMl_51KOXGHAtGNfQqr_wKeaI-Vve0EJKieCJQxmzUJfuS79VHMBfYAyxnGBuieJeIENNxvS56U7TTyzakmm5j3kp_uAum7GqY6Engv8HeDsYhbLWq77WkhzkYLuhNefd/s1230/IMG_4945.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1230" data-original-width="987" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifjJxW8wTY-5LWMl_51KOXGHAtGNfQqr_wKeaI-Vve0EJKieCJQxmzUJfuS79VHMBfYAyxnGBuieJeIENNxvS56U7TTyzakmm5j3kp_uAum7GqY6Engv8HeDsYhbLWq77WkhzkYLuhNefd/w258-h320/IMG_4945.jpg" width="258" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Teaching is a great way of diversifying for an artist, don't be afraid to do it, you will also learn much from it too. I've been fortunate to travel to amazing places and met some wonderful people who all want to learn botanical art. Photo from RBGE 2017.</td></tr></tbody></table><p>For over 20 years I worked exhibiting, undertaking commissions and doing commercial work, the latter was high pressure, it became a painting treadmill and was burning me out - although I felt very fortunate in many ways. My focus shifted and whilst still working as an artist, I decided to broaden my training and studied for a degree in plant biology. I did this to inform my practice as a botanical artist - I wanted to be a specialist rather than a generalist, and a plant educator needs to understand their subject. Following that period, I worked in the arts education sector employing artists, with local government funding and external funders, such as the Arts Council and Lottery Fund. This experience gave me an insight from a different perspective, I became very aware of the monetary aspect for artists and started to question advice I'd seen on pricing. As artists we have the ideas and the create the artwork, which is the exciting part of the job - this is just the beginning though, there is much multitasking involved in being an artist, marketing and selling works can be hard to pitch, this is where information becomes scant. Even if you don't want to be a full time artist, it's important to be paid fairly for your work, it has to be sustainable and should be enjoyable. </p><p>If you're thinking of going down this work route you may come across doubters, yet it is possible to make a worthwhile career out of being a botanical artist. You have to be practical, realistic, tenacious and will need to work hard, producing a steady stream of work and marketing it well (but not over promoting to the point where it's annoying). You will need to keep on top of the ever changing market and have good ideas. The market has changed dramatically in the last 20 years through the internet and more recently via social media, for me this has been a great development and has opened up the world of botanical art, it's increased competition and pushes botanical artists to achieve more with their work. Some diversification is usually required to be completely self sufficient, especially if you're slow with your creative practice. I had found good training in botanical art difficult to access at the time and decided to develop the teaching side of my practice, which I've been doing for over 10 years. Many mistakes have been made over the years and I learned from trial and error. Aside from original artwork and teaching there are several other options, such as commissions, commercial illustration work, licensing artwork, publishing, prints and merchandise - I've done bits of all of them and will cover some of these in future blog posts. Currently, I would say I spend around 40% of my time creating artwork, 40% of time teaching and 20% on commercial work. The of course there is all the time running the business side and long hours working . </p><p>I was prompted to write this post having seen too many artists' selling work for too little, you just know that the artist is probably making a loss and certainly not making a living, it's almost doomed to failure because it's not sustainable. I also see societies with low minimum prices - this is meant as a starting point, it's great from a buyers perspective but often the artist ends up with less than minimum wage because the don't value their work and pitch at the bottom end due to lack of confidence. On the other hand there is no point in being over confident and charging too much and not selling. Undercharging in a desperate attempt to sell work, drags the business down, as a result the budding artists can become stressed by the feeling that they are spending many hours working for very little reward. We all have to start somewhere but we need to live, so we deserve fair rates of pay for our efforts. If you're a slow worker this means that you will probably need to maximise on your areas of diversification, supplementing income with prints and teaching but it's important to keep a balance and remember that primarily you are an artist. </p><p><b>Money Matters</b></p><p>Most of us know the feeling of being asked to quote for a commission, maybe you've been asked to give a talk or class or want to enter an open exhibition, but then the dreaded feeling of what to charge rears its head and little help or advice is available. Pricing varies based on qualification and experience, so you have to decide what your input is worth, that can be a tough call. The first rule is, never<i> pluck figures out of thin air </i>without considering what's actually required in terms of preparation, expenses and taxes. For commercial work make sure there's a contract (more about that in another post). Whatever you do, whether it's a commission, teaching or exhibition make sure that everybody is clear about what's being asked of you and what your client expects, don't be embarrassed to ask what the budget is or to discuss the money - be clear and ask for a deposit if it keeps the cash flow in order. Discussion saves problems in the long term.</p><p>When I started out I was looking in all of the wrong places for information and advice, eventually through my work in education I found the best place was the Arts Council and the Artists' Unions, rather than arts societies. One of the leaders in supporting artists is the Scottish Artists Union (SAU), which I was a member of, since moving back to England I joined the relatively new Artists Union England, which is now following a similar route. They give clear <i>guidance</i> on what artists should be paid, you don't even have to be a member to access guidance on pricing. Mostly the information is for art graduates with a university degree. Unfortunately there is currently no formal qualification in Botanical Art but there is training and experience which can be viewed as equivalent. </p><p>Link to SAU <a href="https://www.artistsunion.scot/pay_rates_2021">https://www.artistsunion.scot/pay_rates_2021</a></p><p>Link to AUE <a href="https://www.artistsunionengland.org.uk/rates-of-pay/">https://www.artistsunionengland.org.uk/rates-of-pay/</a></p><p>Anyway I thought it would be useful to share my background, thoughts and sources of information on hourly rates, of course it's up to each individual to decide for themselves, this is just what I do based on advice by the Unions. The English Union are currently preparing new advice on exhibiting, so this is something to look out for. I've rounded their figures and put in my own thoughts. Im just focusing on hourly rates and workshops in this post and will cover others later. You can convert the currency to your own if outside the UK. </p><p><b>NOTE: Rates exclude artist’s expenses for a specific project, tax and VAT where relevant. Think carefully about other expenses and make sure they are covered. </b></p><p>Variations in rates relate to qualifications and experience, defined by ‘years as a working artist’, and would be evidenced by a professional CV, indicating the artist’s track record, additional qualifications and achievements, such as Botanical Art Diplomas/ Certificates, awards such as RHS medals, Society membership, exhibition track record, work in collections or publications etc. NOTE: You should always have a CV and Biography that is up to date. </p><p><b>I find the only reliable method for pricing is an hourly or day rate and then adjust where necessary based on the market, expenses and commission. </b>However, some artists are slow and this isn't practical so they need to consider how to make it viable, such as prints. You have to start with some benchmark for pricing and this is a good as any - and is supported by the Arts Council and Unions.</p><p><b>Hourly working rates based on Union rates but rounded: </b></p><p>£23.00 /hr new graduate artist </p><p>£30.00 /hr with 3 yrs + experience </p><p>£38.00 /hr upwards with 5 yrs + experience </p><p><b><u>Original Artwork in Exhibitions</u></b></p><p>When pricing paintings for exhibiting it is important to calculate everything or you may find yourself out of pocket. The starting point which should be the hours worked and experience of the artist (some people use size as a way of pricing but I don't find this so helpful). You should work from your costs rather than stipulating an ‘on the wall price’ it saves you from the shock of the small cheque after the sale and feeling like you gave it away. Remember that commission can be vary from between 20% - 60%. Bear in mind that VAT may be added on top and if exhibiting in other countries there can be significant additional costs, which can be high, so you will need to find out about these in advance and weigh up the cost:benefit. </p><p><b>Example, using the hourly rate:</b></p><p>Graduate level work for an exhibition or gallery. </p><p>15 hours working time @ £23 per hour = <b>£345</b></p><p><b>Expenses</b> </p><p>Presentation and framing e.g. £ 75 </p><p>Delivery e.g. £ 30 (highly variable depending on where the work is going, calculate as appropriate with courier or travel. If you are delivering it personally you need to consider your time, its better to use a courier)</p><p>Also any insurance costs should be added to this</p><p>Hanging fee if appropriate e.g. £20 (varies) </p><p>That's a total of <b>£125</b> </p><p><b>£345 + £125 = £470 </b>but should this be your 'on the wall' price? </p><p><b>Commission and Consistent Pricing</b></p><p>The simple answer to the above is no, it should not be the 'on the wall' price. You have to consider the commission that will be charged, the 20% - 60% variation makes this seem more complicated. It doesn't matter what commission is, the 'on the wall price' should be fairly consistent, otherwise buyers might be upset if they feel they paid more and see similar work at a lower price because commission is lower or drastically lower online prices may upset the galley that you sell through. Pricing should be consistent.</p><p>Think about this: from the £ 470 selling price, say the gallery commission of 40% is £188 to be deducted and the expenses were £125, which leaves you with approx £157, which isn't very much for your efforts, it works out at about £10 per hour, then there is tax, depending on your earnings and all the other day to day business expenses. You will need to churn out work at this rate and won't have time to do anything else, so I suggest factoring in a proportion (about half or so) of the commission price to the 'on the wall' price. This will even out for you over time because sometimes you will sell direct, and others you will pay more or less commission.</p><p><b>Teaching Workshops Union Rates</b></p><p>£190 /8hr day new graduate artist </p><p>£245 p/day with 3 yrs experience</p><p>£302 p/day with 5yrs+ experience </p><p><b>Workshop Additional Costs </b>These rates from the Unions are useful but you must factor in the preparatory time (e.g. a half day), travel costs, materials, insurance etc. If you're asked to do just a few hours have a minimum charge because of set up time, it's unlikely you'll get much else done that day! Also be clear about who is marketing and selling the workshop, what else are you expected to do? </p><p><b>Why Personal Development is Important</b></p><p>Aside from the above, it's important to have time for other projects to develop your practice, if you are caught in the cycle of churning out work to survive it will be impossible. Sometimes I do Florilegium projects and also spend time on my sketchbook, whilst these have no direct financial benefit they are good for my development and create a legacy of work, as well as being beneficial for the education of others about plants, which is what its' all about for me. These projects may yield other benefits and create exposure often being included in publications, so don't write off work that doesn't pay directly, whilst this may seem contradictory, consider wider benefits and choose wisely. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIoxeC9vV7rgAhQNDEUnSOGCmm9u8MwAM1PAkpFGTVsgKvzaAVeBQ6aLNHoTBoVZ2U5VwgdLjbloxjosoenuh8uQzmViX1NgpWdLU-AG1qgZ5u6TBpgeqhH0W2an8L4usxuM-A9BbQLERl/s2048/IMG_5347.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1515" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIoxeC9vV7rgAhQNDEUnSOGCmm9u8MwAM1PAkpFGTVsgKvzaAVeBQ6aLNHoTBoVZ2U5VwgdLjbloxjosoenuh8uQzmViX1NgpWdLU-AG1qgZ5u6TBpgeqhH0W2an8L4usxuM-A9BbQLERl/s320/IMG_5347.jpg" width="237" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Exhibiting work from the Sydney Florilegium at the Shirley Sherwood Gallery, Kew in 2018. Having work in permanent collections is important for a botanical artist and creates new opportunities. </td></tr></tbody></table><p>If you're thinking of becoming a professional artist, I hope this blog helps, will write more time permitting. As stated at the beginning of this article, it's not the easiest career but I have to say I feel very fortunate and wouldn't change anything. </p><p><br /></p>Dianne Sutherlandhttp://www.blogger.com/profile/00336704902577001166noreply@blogger.com2tag:blogger.com,1999:blog-6401160288631130110.post-10179373492298966692021-07-16T03:34:00.029-07:002021-07-16T04:47:11.823-07:00Dandelion Sketches<p>I have decided to write the occasional post about some of the plants featured in my sketchbooks. It seems a shame to present a painting without all of the 'other stuff' or back stories, such as the description, history, process of painting or whatever, it's one of the many reasons why keeping a sketchbook is so appealing to me. Of course a finished painting is a stand -alone piece and takes a lot of time, but the process of learning about a plant in a sketchbook study is much more than the visual sum of its parts, and recording in a broader context interests me more and more as I get older. Most of these studies will probably never make it to finished paintings due to time constraints but all contribute to my understanding of both plants and painting. The first plant to feature is the humble dandelion, <i>Taraxacum officinale,</i> or the Common Dandelion.</p><p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ6AjaP23o_vfxs6ot2Pwrhk0eYRFwg1aPDg0s5GNj3EY6BBLhHvN6k5EgJwtLSto-mMB1hrXnlw9h_eVv2vLhSKCb16HXbHweJmjjHIaK5QzqzctM7UfBOyv-EMu7aZ9C6MDtFvnnVssB/s2048/Dandelion2+sketchbook.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1536" data-original-width="2048" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ6AjaP23o_vfxs6ot2Pwrhk0eYRFwg1aPDg0s5GNj3EY6BBLhHvN6k5EgJwtLSto-mMB1hrXnlw9h_eVv2vLhSKCb16HXbHweJmjjHIaK5QzqzctM7UfBOyv-EMu7aZ9C6MDtFvnnVssB/w400-h300/Dandelion2+sketchbook.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: left;">Above: Sketchbook pages of <i>Taraxacum officinale,</i> painted from my garden, April 2021. This sketchbook is a project that I've been working on since early this year - with fellow artist Debbie Crawford, we paint a plant of our choice each week, mine are from the locality where I live - in Staffordshire and Debbie's are from her garden in New Jersey. It's certainly helped with motivation and focus during the lockdowns, I even made the sketchbook myself! Here the Dandelion is illustrated from above, because that's often how we come across it. Also, notes and colour swatches are shown, which I record for reference, they also tie everything together visually. Note that the painting is unfinished and sketchy - the aim is to record rather than produce finished works. This was my second entry for the dandelion in the book. </td></tr></tbody></table><p></p><p><b>Initial Observation and Thoughts: Dandelion Friend or Foe</b></p><p>As a child I recall my grandmother complaining about stubborn dandelion 'weeds' in the lawn, path and elsewhere. We were forbidden to take these flowers indoors, I think because of association with it as a diuretic, hence its other common name 'Piss-in-the-Beds', in fact there was a pretty negative association with dandelions but most children still loved to blow the seeds of the dandelion clock.... helping to spread them even more. The poor dandelions had a lot of bad press at one time, mostly because of human obsession with neat lawns. Today the dandelion has a lot more respect for providing pollinators with food, most of us have fond memories of dandelions but in some circles feelings are still mixed. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSx2ZYfIqfhe5xAalt-DyfRzochqGoRTBrZ30VYMnlNc0M1vQ_d38afYoS7P-_PcjCGl1wn-oVToAHsB70wt65FlbBjzibxskbNC6BgVeHwv8VfXOoW7B2uXuNbI4ZsesiBd3ctd2R8L5J/s2048/IMG_5820.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1705" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSx2ZYfIqfhe5xAalt-DyfRzochqGoRTBrZ30VYMnlNc0M1vQ_d38afYoS7P-_PcjCGl1wn-oVToAHsB70wt65FlbBjzibxskbNC6BgVeHwv8VfXOoW7B2uXuNbI4ZsesiBd3ctd2R8L5J/s320/IMG_5820.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">My grandson preparing to blow the seeds of the dandelion 'clock', a fond memory for many of us.</td></tr></tbody></table><p>I've never illustrated a dandelion before and only knew a limited amount from my plant biology days but that was more to do with <b>allelopathy</b>, a process whereby plants release chemicals that inhibit the growth of other plants - it's something that dandelions do well, which is why they take over in the garden and elsewhere. This can be a real problem in agriculture because the chemicals released from the roots can <a href="http://www.jeeng.net/The-allelopathic-influence-of-taraxacum-officinale-on-the-initial-growth-and-development-of-festuca-rubra-l-,54,0,2.html"> inhibit the germination in grasses</a>. On the flip side those long dandelion tap roots can access soil nutrients for some shorter rooted plants, so can help other species. In some countries, <i>T. officinale </i>was introduced as a crop but became an invasive species, <a href="https://www.pollinationecology.org/index.php/jpe/article/view/286">research has shown that it may inhibit the the germination of native wildflowers</a> through interspecific pollen transfer, when pollen is lost to other species or when the stigma of flowers becomes clogged with the alien dandelion pollen, but we have to consider <i>how or who</i> enabled them to arrive in these places. </p><p><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5GrexA33DOvpKPBunhEEdRAEtqz7DL02F3obYOoH5_ST9-8_l82Bgg6HCLq4cZXg0VJniYlDaLiu9iBd_Jb2VGeqKN2iyBJra1EMPk4M0c7OcbNW1LmzmJsk5r0O9RKW2oBaqo7PHY7JQ/s1024/Bombus_ruderarius_-_Taraxacum_officinale_-_Keila.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="683" data-original-width="1024" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5GrexA33DOvpKPBunhEEdRAEtqz7DL02F3obYOoH5_ST9-8_l82Bgg6HCLq4cZXg0VJniYlDaLiu9iBd_Jb2VGeqKN2iyBJra1EMPk4M0c7OcbNW1LmzmJsk5r0O9RKW2oBaqo7PHY7JQ/s320/Bombus_ruderarius_-_Taraxacum_officinale_-_Keila.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Bombus ruderarius</i> on <i>Taraxacum officinale</i> copyright <a href="https://commons.wikimedia.org/wiki/File:Bombus_ruderarius_-_Taraxacum_officinale_-_Keila.jpg">Wikimedia Commons </a><a href="https://commons.wikimedia.org/wiki/File:Bombus_ruderarius_-_Taraxacum_officinale_-_Keila.jpg">https://commons.wikimedia.org/wiki/File:Bombus_ruderarius_-_Taraxacum_officinale_-_Keila.jpg</a></td></tr></tbody></table></p><p>Despite these negatives, dandelions are an important early food source for pollinators most notably the bumblebees and <i>T. officinale</i> provides both pollen and nectar food sources. Nectar is a rich carbohydrate but pollen is needed by bumblebees at some stages of life - the female bumblebee needs the pollen protein to raise her young. That said, dandelion pollen is not the most nutritious compared to other pollen sources, in fact some <a href="https://www.jstor.org/stable/2401281?seq=1#page_scan_tab_contents">research even suggests that bees become trained</a> to the dandelion pollen and neglect other more important food sources, such as pollen from fruit trees. A field or garden full of dandelions are visually appealing to bees and they are very easy easy to alight with their flat topped landing sites. Although the study is interesting it's likely that generalist bees feed on different pollen at different times of day, because plants have varying optimum times for releasing pollen and bees benefit from a variety of pollen. For pollinators though, it does seem like the dandelions are the fast food of the bee world! whatever you think about dandelions, there can be little doubt that a lawn full of dandelions is better than manicured grass lawn. </p><p>Whilst all this is fascinating it doesn't really help so much with my illustration, but it's interesting how a plant is valued, some people love them for the pollinators, whilst others praise the herbal benefits, lots of people hate them because they can dominate and destroy grasslands and gardens. ....There is always so much to consider with every plant and maybe we need to think beyond plants as human resources - the story isn't ever clear cut. In the end I suppose it's all about balance, my garden is pretty full of dandelions, I like them and so do the insects, I definitely see them as a friend and not a foe.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikPcpFbom9QHo1wfsmdo9LQEmQZ6tcnIVd4eldMkYgkf1uD4h5l38EhyphenhyphenaH0jcwFnteeCL9okzwqkpOYYkbUDN_aeLlUH9f3C_o3vBxyQNBKrEejRkSiA2teqIdafyixpvqcrrh7R7_gvQ2/s2048/IMG_2987.HEIC" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1536" data-original-width="2048" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikPcpFbom9QHo1wfsmdo9LQEmQZ6tcnIVd4eldMkYgkf1uD4h5l38EhyphenhyphenaH0jcwFnteeCL9okzwqkpOYYkbUDN_aeLlUH9f3C_o3vBxyQNBKrEejRkSiA2teqIdafyixpvqcrrh7R7_gvQ2/w400-h300/IMG_2987.HEIC" width="400" /></a></div> I wanted to know as much as possible and begin by looking around the field of dandelions next to the house, the first thing that strikes me is the sheer number and then variability, in size, colour and leaf shape. My garden is an extension of the field, so no shortage of plant material with this one, also I had the luxury of using one that had decided to grown in an old plant pot, dandelions are good at that, they pop up just about everywhere.<p></p>A garden full of dandelions makes a great study subject, the more accessible plant material is - the better. Common plants are just as interesting as rare ones and much easier to study. <div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTfBL7sVA6OJzpXATOzEDotODYns52A9PlxzNIUYxjaiVTCSjKweQ-De_jvTxq3GVmI5Ku0FR_8q5FExqv9Q5vcq4H-eVWISlIE20gzAgLjh-ergDBKulGXDB6-xT0Uzxh54ESt-et8LEN/s2048/IMG_8341.heic" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1918" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTfBL7sVA6OJzpXATOzEDotODYns52A9PlxzNIUYxjaiVTCSjKweQ-De_jvTxq3GVmI5Ku0FR_8q5FExqv9Q5vcq4H-eVWISlIE20gzAgLjh-ergDBKulGXDB6-xT0Uzxh54ESt-et8LEN/s320/IMG_8341.heic" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The luxury of a plant with roots </td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM52lybX22Yk9okwSUMHBe6h16woos8yjYcD3yBv0TvhJgGuQb0zfUM1aMXisj1Qpigr-ZtFeedzyhyphenhyphenCV8I6zw7aJQez2pEeu539uXJfDWAoZIdY7pthajN2jtw7eY1VbK1nOqwo5F97kk/s2048/IMG_0252.HEIC" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1536" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM52lybX22Yk9okwSUMHBe6h16woos8yjYcD3yBv0TvhJgGuQb0zfUM1aMXisj1Qpigr-ZtFeedzyhyphenhyphenCV8I6zw7aJQez2pEeu539uXJfDWAoZIdY7pthajN2jtw7eY1VbK1nOqwo5F97kk/s320/IMG_0252.HEIC" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"> This year there seems to be many more or maybe I was just paying attention because of the painting. Drawing and painting definitely enhances the powers of observation. </td></tr></tbody></table><p><b>Using Secondary Reference Material </b></p><p>After deciding to paint the dandelion and carrying out some additional observations of the habitat, I undertake some further reading. Firstly understanding the plant name can reveal a lot with both common and Latin names. The origin of the common name, 'Dandelion' is a corruption of the French name, 'Dent-de-Lion' which you will see in older books, it means 'lions tooth' and refers to those toothed leaves. The Genus name <i>Taraxacum </i>is derived from the Greek 'taraxos' which means 'disorder' and 'akos' which means remedy. The specific epithet (second part of the Latin name) 'officinale' is derived from Latin 'officina' meaning 'pharmacy', referring to plant use in medicine, today the dandelion continues to be used in many remedies, as diuretic (remember the 'Piss-in-the-beds). All parts are edible and you can put them in salads although they are rather bitter, make wine or feed to the guinea pigs, which is what I do. </p><p>Carrying out research can seem like a lot of extra work when you just want to paint but it doesn't actually take long, I tend to read in the evenings and digest the info before painting, preferring to paint in the early morning daylight, then dipping back into research when I want to know more. This really helps me to understand the plant, especially if I decide to make a final painting. The most important research initially is the plant description, a quick look at Wikipedia can actually give an overview but content can be variable, depending on how well researched it is, there is usually so much more to learn from other resources, that said, some Wikipedia entries are pretty good and that's the case with the dandelion. If you're not sure how to find other information, good descriptions can be found in any good flora book and there is much available online. For British species<a href="https://www.nhbs.com/new-flora-of-the-british-isles-book"> Stace's New Flora of the British Isles</a>, is the standard but it is quite an expensive book and to be honest its a bit dry and complicated, so if you don't know much botany it's going to be a tough one - you can pick up previous editions for very little if you intend to go into depth but will need to cross check for updated information. A beautiful and brilliant book that's much more accessible is <b>William Keble Martins The Concise British Flora</b> <b>in Colour (1965)</b>, which took over 60 years to complete, that isn't so surprising because it has 1486 illustrated species, I love the way this book is constructed with some lovely dissections too. I picked up a copy for just a few pounds but a first edition will cost, my botany tutor at University always referred to Keble Martin's book, but the descriptions are pretty limited for many plants and you may need to look for more in-depth descriptions. Illustrator <b>Marjorie Blamey and </b>Kew<b> </b>author<b> Christopher Grey-Wilson's, The Illustrated Flora of Britain and Northern Europe</b>, is a great book with 2,400 species listed, I've had this book since it came out in 1989 and still use it today, you can pick it up for around £20 upwards. Same issues with out of date info but its usually not that difficult to find access up-to-date cross references. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3StKeRGJTC2nF-nofDHfMWD3J9M5fLWY3z_u2lHdb-lBqZBnAEmE1XOtkSq6XdTbthDvNKiTPu_ikfP8SqTv3GYXqbltFY358JcwoHDkdZzHx-0LaIbfBO_EH4EamNYB-yESISszOWsed/s2048/IMG_8216.heic" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1419" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3StKeRGJTC2nF-nofDHfMWD3J9M5fLWY3z_u2lHdb-lBqZBnAEmE1XOtkSq6XdTbthDvNKiTPu_ikfP8SqTv3GYXqbltFY358JcwoHDkdZzHx-0LaIbfBO_EH4EamNYB-yESISszOWsed/s320/IMG_8216.heic" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">From Keble Martin's Concise British Flora in Colour (1965)</td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBppn5Mco3FOynfTKt-dkc1fn8mMCMuu4IzSidvE40zbkmCm4gGbQId9x2UAZ_aMWvJPbKpNGjNDIFq44qwQRZXvKxkV20vZ1dDhXC5sGhpP1OGT3NOrdue4GYW_CPKlybVnTLWxTUoPo6/s2048/IMG_8218.heic" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1726" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBppn5Mco3FOynfTKt-dkc1fn8mMCMuu4IzSidvE40zbkmCm4gGbQId9x2UAZ_aMWvJPbKpNGjNDIFq44qwQRZXvKxkV20vZ1dDhXC5sGhpP1OGT3NOrdue4GYW_CPKlybVnTLWxTUoPo6/s320/IMG_8218.heic" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">From Marjorie Blamey and Christopher Grey-Wilson's Illustrated Flora of Britain and Northern Europe. pp 436-437 (1989) </td></tr></tbody></table><p>For cross checking there are some brilliant <b>online resources</b>, too many to name here, but the <b>Botanical Society of the British Isles</b> is excellent and up-to-date resource. <a href="https://bsbi.org/identification/taraxacum" target="_blank">Here's their entry on <i>T. </i></a><span style="color: #0000ee;"><i><u>officinale.</u> </i></span><a href="www.worldfloraonline.org " style="caret-color: rgb(0, 0, 238); color: #0000ee; font-style: italic; text-decoration: underline;">Also</a><i style="caret-color: rgb(0, 0, 238); color: #0000ee; text-decoration: underline;"> World Flora online </i><span style="caret-color: rgb(0, 0, 238);">is a global </span><span style="caret-color: rgb(0, 0, 238);">resource</span><span style="caret-color: rgb(0, 0, 238);"> for plant names. </span></p><p>Then there are some very old books, such as George Bentham's Handbook of British Flora (1859), which was illustrated by Walter Fitch, I'm pretty fond of the old floras most have a lot of incorrect information because plants have been reclassified as new discoveries are made, however old floras and editions are interesting from an historical perspective, Bentham's book was <a href="https://www.euppublishing.com/doi/pdfplus/10.3366/anh.2003.30.2.237">met with mixed reception, he described it as for 'Beginners and Amateurs' </a>but failed to use particularly accessible language, he also wrote a book on Australian Flora, called Flora Australiesis (1863) as part of Kew's series of colonial floras. There are many floras for different parts of the world, if you do a little research you can find them from booksellers like Abe Books. </p><p>If you want to learn about plants, the plant family is an important starting point, as a botanical artist, we should always know what family a plant it belongs to and be able to give some of the key features. It's hard though because there are so many but remember that you don't have to learn all! - I work on a 'learn as you go' or 'need to know' basis and build knowledge over time. I'm not trying to be a botanist but need to know about <i>what it is</i> and <i>how it fits together.</i> Botanists have identified 452 flowering plant families across the world. In 1883 just 197 families were recognised and in 2016, the most resent assessment, 416 families, so this is an ongoing process of recording and clarifying/ reclassifying and also the reason why those old floras might be less useful. In total there are in the region of 300 thousand flowering species, that's a lot of plants! not to mention the non flowering (<a href="http://www.stateoftheworldsplants">www.stateoftheworldsplants</a>). Cultivars is a whole different area but still learning feature of plant families is just as relevant.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiY7KdBgw90VueARSU24aIABp3e8Dexl7WeSj6ZwHYA8e4LNndc06IxuMe_dhz_bQb2ucTwpZEc0nuFO41gsV_lMCbsFS859u3XmLt0HyFYl3k9YNNfZ9udkXWCbtHzNNgJ59UtPXz7H5PG/s2048/IMG_8212.heic" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1503" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiY7KdBgw90VueARSU24aIABp3e8Dexl7WeSj6ZwHYA8e4LNndc06IxuMe_dhz_bQb2ucTwpZEc0nuFO41gsV_lMCbsFS859u3XmLt0HyFYl3k9YNNfZ9udkXWCbtHzNNgJ59UtPXz7H5PG/w294-h400/IMG_8212.heic" width="294" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">From Bentham's Handbook of the British Flora (1859), Illustrated by Walter Fitch. It's always useful to look at how botanical illustrators recorded plants in these plates - illustrators had such limited size and shapes to fit the plant into. They had to bear in mind the small size of the publication too, so clarity in this style of illustration is key. It requires extremely skilful composition to get all parts of different shaped plants into the same template. Sometimes people say how do I work within the confines of the sketchbook but my sketchbook offers considerable freedom and I can use a single page or double page spread in any orientation. </td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMZR2sLc8CssuRLbUgMYMnQhRG89oUmfj_eoYMrkHk_kVXKZk7FF2cMlM9evo8PAMrChaFSH7GxxOJ-YO1mNeVP2JIg02pp_TAKTiG0bB4iazULA1zP-gtxHMjC4pyyotCTHSF78ShfT46/s2048/IMG_8213.HEIC" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1536" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMZR2sLc8CssuRLbUgMYMnQhRG89oUmfj_eoYMrkHk_kVXKZk7FF2cMlM9evo8PAMrChaFSH7GxxOJ-YO1mNeVP2JIg02pp_TAKTiG0bB4iazULA1zP-gtxHMjC4pyyotCTHSF78ShfT46/w300-h400/IMG_8213.HEIC" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Benthams book met with some controversy, 'For the use of amateurs and beginners' </td></tr></tbody></table><p>In the sketchbook I begin by noting the date of the entry first, then the correct Latin name (genus and specific epithet) and the plant family. <i>Taraxacum officinale</i> is an easy one to identify, we all know it and it's a member of <b>one of the largest plant families, Asteraceae,</b> (formerly Compositae, i.e. having composite flowerhead comprising many small flowers). There are more than 1,900 genera and 32, 000 species in Asteraceae - aster, daisies, sunflowers are all members. </p><p>The <b>Genus Taraxacum</b>, from Blamey and Grey-Wilson (1989) is described as follows: <i>perennial herbs, with milky latex, rosettes of basal leaves sprouting from a tap root. Leaves lobed or unlobed. Flowerheads yellow or white, solitary, borne on hollow scapes, flat topped when open, florets all rayed, the inner shorter than the outer; flower bracts in two rows, the outer shorter and often recurved. Fruit a large and conspicuous 'clock. A large and extremely complicated genus; some 200 micro species are recognised in Britain alone. </i></p><p>There are hundreds of species in the Taraxacum genus, so it's important to add the species. </p><p><b><i>Taraxacum officinale</i> description: </b>This is an extract for the specific epithet information<b> </b>from Blamey and Grey-Wilson (1989) <i>Very variable, low to medium plant, 5-40cm, often robust, leaves lobed to unlobed, coarse, never spotted, with broad winged, lobed stalks. Flowerheads mid-yellow, 25-50mm, often convex above, the rays usually with a brown or grey violet strip beneath, borne on stout scapes; flower bracts usually dark blueish-green, the outer recurved, not horned...</i></p><p>If you consult several resources you can find much more information. The plant has 1-10 stems which can be green or tinted red/purple. Basal leaves are 5-45 cm longhand 1-10 cm wide, oblanceolate, oblong or obovate, have narrowing petioles that can be winged or unwigned, lobed to deeply lobed with sharp or dull teeth. Florets number 40 to over 100.... and so on. </p><p><b>Viewing Works on the Same Subject</b></p><p>I already mentioned that the botanical illustrations in the old floras are useful but as an artist I also want to look at work on the same subject by other artists. A Google search of the 'species name and illustrations' will yield a good range of images but also the website <a href="http://www.plantillustrations.org/species.php?id_species=999560&mobile=0&uhd=0">plantillustrations.org </a> is a fantastic resource. Type in the species/specific epithet or vernacular name into the box to view old illustrations. Here's a little screenshot of what comes up. There are only so many ways of arranging the elements on the page and it's always useful to see what went before - to decide what works and doesn't work, and occasionally what hasn't been done before. The idea here isn't to replicate but to look at approaches, much can be learned.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOd6oPOwOYF2UCXQ5trjE6BKiLz7NRRqOpmycgvW72oV9LJcIpaK_mUM_wvEHo71j3NOj8UzMrUyvzb39Jqhmz8dbMM5Pg8dHVo89BUGeiRrMefrxaMjdYuM6nOP5bjv2osxpJR-24vX5d/s2048/Screenshot+2021-07-14+at+11.15.33.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1111" data-original-width="2048" height="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOd6oPOwOYF2UCXQ5trjE6BKiLz7NRRqOpmycgvW72oV9LJcIpaK_mUM_wvEHo71j3NOj8UzMrUyvzb39Jqhmz8dbMM5Pg8dHVo89BUGeiRrMefrxaMjdYuM6nOP5bjv2osxpJR-24vX5d/w400-h217/Screenshot+2021-07-14+at+11.15.33.png" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Screenshot from illustrations.org</td></tr></tbody></table><p><b>Making Initial Studies: My Primary Research and Colour Studies </b></p><p>I begin with measured drawings of all of the individual parts and work out the colours as I develop the pages, cross checking at all stages with the secondary research already consulted. Usually beginning with the flower in a prominent position on the page. I don't have a specific system but generally go with natural order of parts (higher and lower on the plant) or where they best fit on the page. At an early stage I decided that this plant deserved more than one page, so would follow up with the full plant and maybe the seed-head, with a view from above of the whole plant - this puts the individual parts into context. It's a fairly organic process which I don't want to constrain it by having too many 'rules, there are no rules in a sketchbook but it makes sense to complete flowers first because they will change and die first. Illustrating the plant parts in a study like this gives me a good feel for the plant, and I can I then move on to the next parts of the study. Want to include as many phases and stages as possible but need to avoid repetition. </p><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4drLf2XPqN6c9a1fHNNQWjOWYAQ8Wvp4Pkkv8Huj1umqihP6gFVr0H_M0wfDfEDETxhqecAU3bzrdJikfpB9Xjxu3VXs8oQjIpM3q8hh93xfBmhfGN5NHqiKBYua5nM0QWZ0VGWD2Ep9-/s2048/IMG_8391.HEIC" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1536" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4drLf2XPqN6c9a1fHNNQWjOWYAQ8Wvp4Pkkv8Huj1umqihP6gFVr0H_M0wfDfEDETxhqecAU3bzrdJikfpB9Xjxu3VXs8oQjIpM3q8hh93xfBmhfGN5NHqiKBYua5nM0QWZ0VGWD2Ep9-/s320/IMG_8391.HEIC" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Initial sketches and colours chosen, these can be changed or adjusted as the work progresses<span style="text-align: left;">. The whole process is to experiment and to include the different parts and stages.</span></td></tr></tbody></table><div><p></p></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrvB3qj8Y9JGY6LYtPI_k92WK_BAh3c229fvtQ6GKHjKwpmFhWnEhLkatVenu8ky_65klqidw4uxh_6HtJur1NT4N950yh7aJgsgzVbOWKAW69e9lfFZrrrrjl7W5V63IcEgZLJh7e7eL3/s1933/IMG_8686.heic" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1933" data-original-width="1702" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrvB3qj8Y9JGY6LYtPI_k92WK_BAh3c229fvtQ6GKHjKwpmFhWnEhLkatVenu8ky_65klqidw4uxh_6HtJur1NT4N950yh7aJgsgzVbOWKAW69e9lfFZrrrrjl7W5V63IcEgZLJh7e7eL3/w353-h400/IMG_8686.heic" width="353" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The good thing about dandelions is that you can have all stages at hand and lots of plant material. I start with some views of the main flower, there is no front facing view here but I had decided to make a second study from above. </td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhm0vlprr4VD_6g0kWY1NWzQeLJ8jvosEjsckZlPV0XdGHTtVv_91qDhrA3z5D7DNtNibjr4Z2-DMV_6y9G8KyThS3Q24U2R1yfac_X4hxA3zSWrntmG0lI5KyMCx_CRhSbBgvYUfNlJUZP/s2048/IMG_8692.heic" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1536" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhm0vlprr4VD_6g0kWY1NWzQeLJ8jvosEjsckZlPV0XdGHTtVv_91qDhrA3z5D7DNtNibjr4Z2-DMV_6y9G8KyThS3Q24U2R1yfac_X4hxA3zSWrntmG0lI5KyMCx_CRhSbBgvYUfNlJUZP/w300-h400/IMG_8692.heic" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The leaves are highly variable, with the extent of the toothed margin. The tap root on this one is relatively young compared to some that I've seen. </td></tr></tbody></table><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO6hSWf_8oO9G0r08THxxi8-sCM6Slu9t8sm9AnmftGBV4Es4CbSCpYFdkVaI13wbC3A3ai0ZS7nP4K-W0ZzxIYRqLboS9sjrF-YKTWjJD1V1mgSEqQUNqqPD6nklNsQdAczovlwKAXnNO/s2048/IMG_8689+2.heic" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1536" data-original-width="2048" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO6hSWf_8oO9G0r08THxxi8-sCM6Slu9t8sm9AnmftGBV4Es4CbSCpYFdkVaI13wbC3A3ai0ZS7nP4K-W0ZzxIYRqLboS9sjrF-YKTWjJD1V1mgSEqQUNqqPD6nklNsQdAczovlwKAXnNO/w400-h300/IMG_8689+2.heic" width="400" /></a></div>The full two page spread with colour swatches, I use a primary palette and number the colours with notes re the mixes for reference, this is useful for painting of the plant at a later date. My palette is on <a href="https://5bd1fe77-b930-4cad-af6c-e383bd456297.filesusr.com/ugd/28a8b8_d793e676035242c7b68383314ecbec39.pdf">my website </a>but use whichever brand and colours you prefer, sometimes I use a few other colours, simply because I've accumulated so many over the years and don't want to be wasteful but I find can paint everything with this range of colours from Winsor & Newton Artist quality range. There are many ways of getting to the same place with watercolour - having the exact same colours is not that important. Also, consider the substrate, don't copy someone else's colours, there are many variations in plants which can also vary depending on the light. The paper also affects the colour, I think it's vital to understand and work out your own colours, although many basic hues will be the same, the variations within them can be different. the aim should be to create a typical specimen but with dandelions there is much variability.</div><div><br /></div><div><p><b>Moving on to the Next Study</b></p><p>As an artist, we have the freedom to represent the plant as we see fit, as a botanical artist we want to represent the plant with scientific accuracy, so the two need to be balanced. Judgements are taken and a sketchbook is a great way of experimenting with approaches. In the second study it seemed a natural progression to go for the whole plant approach from above, because of the rosette arrangement when viewed from above, i.e. more than the sum of parts approach, this is a key feature of the plant so is important. I felt pretty familiar after my first studies and sketched out the plant directly, it's drawn life size. Smaller parts, such as the seed is scaled up in size and the scale is written. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5ofsKxxFNd8U_uJh8GBBUPGNiEjNkrCzrt1VBGJn0wnmqU4HCr7MVcpB_nQqCEeS8SxGFSa7MZs7ffU7tXQCpy5YALGmYpCZaexka3rQFOw4TKLjHt4Z9j2DObA4Xcl9WreDSXJRJbAou/s2048/IMG_8746.heic" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1671" data-original-width="2048" height="326" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5ofsKxxFNd8U_uJh8GBBUPGNiEjNkrCzrt1VBGJn0wnmqU4HCr7MVcpB_nQqCEeS8SxGFSa7MZs7ffU7tXQCpy5YALGmYpCZaexka3rQFOw4TKLjHt4Z9j2DObA4Xcl9WreDSXJRJbAou/w400-h326/IMG_8746.heic" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">A rough sketch of the view from above was made, in probably less than an hour, it's so much easier to do this after the initial observations and studies, which build familiarity with how it fits together. If I hadn't done the previous work, this drawing would have been so much more confusing and time consuming, so all the work pays off and reduces and areas of doubt.</td></tr></tbody></table><br /><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVx50moicgZXI2R-yLJYUjA8_5TgjC1KD7QZXJZRrN4anSuPbZtbvXJ7djI1khok2i3NhzPpBoBb5OiDxhpgNzAtJEqT3Yjujnm-Tflwu0h_ZY0C6xjUOp0FasfAwwoMQWq5EtvVpnYJrp/s2048/IMG_9143+2.HEIC"><img border="0" data-original-height="2048" data-original-width="1536" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVx50moicgZXI2R-yLJYUjA8_5TgjC1KD7QZXJZRrN4anSuPbZtbvXJ7djI1khok2i3NhzPpBoBb5OiDxhpgNzAtJEqT3Yjujnm-Tflwu0h_ZY0C6xjUOp0FasfAwwoMQWq5EtvVpnYJrp/w300-h400/IMG_9143+2.HEIC" width="300" /></a></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td class="tr-caption" style="text-align: center;">Experimenting with approach, adding parts here and there to see what works best can be invaluable if a final painting is going to be completed.<span style="text-align: left;"> <br /><br /></span></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeeLiL8cGeowkmBjO_gNsDmZJPbEHfKcIhqvDve4Gteq58OmJlYMLFhjiTbhPC0fjMPkakZcUGPs_UT2UQMKqY13RUXjASJMZwIvUqowp77xYfxyz64_0RybGX9r681d8M5B482Gf_2f27/s2048/IMG_9325.heic" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1960" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeeLiL8cGeowkmBjO_gNsDmZJPbEHfKcIhqvDve4Gteq58OmJlYMLFhjiTbhPC0fjMPkakZcUGPs_UT2UQMKqY13RUXjASJMZwIvUqowp77xYfxyz64_0RybGX9r681d8M5B482Gf_2f27/w383-h400/IMG_9325.heic" width="383" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">I stop short of finishing because there's really no need to, I figure at this point I understand both the subject and approach. There are many things I learned, including what not to do.<br /><br /><br /></td></tr></tbody></table><b>One More</b></div><div><b><br /></b></div><div>The idea of adding a third page in the sketchbook, focusing on the seed stage was there, I wanted to include the famous 'dandelion clocks' and had done in part in the previous pages, but to be honest the will to do more was gone. I was getting bored with dandelions at this point and don't like to feel that way with the sketchbook because its a quick turnover and need to feel sufficiently motivated. So moved on with the idea that I could add more at a later date given that they are still throwing out the odd flower rand seed-head into August. In June I was enthused again and added a further study but this time in a different sketchbook, on the black paper in the Stillman & Birn Nova book, this move was for no particular reason other than I felt like it. It needs more work but there is still time. </div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLgAd9zdkOJL1pcJHWjlwXOaPBm-Tvx8d2JM9ZO9kTremeVKnAuCWLLu8G6i346HJx5VS9g7IsIIEuUWwsv6kYiOu3MqdSBOJQ0KpeN10DYP3kVmL7HV9XaQV7IUVMYPRmxJyhZWlwKgM4/s2048/IMG_7570.heic" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1863" data-original-width="2048" height="365" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLgAd9zdkOJL1pcJHWjlwXOaPBm-Tvx8d2JM9ZO9kTremeVKnAuCWLLu8G6i346HJx5VS9g7IsIIEuUWwsv6kYiOu3MqdSBOJQ0KpeN10DYP3kVmL7HV9XaQV7IUVMYPRmxJyhZWlwKgM4/w400-h365/IMG_7570.heic" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The cycle starts again with the many seeds, up to 5000 seeds a year can be produced by one plant (54 - 172 per head) they can be blown by the wind for several hundred meters. The fruit is called cypselae are oblong and narrowing and have sharp edged ribs, the white silky pappi act like a parachute to carry them on the wind.<br /><br /> <br /><br /></td></tr></tbody></table>Thats about it for the dandelion, it was good to finally paint it, I probably wouldn't have if it wasn't for the sketchbook project and that's the case with many of my entries. <br /><div><br /></div><div><br /></div>Dianne Sutherlandhttp://www.blogger.com/profile/00336704902577001166noreply@blogger.com0tag:blogger.com,1999:blog-6401160288631130110.post-78643998824072752902021-06-28T10:31:00.005-07:002021-09-15T01:27:32.595-07:00White Flower Sketchbook <p>A blank sheet of paper can be a daunting prospect but not so much when it's in a sketchbook, I know others might find the opposite is true but I want to explain why keeping a sketchbook can be such a rewarding experience. I'm currently involved in two sketchbook projects, one is a wonderful joint endeavour with fellow artist and friend Debbie Crawford - I'll write about that one later. The one discussed in this post is a sketchbook dedicated to white flowers. </p><p>The project began in 2020 I didn't really have a reason for it other than the following: </p><p>1. Being in lockdown </p><p>2. Having a Stillman & Birn Nova Trio book </p><p> 3. A large number of white flowers in the garden, so no big idea, it just started and hasn't stopped. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8oKwzTEzJNDE2VyeZG6FLGWjurH_silafN_i5YrZPWMBxFDo_PgQkzYsdryy49MRjUdkKWHM4hMoM35umro-9pxHXjbIBRZJG3m5Y01hWW6RGuc-HIYYJVfWjxEO704lHiFlzWX7RKC3c/s2048/4A0CB82E-43B8-4C3C-86EE-214180FEF812+2.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="2048" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8oKwzTEzJNDE2VyeZG6FLGWjurH_silafN_i5YrZPWMBxFDo_PgQkzYsdryy49MRjUdkKWHM4hMoM35umro-9pxHXjbIBRZJG3m5Y01hWW6RGuc-HIYYJVfWjxEO704lHiFlzWX7RKC3c/w400-h400/4A0CB82E-43B8-4C3C-86EE-214180FEF812+2.JPG" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Work in progress, Anemone 'White Swan' I began this in June 2020 but it stopped flowering, to be honest I though it was dead! but up it came this year, so I'm in the process of finishing it. </td></tr></tbody></table><br /><p><b>The Sketchbook</b></p><p>The Nova trio sketchbook from <a href="https://stillmanandbirn.com/products_novatrio.php" target="_blank">Stillman & Birn</a> has three different coloured papers, grey, black and beige. The format is square 19 x 19cm (7.5 inches). The paper isn't very heavy at 150 gsm but I like to paint on lighter weight paper because it's always a good lesson in water management - I paint pretty dry anyway and using too much water is often detrimental in botanical work. The surface is described on the S & B website as medium grain but I's say it's pretty smooth. There are 92 pages....yes that's a lot to fill! You can also buy different sized books in any of the single colours. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg411wWvoMef4V-BLoMMgg28YMYbFW5vLkcvQw9AjIokRV2CsdyUwdPTAi7514BQjJeA-hx50hbh5C8XjDwx99uMivQmj3JEPWlEIT71OOXsbkIbo85KuCURbRlMexljfJPjBzQSw7pW6sC/s2048/IMG_6931.heic" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1687" data-original-width="2048" height="331" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg411wWvoMef4V-BLoMMgg28YMYbFW5vLkcvQw9AjIokRV2CsdyUwdPTAi7514BQjJeA-hx50hbh5C8XjDwx99uMivQmj3JEPWlEIT71OOXsbkIbo85KuCURbRlMexljfJPjBzQSw7pW6sC/w400-h331/IMG_6931.heic" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Lilium regale</i> on the beige paper. I chose this colour for the substrate as I'm planning a painting of this gorgeous plant on dark vellum skin and it's the nearest colour to the vellum, this gives me an idea of how it might look. </td></tr></tbody></table><p><b>The Inspiration </b></p><p>I'd always admired Ruskin's sketches, Antoine Berjon's floral studies and Lilian Snelling's botanical illustrations on grey paper but having never really worked on coloured paper before this was new territory for me. My feeling was that this book would be perfect to capture flowers and plants that are predominantly white, using watercolour and gouache. I've always loved the purity of white flowers and have planted many in the garden since moving to my home in Summer 2019. The plan is now to capture as many white flowers as possible, working on creating form using watercolour and body colour with this sketching approach and a fairly limited palette. Lighting is very important to me and where possible natural sunlight is best as it shines through the petals making dramatic shadows, the morning sunlight is truly inspirational, if the sun is out I dive out of bed to see how the sun is playing with the flowers. As with any sketchbook, it doesn't matter if everything works out, it's merely experimentation, if it goes wrong it can be abandoned but I found that I really enjoyed this approach to painting white flowers and continue to seek new inspiring subjects. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhva2lmtAsHPvtMzBGdkcJeYCxYGMcLZzn7yygzE8ITRdCK_zfCFMD1VZnl9xsyv7RoNu2R1CwX2OmlEk8m7M-7UnaHEU6FzdM44Ws5-QVXdSW8zhBPZ2YlQZOk2q_gMFNu5lk955_CvwY9/s597/Floral_Design_MET_DP805167.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="597" data-original-width="512" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhva2lmtAsHPvtMzBGdkcJeYCxYGMcLZzn7yygzE8ITRdCK_zfCFMD1VZnl9xsyv7RoNu2R1CwX2OmlEk8m7M-7UnaHEU6FzdM44Ws5-QVXdSW8zhBPZ2YlQZOk2q_gMFNu5lk955_CvwY9/w343-h400/Floral_Design_MET_DP805167.jpg" width="343" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Antoine Berjon Floral Design in Chalk. Copyright <a href="https://commons.wikimedia.org/wiki/File:Floral_Design_MET_DP805167.jpg">Wikimedia Commons</a> </td></tr></tbody></table><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLt8ZOd56BFWC4i-bbrGCi0juWRalUqMgWdm-dtVcmwEWfU4UfziFkQabYRubfiAwZL9mOWVOx6u-cBSSXkemrgC7EoCqrq4AziXj5vfbNs9kVq2wCYTT3r52LGc3k7QBP8NO_3matwCKX/s2048/White+Fritillaria+.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="2034" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLt8ZOd56BFWC4i-bbrGCi0juWRalUqMgWdm-dtVcmwEWfU4UfziFkQabYRubfiAwZL9mOWVOx6u-cBSSXkemrgC7EoCqrq4AziXj5vfbNs9kVq2wCYTT3r52LGc3k7QBP8NO_3matwCKX/s320/White+Fritillaria+.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">One of my favourite flowers, Fritillaria meleagris 'alba'- this appeared from nowhere in the garden in Spring this year. </td></tr></tbody></table><b><br /></b><p></p><p><b>The Process </b></p><p>I call this type of painting a 'process' rather than a technique because it feels more relaxed and organic than a specific technique, in fact I use multiple techniques as required by the subject, so calling this a technique feels reductionist and restrictive as an explanation. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPZzEpPvaeG2vuNgIYpHaxmfY6soLzZ_ePBzoOEcWXHNwCaDC7gVCoQMI3FkhxydvmQpNFKtrwXGaklShkCKooABwOei-CfzPgRIprp4ITZrCbZAR-UKJBN7z94oNKnGs9aRGgAnwjeUtl/s2048/Bindweed+full+page.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1264" data-original-width="2048" height="249" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPZzEpPvaeG2vuNgIYpHaxmfY6soLzZ_ePBzoOEcWXHNwCaDC7gVCoQMI3FkhxydvmQpNFKtrwXGaklShkCKooABwOei-CfzPgRIprp4ITZrCbZAR-UKJBN7z94oNKnGs9aRGgAnwjeUtl/w400-h249/Bindweed+full+page.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">This was my first entry in the book, bindweed on grey paper...a gardeners nuisance but still a beautiful plant. I always start with he focal point (that's the star of the show) and build from there and never worry about finishing the pages, stopping when I've had enough and feel that it's done. </td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcVksjNoo3O_sK9r5ptUJCzatuEAAlt4NH3-R6T16Sp5JbaTnZBBixuEn0RboNh5XBWo2NlLpZdRiuAG99puRqiZY4VPTszchIRH0lqjcwR1iN_GW00GruUmDwqzzlwVx3iPqXgDrwENTo/s2048/IMG_1649.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="2046" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcVksjNoo3O_sK9r5ptUJCzatuEAAlt4NH3-R6T16Sp5JbaTnZBBixuEn0RboNh5XBWo2NlLpZdRiuAG99puRqiZY4VPTszchIRH0lqjcwR1iN_GW00GruUmDwqzzlwVx3iPqXgDrwENTo/w400-h400/IMG_1649.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The form is created first with pale blues and violets for the shadows, the white goes on top but some areas of the grey paper are maintained for the mid tones. </td></tr></tbody></table><p>The paint goes onto the paper very smoothly and you really don't need a lot of it, you have to remember that this paper is thin and too much water or any scrubbing will make a big mess. I lay down the basic form first and often use violets and blues for this, the colour is applied selectively in the shadows, Cobalt and Quin Magenta are favourites but I also dug out a few opaques, such as Daniel smith Lavender and Wisteria, two odd colours that I never thought I'd use and don't even recall why I had them! also Lemon Yellow Nickel Titanate is used a fair bit in those glowing centres which are found in many white flowers. I use a mix of different opacities from transparent to opaque but if used thinly enough all paints are transparent. The white goes over the initial form painting, first with a W & Newton Series 7 miniature (size 2 or 4 depending on the size of the subject) I apply white with different viscosities and find this is the best word to describe the thickness of the paint, viscosity relates to resistance, thus a watery mix has little resistance on the paper whereas at the other end of the scale the dry brush method has a lot of resistance. The watery layers come first and the viscosity increases with each application, the driest application can create a lovely white shimmering appearance as it resists the surface and skips across it like a pencil it leaving little gaps, this shimmer is seen in many white flowers. Sharper highlights at the edges are applied with a little more water and usually a longer haired brush, a da Vinci size 1 is good or any brush with a decent point. </p><div class="separator" style="clear: both; text-align: center;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuBUOFGJ_osm6zo4tJsZE4BBx88qRKTvwVXXSRUoeRUWJD0wIHNZ0Ffja-TlNEPd9h80141GxbmuBpmofGT2j0Hap_T4BA2k1_vaT7UTA7KqoO7r07Jsz1rNkYR4RFkYKpb7CgBGhPcy_g/s2048/IMG_6302.heic" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="2044" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuBUOFGJ_osm6zo4tJsZE4BBx88qRKTvwVXXSRUoeRUWJD0wIHNZ0Ffja-TlNEPd9h80141GxbmuBpmofGT2j0Hap_T4BA2k1_vaT7UTA7KqoO7r07Jsz1rNkYR4RFkYKpb7CgBGhPcy_g/w400-h400/IMG_6302.heic" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Not a flower but how could I leave the dandelion clock out! </td></tr></tbody></table><br /><p>I was surprised how quickly I can capture a subject using toned paper, probably because it fills in a lot of the mid tones for me, it's a great exercise in interpreting tonal values with a minimal palette. </p><p>More recently I've started using graphite and gouache in the book, which is also very effective. This is one of the things I love about sketchbooks, they seems to nurture new ideas in approach, subject and composition. The confined space of this book could be interpreted as restrictive but it's a sketchbook, so I just paint what fits and if it falls off the edge, who cares, I certainly don't. It's a place to experiment or play, some things work better than others and that's ok too. The fast succession of work means I can experiment and learn about plants that I don't normally have time to paint in full. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2qFkQUvWeARS5fwL09fS4xa1EUsE0iC1vJl1sDU6h8khmToXHhH-UjF5dW4kNdVLYimbyccalV-SdqAKG2kdZSgd8eKf6mX0p8Rv8bGE7MWeiLzG7bIA33nZFd5gDLb6stTki20wZETpo/s2048/CE22ECFF-6762-41F8-A05C-FA4482A11E5B.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1078" data-original-width="2048" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2qFkQUvWeARS5fwL09fS4xa1EUsE0iC1vJl1sDU6h8khmToXHhH-UjF5dW4kNdVLYimbyccalV-SdqAKG2kdZSgd8eKf6mX0p8Rv8bGE7MWeiLzG7bIA33nZFd5gDLb6stTki20wZETpo/w400-h210/CE22ECFF-6762-41F8-A05C-FA4482A11E5B.JPG" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Papaver study: This is the first time graphite and gouache was used to complement the colour study</td></tr></tbody></table><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgA3xh7j3NDxHprABBp5bK8APD0rTRRL6PWeaYqCmp44N-KRrAzgQcyQ_e7fuprRnzPvxa3E8wP_XMC75dr-lBpTm0GGH_M5NpUcSbC0gh8Ph1SabbWadl85KK-8AohJwecP2TxxtGuRfP/s2048/IMG_6222+2.heic" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1997" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgA3xh7j3NDxHprABBp5bK8APD0rTRRL6PWeaYqCmp44N-KRrAzgQcyQ_e7fuprRnzPvxa3E8wP_XMC75dr-lBpTm0GGH_M5NpUcSbC0gh8Ph1SabbWadl85KK-8AohJwecP2TxxtGuRfP/w391-h400/IMG_6222+2.heic" width="391" /></a></div><p>The paper that was most perplexed about using was black, I'd never painted botanicals on black before so it was a little daunting. I experimented with photographing white subjects in very strong sunlight first, and taking the contrast up on my iPhone - it's amazing what you can do with a smartphone camera - this gave me a good insight to how subjects might look on black and was an interesting experiment, it definitely made the black seem less daunting. Below you can see the stages of a white daffodil. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwnpHACgRbg5bvaNhlwsQd2GV6PssVrP1P0SNPCkHKlnns9H8cQB0tWhKzvzayHCcMsxVIACsBp0jO0E0SNbnkP_7tb6olAMzKZFYy66PvDQ2E2IYeNz_eFvE5y4Bj_gX9ahE1d2Kqa3C1/s2048/IMG_2064.heic" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1863" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwnpHACgRbg5bvaNhlwsQd2GV6PssVrP1P0SNPCkHKlnns9H8cQB0tWhKzvzayHCcMsxVIACsBp0jO0E0SNbnkP_7tb6olAMzKZFYy66PvDQ2E2IYeNz_eFvE5y4Bj_gX9ahE1d2Kqa3C1/w365-h400/IMG_2064.heic" width="365" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">High contrast photographs in natural sunlight really helped me to understand the approach to working on a black surface.<br /><br /></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggMSvz8jYwNs7Pl5bX5TNOj8kEZHA1Aw3z3NU-14TUJDbdUoLEwEDZacSHHHx7pIKQ6nmL2bv15732z9S2EdHTHusZ2Xc2-AAbeDL5oM9B-Bg-ldahlkUnqWKsmOG1BzJFf5Z2JX5EZxXN/s2048/IMG_2586.heic" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1829" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggMSvz8jYwNs7Pl5bX5TNOj8kEZHA1Aw3z3NU-14TUJDbdUoLEwEDZacSHHHx7pIKQ6nmL2bv15732z9S2EdHTHusZ2Xc2-AAbeDL5oM9B-Bg-ldahlkUnqWKsmOG1BzJFf5Z2JX5EZxXN/s320/IMG_2586.heic" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Sequence of images showing progress, less paint is applied at each successive stage </td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR-lybWW6MsQtiOCUbJOpw8Q9EiF3NHMD_uY1UvW4xG7iCTAouFk1SfS4d5Jk4fNQaDfcxPXOcJ5fbWZrrpP7DvasWclFaADeSfQqrbXq0SALVY9NbjdMDJO2sw5f7LS_-DaOGLbBo7PB0/s2048/IMG_2600.heic" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1778" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR-lybWW6MsQtiOCUbJOpw8Q9EiF3NHMD_uY1UvW4xG7iCTAouFk1SfS4d5Jk4fNQaDfcxPXOcJ5fbWZrrpP7DvasWclFaADeSfQqrbXq0SALVY9NbjdMDJO2sw5f7LS_-DaOGLbBo7PB0/w349-h400/IMG_2600.heic" width="349" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu5c9JXJZW98BLcvXkKHY5ROVaQ36sM4ULzYRmCssbH-q_K9UtzX0MLDSHcSwNFwmDB-DrAAqabvHDnXEk8aPYfJKkNfKEChSyKV9nTy956w0p3I4VMDjtywDmsdXLmbtfk6TZz5XtSy5m/s2048/IMG_2633+2.heic" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1859" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu5c9JXJZW98BLcvXkKHY5ROVaQ36sM4ULzYRmCssbH-q_K9UtzX0MLDSHcSwNFwmDB-DrAAqabvHDnXEk8aPYfJKkNfKEChSyKV9nTy956w0p3I4VMDjtywDmsdXLmbtfk6TZz5XtSy5m/w364-h400/IMG_2633+2.heic" width="364" /></a></div><p><br /></p><p><b>What's Next</b></p><p>I continue to add to the book on a regular basis, this is a small selection of the images and I hope to end up with 50 to 60 pages. Currently the task of writing text to accompany each flower is underway, and hope to publish it sometime next year, not for any particular reason other than I think it would make a nice book and for me it is a small legacy of this unusual time, hopefully it might be of interest to others too. Each entry provokes a memory for me, even though I've been home for all of them, I can recall making every single one....its' given me a focus and a project is always good to keep motivated. It's also inspired a few paintings for the future, so everything is good about this...I can highly recommend such a project because it feels good.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3XIT4l9cPg3-YoiGLI2FM-o1-Na_tkAw28eQ7ag7x9yCGIcDHOp8KwIL8UOmtRiKmms5SgC-_XTqCMjGYdj5y2ThzKhf1AYXJN03Jqa1rfieFZJ5xq5ev8GfmZ7zN04oI90yKJhVdrBef/s2048/Waratah+Dianne+Sutherland.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1936" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3XIT4l9cPg3-YoiGLI2FM-o1-Na_tkAw28eQ7ag7x9yCGIcDHOp8KwIL8UOmtRiKmms5SgC-_XTqCMjGYdj5y2ThzKhf1AYXJN03Jqa1rfieFZJ5xq5ev8GfmZ7zN04oI90yKJhVdrBef/w378-h400/Waratah+Dianne+Sutherland.jpg" width="378" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Waratah, a reminder of my time in Australia before travel was curbed, created from my sketches and photographs from a previous trip. </td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0jBGYBH62Sa6nAoyoRdgGw6G1Z3ve8UnxuYeAtq3iUj7xFHwb-zuoSs3vJiA3QGcDW-TSXwSigs2JHUec1Gq3gPUXMe69EtYSzAxonttu4xTXbcmGHgRXw6swMB9puE2IgdlqHymKGm5a/s2048/IMG_6261.heic" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1850" data-original-width="2048" height="361" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0jBGYBH62Sa6nAoyoRdgGw6G1Z3ve8UnxuYeAtq3iUj7xFHwb-zuoSs3vJiA3QGcDW-TSXwSigs2JHUec1Gq3gPUXMe69EtYSzAxonttu4xTXbcmGHgRXw6swMB9puE2IgdlqHymKGm5a/w400-h361/IMG_6261.heic" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Today, much of the subject material comes directly from my garden, such as this white Foxglove flower, also some from and local walks - Many new bulbs and plants are planned for next spring, when I hope to complete the project. </td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHef4pVUHoWrsfDA0K4TpSa0Z0vyUF1Mu3Gly1IljGL_uxHP2wRxIfjbeLsaE-k_ye_jEspY8DRoBehVIQqaw9QiWy7VztYz9jbHj9gJ0HjHFN70omYUKGLAFKoomwBgm1W7d5czyJLrhr/s2048/IMG_9558.HEIC" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1536" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHef4pVUHoWrsfDA0K4TpSa0Z0vyUF1Mu3Gly1IljGL_uxHP2wRxIfjbeLsaE-k_ye_jEspY8DRoBehVIQqaw9QiWy7VztYz9jbHj9gJ0HjHFN70omYUKGLAFKoomwBgm1W7d5czyJLrhr/s320/IMG_9558.HEIC" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Early morning sketchbook time in the garden - my favourite time of day </td></tr></tbody></table><br /><p><br /></p>Dianne Sutherlandhttp://www.blogger.com/profile/00336704902577001166noreply@blogger.com2tag:blogger.com,1999:blog-6401160288631130110.post-87219653017335898002021-01-24T05:55:00.006-08:002021-01-24T06:14:32.233-08:00New Year, Old Painting: Cupani Project<p>This week I finally finished off a commission which began last year. It's a painting of the sweet pea 'Cupani' on dark vellum, which will be making its way to its owner in Seattle this coming week. It's been a long time in the making, as many paintings are - from buying the seeds and growing the plants in the garden, initial studies and sketches to the final painting all takes time.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP0jeb2Fabdej9uP1NaThjo6qGSHQHuqhATEJUOWgpOqL4UGYfD6_jx2I7BABf0WGdgWxk-UGedjz0KlLYTgZykYrOojzlsceZcvKrxuu5_yTcE_Z6DR0eKJfhXk0tQKYA08cy5blL03aA/s1600/Cupani+1600+small.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1402" data-original-width="1600" height="351" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP0jeb2Fabdej9uP1NaThjo6qGSHQHuqhATEJUOWgpOqL4UGYfD6_jx2I7BABf0WGdgWxk-UGedjz0KlLYTgZykYrOojzlsceZcvKrxuu5_yTcE_Z6DR0eKJfhXk0tQKYA08cy5blL03aA/w400-h351/Cupani+1600+small.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Finished painting of Cupani <i>Lathyus odoratus</i> on dark veiny vellum </span><span style="text-align: left;"><br /> </span></td></tr></tbody></table>This project began about one year ago, I think about the same time we first heard of Covid 19! I purchased the heirloom seeds of<i> Lathyrus odoatus</i> 'Cupani' from <a href="https://www.chilternseeds.co.uk" target="_blank">Chilterns Seeds</a> in early February. Referred to as the 'original' sweet pea, it's believed to have first arrived in England in 1699, when Sicilian monk Father Francesco Cupani sent seeds from his home in Sicily to schoolmaster and botanist Dr Robert Uvedale. Father Cupani was a man ahead of his time and you can read more about his work in this Acta Botanica Gallica <a href="https://www.tandfonline.com/doi/full/10.1080/12538078.2015.1039580" target="_blank">Journal</a> and also about other plants that bear his name and his publication on native flora of Sicily on <a href="https://professorhedgehogsjournal.wordpress.com/2019/10/23/francesco-cupani/">Professor Hedghog's Journal</a>, which is well worth following. Reading about these plants makes me want to visit Sicily to see the native flora.....maybe next year. <div><br /></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHidX7d_mg716ax7DIhf6ntVK4z-hXMed2uxb3h3MslXCFTT-APcwyEFKGhahxCb_n3cyiSRKN0VTT4ZcJmypKmHqupMiGgfc8zfZDNGOmksbLet1soDae-jghG3N_x95nGK4Fv2S02f9z/s485/Francesco_Cupani_-_Botaniker.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="485" data-original-width="345" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHidX7d_mg716ax7DIhf6ntVK4z-hXMed2uxb3h3MslXCFTT-APcwyEFKGhahxCb_n3cyiSRKN0VTT4ZcJmypKmHqupMiGgfc8zfZDNGOmksbLet1soDae-jghG3N_x95nGK4Fv2S02f9z/s320/Francesco_Cupani_-_Botaniker.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Botanist Father Cupani Img. <a href="https://commons.wikimedia.org/wiki/File:Francesco_Cupani_-_Botaniker.jpg" target="_blank">Wikimedia Commons </a></span></td></tr></tbody></table><br />Compared to modern day cultivars, this is a much more conservative looking flower, the hairy slender stems usually bear just two flowers, which are relatively small, however the colours are stunning with a rich red maroon, and blue/ violet wings with a paler keel inside, most outstanding is the perfume of the flower. Dr Uvedale succeeded in growing the flower which soon became popular in the 1700's, being given the name 'Cupani' and marketed commercially by around 1730. Our modern day cultivars descend from Cupani, so we have much to be thankful for. </div><div><br /></div><div>It's an easy enough plant to grow, and I started it off in seed trays in early February with a late second batch in early March (sow anytime Sept - March), they germinate quickly, within a few weeks, and the tips need to be pinched out to encourage bushy growth. Planting two batches meant I would have a longer flowering period to work with. Despite the Covid lockdown the weather from March and all summer was incredible and the Garden flourished, Cupani likes full sun so this was good. Much to my relief the first Cupani flowers appeared July 23rd, it didn't take long before they were scrambling over fences and up canes. It's best to remove most seedpods to promote longer flowering but I kept a few for the illustration purposes.</div><div><br /></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXFouZSN5fxrdac4GzkGslePQykG2bz-X2a8T0B_xWwkjK1PavmlCTz9P9Dicwtis9KBLj6B4UhiNWK_0Cz4uxGr_Fj-OVEagwKUFi9KqLcHu11RdEjTRYlCo7R-KFPvO7rDSjgxSTB9-F/s2048/IMG_0175.HEIC" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1536" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXFouZSN5fxrdac4GzkGslePQykG2bz-X2a8T0B_xWwkjK1PavmlCTz9P9Dicwtis9KBLj6B4UhiNWK_0Cz4uxGr_Fj-OVEagwKUFi9KqLcHu11RdEjTRYlCo7R-KFPvO7rDSjgxSTB9-F/w300-h400/IMG_0175.HEIC" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">First flowers appeared July 23rd </span></td></tr></tbody></table><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDkZHn8o5YQ2a8TDodmrCFGmbffzQZqDlGSahLZwf7Xrri0e33TUte3bV3q2TybZ_gKFS01aSes9Pdh6ZOpzHsFZLEwNKP27Gn_4S8oKJS-n62rRN457TBvW0Z5ErWjTdQlLr8I8fet3tl/s2048/IMG_0480+2.HEIC" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1536" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDkZHn8o5YQ2a8TDodmrCFGmbffzQZqDlGSahLZwf7Xrri0e33TUte3bV3q2TybZ_gKFS01aSes9Pdh6ZOpzHsFZLEwNKP27Gn_4S8oKJS-n62rRN457TBvW0Z5ErWjTdQlLr8I8fet3tl/w300-h400/IMG_0480+2.HEIC" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Within a couple of weeks Cupani is scrambling all over the garden </span></td></tr></tbody></table><br /><div>I set to work on a study page once a few flowering stems were established, it's a lovely plant to paint, with such vibrant colour. I always complete a study page - this allows me to understand the plant...how it fits together and grows. For me this study page is a problem solving exercise in advance of the final painting and it's always good to have plenty of plant material to work with, that way I dissect and deconstruct to achieve the best understanding. Measuring and making notes as well as working out all the colour mixes is all part of the process. </div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqj3BuCjlMVHIzIl8jfTMP8pyyVaAskaWczbM-zNQs-SMOy4pYC3DrhTn2X9lY5G_JkralEZVpM5lCJ-_4d8CMKiDvR5myxJ5VEO18nc-rv4EmRyTrf9i9Z1Pel21OmJHLhHUnoqOwmGe_/s2048/IMG_0360.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1892" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqj3BuCjlMVHIzIl8jfTMP8pyyVaAskaWczbM-zNQs-SMOy4pYC3DrhTn2X9lY5G_JkralEZVpM5lCJ-_4d8CMKiDvR5myxJ5VEO18nc-rv4EmRyTrf9i9Z1Pel21OmJHLhHUnoqOwmGe_/w370-h400/IMG_0360.jpg" width="370" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Studies, revealed that some stems have three flowers but most only have two, Later on I decided to stick with what is typical in the final painting. </span></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4wOoYeQZZeo8DdnCNMqgYfAtV2F9ZJqr7FHhc0VBoSyd3XsHo5b0oSyuCbhkGaejeghG6Fx98LoP562QLvY0vkZl4qzc8hCpNHXeapPGAMg8Bhp8CDi9MvnD6zeLgX9jGUV32Qju1Fhx6/s850/cupani.jpg" style="margin-left: auto; margin-right: auto;"><span style="font-size: x-small;"><img border="0" data-original-height="591" data-original-width="850" height="278" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4wOoYeQZZeo8DdnCNMqgYfAtV2F9ZJqr7FHhc0VBoSyd3XsHo5b0oSyuCbhkGaejeghG6Fx98LoP562QLvY0vkZl4qzc8hCpNHXeapPGAMg8Bhp8CDi9MvnD6zeLgX9jGUV32Qju1Fhx6/w400-h278/cupani.jpg" width="400" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">The finished study page shows different aspects of the plant, an enlarged dissection in graphite, notes about the plant, dates and colour mixes. This process makes composing and completing the final piece much easier. </span></td></tr></tbody></table><div><br /></div><div>For the final composition, I wanted to keep a similar look to the study page but with a more square format, so made some drawings based on this arrangement but kept some aspects a little more spontaneous. </div><div>The next task was to move on to the painting; the client wanted the piece on vellum and initially I though manuscript might be the best option because it has some delicate veining and is a clean and fairly white substrate, the flower has strong colour so I though perhaps the darker vellum might not work so well, however, despite starting on manuscript, curiosity go the better of me and I made a small flower stud on dark vellum, some adjustment was needed with the colour mixes and I made use of some body colour by using gouache to increase vibrance, to my surprise it worked well. </div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPhaEc0qIwBv8SzKTBDAc8Mytc5weh5Mc2naedfi5-o0FqtF4jDbE6TBMAIH_gfj_QVKMRx7n0jkiBQg1VydgDIZsvbAeAjgg_waelhi-IKJV8VhPywraA0ZbTR4IIBOLVfN8zLjhcHj85/s2048/IMG_1802.jpg" style="margin-left: auto; margin-right: auto;"><span style="font-size: x-small;"><img border="0" data-original-height="2048" data-original-width="2010" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPhaEc0qIwBv8SzKTBDAc8Mytc5weh5Mc2naedfi5-o0FqtF4jDbE6TBMAIH_gfj_QVKMRx7n0jkiBQg1VydgDIZsvbAeAjgg_waelhi-IKJV8VhPywraA0ZbTR4IIBOLVfN8zLjhcHj85/w393-h400/IMG_1802.jpg" width="393" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">On the light manuscript the colours are more vibrant and venation is still visible</span></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqPaOHKT1jH3HaI6kxzy8GcwaWsIAxqFIkOITEfogvnKKThN3aLdf0MRpQwbVdPaSesQbWsyNowwCwlZzCPY9_iJ3J1AoWUkR4OfGgG_mWUYZshz7lK_RLtSPl-1v3iX61F1girfM2A3z3/s2048/FCC5AC2F-CBC5-4520-9FDE-84B9207E74E0.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="2048" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqPaOHKT1jH3HaI6kxzy8GcwaWsIAxqFIkOITEfogvnKKThN3aLdf0MRpQwbVdPaSesQbWsyNowwCwlZzCPY9_iJ3J1AoWUkR4OfGgG_mWUYZshz7lK_RLtSPl-1v3iX61F1girfM2A3z3/w400-h400/FCC5AC2F-CBC5-4520-9FDE-84B9207E74E0.JPG" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">The developing composition on manuscript before I had a change of heart <br /><br /></span></td></tr></tbody></table></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT3u6SpLP_NuB8wk0hRiFkrIgi2vnoqtV5muTvLp954X9I5n2UdvS8IGQxU9igogBiCz8gp7ifYLHQRnKAe0dkGCl5d3EdEmMtRkqzVGnVcazgbavX23QASwVvqNaBFSmRw2xIOiX47iV-/s2048/IMG_2112.HEIC" style="margin-left: auto; margin-right: auto;"><span style="font-size: x-small;"><img border="0" data-original-height="1536" data-original-width="2048" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT3u6SpLP_NuB8wk0hRiFkrIgi2vnoqtV5muTvLp954X9I5n2UdvS8IGQxU9igogBiCz8gp7ifYLHQRnKAe0dkGCl5d3EdEmMtRkqzVGnVcazgbavX23QASwVvqNaBFSmRw2xIOiX47iV-/w400-h300/IMG_2112.HEIC" width="400" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Comparing surfaces, left study page, centre manuscript and right dark veiny vellum</span></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicC_oVuaDwneIGUuqiIsSAZpW2k5dILWWctFR7mmAH_umW8ZUp-6tpC0uFhWhs6qPsMuUGEuzMdfVoHwW52VPi9io6dol581DW8b2t8otmHTYaPxmevQnQ2fsIwhdCKrKya8tXplGnEUMp/s1665/IMG_2119.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1665" data-original-width="1639" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicC_oVuaDwneIGUuqiIsSAZpW2k5dILWWctFR7mmAH_umW8ZUp-6tpC0uFhWhs6qPsMuUGEuzMdfVoHwW52VPi9io6dol581DW8b2t8otmHTYaPxmevQnQ2fsIwhdCKrKya8tXplGnEUMp/w315-h320/IMG_2119.jpg" width="315" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">A small study on a scrap of dark vellum, after discussion with the client we decided this was the best option </span></td></tr></tbody></table><div><br /></div><div> After discussions with the client we decided that the dark vellum was the way to go, I'd had this beautiful piece of vellum from William Cowleys for some time, the strong veins complement the climbing stems so well and the warm colour gives a lovely vintage feel. Although I wouldn't finish this painting until long after flowering had finished, I had enough preparatory material and photographs to complete it at a later date. Sometimes it's good to change your mind. </div><div><br /></div><div>'Cupani' has been a wonderful project and I'll definitely be growing it again this year! Apparently the sweet pea is symbolic of goodbyes as well as for pleasure, I'm sure we'll all be glad to say goodbye to this current situation and can maybe get out into the wider world again in the not too distant future to do more plant hunting, but for now though it's time to begin the next 2021 project.</div><div><br /></div><div> </div><div><br /></div><div><br /></div>Dianne Sutherlandhttp://www.blogger.com/profile/00336704902577001166noreply@blogger.com1tag:blogger.com,1999:blog-6401160288631130110.post-16251535590961245742020-08-16T03:39:00.000-07:002020-08-16T03:48:26.901-07:00Equipment and Materials for the Botanical Artist<b></b>Over the last month or so I've been writing about <b>equipment and materials for the botanical artist</b> on my <a href="https://www.facebook.com/diannesutherlandart/" target="_blank">Facebook Page</a>. These posts tend to get lost over time, so I've collated them here and will add to this post with a few more items....it's a work in progress. I've been drawing and painting for 40 years (eek!) trying different materials and equipment and deciding what you like or dislike takes a while.<br />
These are my choices, I'm not telling anyone what to use but simply sharing - you may have other preferences - as artists we are always on the look our for the best we can find for our style of working and budget.<br />
Will add measuring and dissecting equipment and graphite paper and ink pens later. I'll also make a separate one about photographing work, printers and scanners etc. Hope it helps.<br />
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<tr><td class="tr-caption" style="text-align: center;">Materials and equipment </td></tr>
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<span style="font-family: inherit;"><b> 1. </b></span><b style="font-family: inherit;">Drawing board</b><span style="font-family: inherit;"> Blundell Harling. </span><br />
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<span class="text_exposed_show" style="display: inline; font-family: inherit;">Why?<br />1. It’s very heavy, so doesn’t slip on the desk top. Nothing more annoying than a lightweight drawing board that moves if you lean on it as some of the wooden ones do (prop behind with heavy books or a brick if you have one of those)</span></div>
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2. It’s fairly big but also not so big that it fills the room. It’s 65cm high x 70cm wide. They don’t seem to make the exact same one these days but do make an A1 version. Better to have a larger board than the size I’m working on - if I need to go bigger I use an easel. </div>
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3. It has a tray at the base for brushes and pencils- that’s handy as I constantly drop or have stuff rolling onto the floor.</div>
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4. It wipes clean - so I write all my notes directly on to it and stick stuff to it, I can easily clip on magnifier and charts and have clips etc.</div>
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5. It elevates to a steep angle - almost 90 degrees - with five height settings. Saves my bad neck to work upright and you can see your work properly if you work upright. </div>
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6. It’s well built! I’ve had it over 20 years and left it in a garage for a couple of years! Still as good as new... apart from a bit of chipped paint. </div>
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Not the lowest cost option but not so expensive and well worth the money considering I had it so long. </div>
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Here’s the closest I can find<br />
<a data-ft="{"tn":"-U"}" data-lynx-mode="origin" data-lynx-uri="https://l.facebook.com/l.php?u=https%3A%2F%2Fwww.blundellharling.com%2Fproduct%2Ftrueline-sherborne-drawing-board%2F%3Ffbclid%3DIwAR2mVd-eFcfgHFqNvTkdjbmUpDNNf48gDg0K15Et1MG8CXC-qmYD1U0iQpo&h=AT3EtUwI_ULXNthi6Ha1muO1WmngzKceeWB0Z5zLh3tSCgmD47WpxvryowiVfjf6Y_Stu2gX8HN7tEpH04XGkFC09mv8cEaXCuLSOTfLmdnjW3JTmJhDSXmHK4fZ47Q1cak7OR6Nyu8AJlxCm8xEU8DFqdYTjojiU_SDXl4dSPL1MfjOQC8AhD5nON41VM2qjZIdgylb-Opqazjr16xzc0e-W7HNW8u30EwaAhcX_CqwpnBYmOUVKuFlV6TeagwnVmmO8mrlSR-8vwOJt03ZSz7Ds4pswy9cE2Riwz2wISdZjVKB3Lq6n-fx-L0arM6lF0XWQiEc0_-bQYFfRV9mLJy41mU3cBxRtpttJ8mK6iLKZhaY1ZJND1KGPIPxMZ6_RNov_zsoYdzJnbvsEvqn0JFSAGnf0k7b77kaeiOeMP_hS9ucm3MzPZ38pzYLKcOcM1e8asfAucnHKvVRT8qTBfthlPebNYG1m7eqv1RsNX_nJvZqlR7jIcKqNS25NMjhT-VfMMroXm_MjTcjiOUe9e6kX3hY0IXGk5Q1jKYSkAOs_UgUTytekXQQUOLhjMZNcw0m2GyToST2kXoku5W_CK7nODfVQn6hbb4wn2P98I3ChbZXsLiaeXKmq3zXgj5bos5wh0Sb0yQ1Ow" href="https://www.blundellharling.com/product/trueline-sherborne-drawing-board/?fbclid=IwAR2mVd-eFcfgHFqNvTkdjbmUpDNNf48gDg0K15Et1MG8CXC-qmYD1U0iQpo" rel="noopener nofollow" style="color: #385898; cursor: pointer; font-family: inherit; text-decoration: none;" target="_blank">https://www.blundellharling.com/…/trueline-sherborne-drawi…/</a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1X1ebOlKZJR2GHTEAU7tc2Tko95lNmc_JFZITlXR-q9WXD5HZhw6U6231LRFdH6eGiBjUOHUNe9RaWBOvuuGiuvl19EM0JWw8k05JeEwGX5KkL3l6lGL53BDaqExIMG3K-qSYYTL1Aps9/s1600/101829777_2969302199826516_8690555784435597312_o.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1315" data-original-width="1080" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1X1ebOlKZJR2GHTEAU7tc2Tko95lNmc_JFZITlXR-q9WXD5HZhw6U6231LRFdH6eGiBjUOHUNe9RaWBOvuuGiuvl19EM0JWw8k05JeEwGX5KkL3l6lGL53BDaqExIMG3K-qSYYTL1Aps9/s900/101829777_2969302199826516_8690555784435597312_o.jpg" width="327" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">I love the Blundell Harling drawing board, I have a few others but this was the best investment I made, but it's heavy so doesn't travel.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJuSfhjRo90MWqJZnkta0eW3F6h7bOyfoalOSouhR87f69lUDSwL4Nmug_ya1MyVAMysUdsWYyxRa5iZ2Bx4ZMa6s-PyAjzN9pifIGbmKHXKO-Yjyi-yiz-zbCJGyVaXLxdXNpQyvOyNA0/s1600/IMG_1562.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1379" data-original-width="1600" height="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJuSfhjRo90MWqJZnkta0eW3F6h7bOyfoalOSouhR87f69lUDSwL4Nmug_ya1MyVAMysUdsWYyxRa5iZ2Bx4ZMa6s-PyAjzN9pifIGbmKHXKO-Yjyi-yiz-zbCJGyVaXLxdXNpQyvOyNA0/s820/IMG_1562.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Clip a helping hand magnifier by H and S UK to secure and view specimens (I'll add that later) I write notes on the board too, all sorts on here, colour numbers, shopping lists, flight times, painting sizes etc! This won't appeal to the Botanical artist with OCD - when it comes to tidy I think I've got IDC - 'I Don't Care' syndrome.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwcHJ1ZowhKNRptXFPp9xjKYpFAliLTNrqIgXZOXVuXwAqAyz5OZLtNOwmVbpM8z8Ph858pPaqGeGt4B0ctsN52lEjU4k2ObPz98dQ7ivHDY-W2KpgO-jmhUJ7TCheygf5IC9U62539UKR/s1600/IMG_1560.HEIC" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwcHJ1ZowhKNRptXFPp9xjKYpFAliLTNrqIgXZOXVuXwAqAyz5OZLtNOwmVbpM8z8Ph858pPaqGeGt4B0ctsN52lEjU4k2ObPz98dQ7ivHDY-W2KpgO-jmhUJ7TCheygf5IC9U62539UKR/s820/IMG_1560.HEIC" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Metal clips are handy for holding reference material in place</td></tr>
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<b>2. A Light Pad</b> for transferring my drawings to watercolour paper.<br />
<span style="font-family: inherit;"> A2 MiniSun Lightpad. Model 17033</span></div>
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This is a great lightpad and better than others I’ve tried.<br />
UPDATE: I noticed the Daylight Company also do a decent looking lightpad, so that might be worth looking into, I can't vouch for it and its more expensive.</div>
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Why?<br />
1. It’s a good size. A2 will do for most of my work - it’s just over 42 x 60 cm working area, so slightly larger than A2 and has a rule on the edges. You can buy a larger A1 version if you want to go big. </div>
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2. It’s really bright. I can trace through heavyweight paper. Just use a black fineliner (e.g.0.3mm ) to draw out the image. I use a finer pen sometimes but a 0.3mm is definitely going to show through heavyweight paper. Here the drawing can easily be seen through 275lb (550 gsm) Stonehenge Aqua - so I’m certain it will work with 300lb paper, I’ve used it on Fabriano in the past.<br />
Transferring this way means I can using minimal drawing and create really fine lines on my paper and there is no need for any erasing, which disturbs the paper surface. Dim the room by closing blinds to get the best results and trace with a H or 2H grade and light pressure. To check the drawing is ok - just switch off the power by the rocker switch on the cable. </div>
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3. This isn’t one you can dim, but I prefer this - I also have the Huion which I keep accidentally dimming! - that’s a really annoying feature. </div>
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4. It’s slim for easy storage although I just keep mine on top of the plan chest. </div>
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5. Not so expensive - £90 - £120 </div>
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I’ve had this for several years, more than 8 years. I read a few bad reviews that said the cable broke but mine has been seriously abused and survived 4 house moves. </div>
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They don’t have any on Amazon, just now - it’s out of stock but found one here for a brilliant price. Quite a few online but this was the cheapest. </div>
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<a data-ft="{"tn":"-U"}" data-lynx-mode="origin" data-lynx-uri="https://l.facebook.com/l.php?u=https%3A%2F%2Fwww.bltdirect.com%2Fminisun-a2-led-light-pad%3Ffbclid%3DIwAR2E3F782s3_jnUfAPWxYCy_3M86oUx8ukeSMyQv1_bVYZdiKnml0LdFuRI&h=AT3mkPza-DEaD92Ma5cbj04kPV3UqZa_CGtQx1DCp6oxkTXOBPuJUSoRp98OzRcxcaV6xettQu06FCStOx_upqr2BGQc2JUi3p-lhsDaAJmZsM20G8F9qYQpyPMaJMwd6Am852B6w1vyjospv0fTQK8vob5Qw4BHJxEHHYXvemt5OSEYsCqwKERzOFG7g7s-AQdeCS-9Qa7UCA0eFh4Ok7rj_OhEb7S1QpIAfEMk24WWQ0QUI4MHlujTAGiHd1AohOEXyX-kqBWpkz0D4Lv2fPgNlyFslCzac-jI1Cg7pEs6g7EeWxVFN2Aw_yXtxjtN0wz4xrQpDr3EL8jNpTdN0_ljb0cZth7pBcRWkwPJU5XF6VTzsFcqZcva_LT8p-zabOXnaqR4IU_8hXlrEbqH-k3ZJ-kjGb3gPCTg5ZQihpldRQLMoTk7DDWeviAaUr-fHzV3wb7nSO49k_ONUjp87Iav6fDgHH47WXPxJBAaHa_9zxlaBpBj8H0B-657Z6AwJbUmIzeRI_ZYVSm4hC2GWKEgc_llDLiaNI2Jgm_IVgn--qLry0cq8un6ra2jw1RWSbacxalIfY5s_6xx0nuEN4xrdx4DC1PH0eE3BeU4-VM2lhR_2H1-JUPucQ-jMAGyCVlxwoA" href="https://www.bltdirect.com/minisun-a2-led-light-pad?fbclid=IwAR2E3F782s3_jnUfAPWxYCy_3M86oUx8ukeSMyQv1_bVYZdiKnml0LdFuRI" rel="noopener nofollow" style="color: #385898; cursor: pointer; font-family: inherit; text-decoration: none;" target="_blank">https://www.bltdirect.com/minisun-a2-led-light-pad</a></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvXsv6ypIY_mHmlAEB8xX933jAEiXLZDrRoj-WNXvZcLThp927FZJ0PpeB9J0eAC7szpjQLPZJws78S5pMYH85TY1NiMkOuPIm8VgQhG-0HoByGEg4ZM9JPSnVGJ0IwN0OIFci4er6hevC/s1600/102325121_2971868726236530_7814281507140272128_o.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1078" data-original-width="1440" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvXsv6ypIY_mHmlAEB8xX933jAEiXLZDrRoj-WNXvZcLThp927FZJ0PpeB9J0eAC7szpjQLPZJws78S5pMYH85TY1NiMkOuPIm8VgQhG-0HoByGEg4ZM9JPSnVGJ0IwN0OIFci4er6hevC/s800/102325121_2971868726236530_7814281507140272128_o.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A2 MiniSun light pad </td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBsfpttNre0cM5ADPZaV8cT5BDA8NEhteHmKz3wt-gfOM9hIjW4cX9xVLzsRtMMObYtLGjRWVI7UNNj3cr_PPUirHjyYil8BGCMCZZlVT8dXiLR-_4X4vARcF40PgJ6AML0j40XODBamWt/s1600/101869114_2971868729569863_2840139676730261504_o.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1440" data-original-width="1078" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBsfpttNre0cM5ADPZaV8cT5BDA8NEhteHmKz3wt-gfOM9hIjW4cX9xVLzsRtMMObYtLGjRWVI7UNNj3cr_PPUirHjyYil8BGCMCZZlVT8dXiLR-_4X4vARcF40PgJ6AML0j40XODBamWt/s1000/101869114_2971868729569863_2840139676730261504_o.jpg" width="298" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A good clear image to trace over, even through heavyweight paper but be sure to darken the room </td></tr>
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<b>3. Magnifiers</b></div>
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This is a must for me because my eyesight is absolutely terrible, so I have a few. </div>
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Even without bad eyesight a botanical artist needs to check there work but a hand held is sufficient for most jobs </div>
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Note: Only use a magnifier when you need it or it will strain your eyes AND ALWAYS cover when not in usesand keep out of sunlight as its not that difficult to start fires with these lenses. </div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitmtKJyL7lCj46Qmvg-XugE8D5L0SuIvmIVpDuFzkELI5ShfXYh7r_pTjfksw_WW7l76l3DXNutA99h1imR82M1RzHKo83-eMLBgQ06y5o-Bp4YdKKYUjcLkNOH_OmtHGIwotnGV055wT1/s1600/102454942_2976804429076293_9108839896144206822_o.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1440" data-original-width="1078" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitmtKJyL7lCj46Qmvg-XugE8D5L0SuIvmIVpDuFzkELI5ShfXYh7r_pTjfksw_WW7l76l3DXNutA99h1imR82M1RzHKo83-eMLBgQ06y5o-Bp4YdKKYUjcLkNOH_OmtHGIwotnGV055wT1/s1000/102454942_2976804429076293_9108839896144206822_o.jpg" width="298" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Looking through the magnifier, it can be difficult to work under the magnifier as the brush can get caught so you have to work with the lens further away from the drawing board. </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4R1k8XTGenquTVElcZYCyQWZsOoxg7MGnfcfliL6BYh-Urxz_hwclgkzrR707pxjp0qSqrg4-BME3rNtqNN4EinXPgVifQUjC-v33-k5zDXvZ_MBf_eu8_rde2lHcWL85uFOERJnunKqN/s1600/102865050_2976804435742959_7896098644594408864_o.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1440" data-original-width="1078" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4R1k8XTGenquTVElcZYCyQWZsOoxg7MGnfcfliL6BYh-Urxz_hwclgkzrR707pxjp0qSqrg4-BME3rNtqNN4EinXPgVifQUjC-v33-k5zDXvZ_MBf_eu8_rde2lHcWL85uFOERJnunKqN/s900/102865050_2976804435742959_7896098644594408864_o.jpg" width="298" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A Flexi arm magnifier can be useful and the clear edge is useful</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYCIslfgpNbWd7_Wasr_1oW_xTDwaHh0RoVellrSWZwQUhRU1qGEErWtxKGmBKPMj4UHY3DrZpB0VuH4rHh2XaFxxmhfuxyUGLzQBZqkmdyO3Uc0rGyZLGEbh19XvHhYznqLT6xOYz6RA1/s1600/102878348_2976804425742960_6695139398963028942_o.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1078" data-original-width="1440" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYCIslfgpNbWd7_Wasr_1oW_xTDwaHh0RoVellrSWZwQUhRU1qGEErWtxKGmBKPMj4UHY3DrZpB0VuH4rHh2XaFxxmhfuxyUGLzQBZqkmdyO3Uc0rGyZLGEbh19XvHhYznqLT6xOYz6RA1/s1000/102878348_2976804425742960_6695139398963028942_o.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">My new Daylight company magnifier on the left and the old draper, which is heavy and a small lens. </td></tr>
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The best lens I’ve ever had is the Draper glass lens, it’s old, is kind of heavy and the arm has gone slack but I’ve had it 15 years so can’t complain - can’t find a new model of the same though.<br />
So have replaced with a Daylight Company lamp which is pretty good too for around £120, so not too costly. I’m sure there are lots of others just as good.</div>
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Features<br />
Glass 5 inch lens, which I prefer to acrylic. Has two lenses, x1.75 and x2.25. Any more magnification is too much and not useful. They do larger 7 inch lens lamps but I think larger lens isn’t really needed. The glass is pretty clear, some magnifiers are slightly green! </div>
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Good quality table clamp so no wobbles.</div>
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The arm is long, stays in place and easy to adjust.</div>
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It ring light I tend not to use, but it doesn’t flicker although it’s 6000k rather than 5,500 daylight but that’s kind of ok. I found the same model here but you can look at the Daylight Company website too. </div>
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<a data-ft="{"tn":"-U"}" data-lynx-mode="origin" data-lynx-uri="https://l.facebook.com/l.php?u=https%3A%2F%2Fwww.heamar.co.uk%2Fled-table-lamps%2F60366-daylight-slimline-led-magnifying-lamp-5022737250300.html%3Ffbclid%3DIwAR31-WtUqSLxYevVJi4qThudyXW0AuuZ6f6Zy3CwVC7SOiGDlQntgrc3W0I&h=AT0u1WOQL7RB-XMUsynoyXUyTrjcIv36efpah19ENAhRMbu7FE77DVxkFkLBp3-mIbFuf5zAVNnIIlYyL9j1uKNG_Fxq8cPO8pChoTTa97bbvKTvHSwsrz3-o_5sloXPt-yKZMT98ztpsYsqIii99QE37KJ340pFleu-k-7m269jG-O2MHniyrMozrCA4DK0evKsGAskip-3k9GPtEEJgLM8LxnS4zay-g1a9ouXySaLZxQOI-9mv_Vm6W4EjZOKVUBxdYjrX_l_s7M-cOqG7vitnGXMTUJEjBRNkdK0Bgj5FICJlVU2YKzFVesV9Ln4dUXR_m9H1dh9DuVakdJ9xCcT4NuyTM4yZnYCiwuFTiJX1xwyQnao_faKKN_8crkATAqa2gtm3aiU0A2rmQahLM-TSxtfP8gNLDjAjrt4BDLq7ilT_zjNBgLqGha9pljP1o2j5FTKrRgFXb1FtWaZixMDaCcztzAb-MAt9vn0dIBrAazA4ppGGSER8GNo7IHYT8mhuqfZegarWHM_anRYxZiiYzdMDL0DwfZe_BJ4Bv6gmiNcJYNIcMiIavQ8IdrxHWhAFHE1bv-8j996IGw_w65yvglTkbRkfXa98-FVY2lg_KmMEVngpcG9bGP5-xhOm5CP_xO4H9cEhQ" href="https://www.heamar.co.uk/led-table-lamps/60366-daylight-slimline-led-magnifying-lamp-5022737250300.html?fbclid=IwAR31-WtUqSLxYevVJi4qThudyXW0AuuZ6f6Zy3CwVC7SOiGDlQntgrc3W0I" rel="noopener nofollow" style="color: #385898; cursor: pointer; font-family: inherit; text-decoration: none;" target="_blank">https://www.heamar.co.uk/…/60366-daylight-slimline-led-magn…</a></div>
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I also have a long bendy 18 inch arm acrylic rimless magnifier - not as good quality as a glass lens but does the job and handy for classes, the rimless edge is good because you can still see all of the artwork. It’s a great lower cost option. I think this is the same. </div>
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<b>4. Mag Eyes magnifying headband. </b></div>
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I’d be lost without the Mag Eyes because I’ve got permanent nerve damage in my face, which makes it painful to wear glasses for more than around 10 minutes. I don’t always want to work under a big magnifier, so they’re just the job for detail like for the butterflies I’m working on. Of course it depends on your eyesight whether they work for you or not. </div>
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Why they’re good: <span class="text_exposed_show" style="display: inline; font-family: inherit;"><br />1. Lightweight on the head - other head magnifiers or loupes I’ve tried are really uncomfortable or heavy.<br />2. Hands free and easy to transport.<br />3. Perfect for teaching even if I do look stupid -No way I’m modelling these for you<span class="_5mfr" style="font-family: inherit; margin: 0px 1px;"><span class="_6qdm" style="background-image: url("https://static.xx.fbcdn.net/images/emoji.php/v9/t6f/2/16/1f602.png"); background-repeat: no-repeat no-repeat; background-size: contain; color: transparent; display: inline-block; font-family: inherit; font-size: 16px; height: 16px; text-shadow: none; vertical-align: text-bottom; width: 16px;">😂</span></span>. I can easily look over the top at the class or for distance and can lift up the lens out of the way.<br />4. Low cost option about £30<br />5. A selection of different strength lenses are available - I use #4 (x2 mag) mostly but also have 5 -7 but find they’re far strong for me. </span></div>
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They’re available on Amazon UK and here’s the US store link. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzvJTwIT7bLguY5NsnbJA2rPQZU-5gXfMslBXqrrvQ6PBNaVwb8Kjzs0UKc12muEMweeJIqhjPcgT6Pg9oxteunDLayJ69i01c_Dm8Mh8jyzPfHEx92cRf251L6fsVC5UOyIii7JzKtBfm/s1600/104232298_2992243000865769_1758269242641580347_o.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1440" data-original-width="1078" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzvJTwIT7bLguY5NsnbJA2rPQZU-5gXfMslBXqrrvQ6PBNaVwb8Kjzs0UKc12muEMweeJIqhjPcgT6Pg9oxteunDLayJ69i01c_Dm8Mh8jyzPfHEx92cRf251L6fsVC5UOyIii7JzKtBfm/s900/104232298_2992243000865769_1758269242641580347_o.jpg" width="298" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A lightweight headband works well and lenses come in different magnifications</td></tr>
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<b>5. Lighting, I use two separate lamps: </b></div>
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1. Lighting the work area<br />
2. Lighting the subject </div>
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Lamp 1. Over my work I have a long LED lamp, by Phive which has dimmer. To be honest there are probably better on the market but I’m pretty happy with it and have used it for about 4 years now. </div>
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Why I like it? </div>
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The light is pretty even across the work because of the width </div>
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It’s pretty near to daylight - clean white light</div>
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It doesn’t flicker or glare so good for filming too. </div>
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It’s not in the way - clamps to the desk so takes up very little space</div>
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The arm makes it really easy to adjust into any position with a 360 degree swivel.</div>
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It doesn’t get hot</div>
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It didn’t cost a fortune - I think around £80 -£100</div>
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There are a few Similar Phive lamps - I think this is much the same as mine but take a look around as they probably have a few more options now.</div>
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Phive LED Desk Lamp<br />
<a data-ft="{"tn":"-U"}" data-lynx-mode="origin" data-lynx-uri="https://l.facebook.com/l.php?u=https%3A%2F%2Fwww.amazon.co.uk%2Fdp%2FB078HQGMB5%2Fref%3Dcm_sw_r_cp_api_i_0dybFbWD8G3AG%3Ffbclid%3DIwAR2tWtth6vxQSU4sbVEo8k-dS3r0zXIU0cUnueGX9TkWj7Mq-PkAqDVvcac&h=AT2M1DF1mxsMMSSqP5a7e-C6Shz_wiYUGZFxl1VVMyTS1W_JSBnG-4THUBCSOK63LexcbXtfUOG3PiK2FLW5ykNAKX2HE34Tb3Ldh8BTlEvdzHDjNWBaLUmj6sp7cTxtqgtt9vTGhvQ1j170SKkU33t-plu6SQBMfywHnSZMJsqiWj1K_gm4wqPec1fsO6V-nF5tklrRNr3sH6eF4yw9jO8gmZzERiRjLpGErfWgKYsIqM4VtOv1BEEQfC3geaGKU5xAdAdbGD3zcOD3wYnZHJPL7OH9HzQDWiIvtyuHmAXqiTHnvl9jx8bKMzOlF-1ljY-lx7TzsPL34_F-aN68iU8cHJU2Wk1HAxmcojPcZ25AYkFMQ78BJJNooIif9xerqypqDeEDxNtoN5qs2LYjFm-vzPOQFUNE3bJ90qcSzqX3VWKlxi2e28JFwa9JVekw5yV2WBMkRvruTaNEtoX67XjSiJgU53I1VAwhq32gcYwFTJXVXvkLjvllDhsPkW_keZMMPi2ZaDZeFfdEd88uMjOJ6kvV058aKaHhemuspFRKP42VAQquOzRH5YEPzkQgV5P_foccQxZIslmrf0YI0WWO9ApGYP_wh0pisRJfeVWHUSq7BUzF1IhngcjPpz2Rz387sDI" href="https://www.amazon.co.uk/dp/B078HQGMB5/ref=cm_sw_r_cp_api_i_0dybFbWD8G3AG?fbclid=IwAR2tWtth6vxQSU4sbVEo8k-dS3r0zXIU0cUnueGX9TkWj7Mq-PkAqDVvcac" rel="noopener nofollow" style="color: #385898; cursor: pointer; font-family: inherit; text-decoration: none;" target="_blank">https://www.amazon.co.uk/…/ref=cm_sw_r_cp_api_i_0dybFbWD8G3…</a></div>
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Lamp no. 2. To light the subject I use and angle poise with a swivel head and a daylight bulb, which can be bought separately. Like an architects style lamp, I bought this low cost Alba double arm with swivel head and table clamp (option of heavy base or clamp, I use the clamp because it’s easier and takes up less room. To be honest I didn’t expect much for around £30 given that a real architects lamp costs £200 or more - but it’s great! Had it for around 6 years and it stays in place! Just by a bulb with the E27 fitting.<br />
You will need to buy a daylight bulbs but a lot of so called daylight bulbs aren’t actually daylight. So you have to looks for one that’s around 5500k - 6000k (near white light) with a CRI (colour render index) of 90 plus or as near as possible which gives pretty true colour. Photographers lamps usually but not one with too high a wattage 6-9W. It seems hard to get all of these things in any one bulb so you may have to compromise. I found these ones<br />
I love natural light but it’s so changeable and grey some days - it’s impossible! So using a lamp is essential to light a subjects to get the most out of the tonal values and you can create more drama with subjects! Playing with the position of the lamp is important ( try near and further away and see what happens) Light from upper front left or right (depending on handedness).<br />
By contrast having light coming from all over (a conservatory is a bit of a nightmare) with diffused light makes it really difficult to create form in a subject because there are no real highlights, shadows or reflected light. </div>
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Why I like the angle poise? </div>
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The adjustable long arm and swivel<br />
head means you can position it exactly where you want on the subject. </div>
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To create the best lighting block other light out by putting white card around the subject. </div>
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Don’t need to spend much it just needs a decent bulb. Which can be bought separately. The one I use doesn’t seem to be available anymore. I found this one so will try it out and let you know. </div>
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The Bulb - will check this out as the bulb I have isn’t available - will post a new link when I find one </div>
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The Angle Poise<br />
I think it’s the same as this one as mine:<br />
Alba Architect Double Arm Desk Lamp<br />
<a data-ft="{"tn":"-U"}" data-lynx-mode="origin" href="https://l.facebook.com/l.php?u=https%3A%2F%2Fwww.amazon.co.uk%2Fdp%2FB015Z4BK5E%2Fref%3Dcm_sw_r_cp_api_i_I9xbFbPVKXAPG%3Ffbclid%3DIwAR0aVKHDhzrv-x9A_eIkRrCKXYzP8FvI7-y0YaFWBQbpVZBpJlH2sy6_Sys&h=AT2QBg9M8xOcpxHd2Ayz9JzVidc7B5h3JEP-AgCRvPB2mGJC6qvTtTP_VQNXg70U4B0JAVAz6zLXEu355a9hrQh-x9oWRyZ_XJLiGKA1GIDdz1P98HK7YIj6m0iDOBFrBPzDpFHsSyuHZhwbufnj6ItbrZbdIacnHfmVErz5JH4DA6I6zUcrnfAAhqOhKiePWP7iGTUlENNk0diiyB-DcPA2esh2Fu0KuiFUsfYSLpypd0Ae2SjAx1Dr7SEN1vjz2QnF71qqoM9Q3C3CLxoKs99VX93Yw17iPWkbfy4_MXlb-vO8lIPCcqzRFLuGLbb9rED7f7tMyAYxbU9YGBX71UE15RkxV4bRdfx0J0fnb-5Zaiscj878M5_EHQXrJ77tPwl28x-i_ZrjtTKQiu2uTunEi2G29OIjOMOTDE-MVkHIaFtvunqyfEHoD0g0TO4JPA3j_4hyalCBRlvml5EJEgHq1deBhhj7ScgSpj8lpoKk_M8bdYL7R-Z53lLOwskTb0Xd8eBK1xBadN0Oms6_uf0IVhiUI27J1KE4joNm_gHzha4iKLjKRZF6EP00tvtiFAEmRH-DKylhls3BS77zfOdNuoNOAaj4ux2XUjLQrkZwokHlaowaaq6o3B0bv-dXJA14oD0" rel="noopener nofollow" style="color: #385898; cursor: pointer; font-family: inherit; text-decoration: none;" target="_blank">https://www.amazon.co.uk/…/ref=cm_sw_r_cp_api_i_I9xbFbPVKXA…</a></div>
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Here’s a few photos of the lamps, not very exciting! and a couple of image of subjects lit with a lamp showing how lighting enhances form. Both lit from upper front left, note highlights, mid- tones, form shadow and reflected light on the pear, that comes from sitting it on a shiny surface, so the light bounces back. </div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgysQVWBGTthPpxu5Xg49glgHXHbsEiQ2VDdOUdOV83nvSlffPNVvhe7aSzwla6K1Rxr4GIulWikXtkKKnFAREqzzB6CG49-It6Ehn_isyT6Xm_jRMyCmjd1id0onoOaXkHWRKN7LUtnW59/s1600/108015667_3065049010251834_2791509924212759131_o.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1226" data-original-width="1440" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgysQVWBGTthPpxu5Xg49glgHXHbsEiQ2VDdOUdOV83nvSlffPNVvhe7aSzwla6K1Rxr4GIulWikXtkKKnFAREqzzB6CG49-It6Ehn_isyT6Xm_jRMyCmjd1id0onoOaXkHWRKN7LUtnW59/s920/108015667_3065049010251834_2791509924212759131_o.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Adjustable arm Phive lamp for positioning over the artwork </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQhJAEMqsQHYhP-VtO5KGNptM9qD7Hp-UdexnnWjriy6NSda_6JI6o8UjtwyT-mizxew1-KKqpOvpWhPMu5ti0I9gxynAuPxkoogFxhiaEjqVWqczY1LZ2l7vVHOX5drUCOPouvykuFj2d/s1600/107829888_3065049000251835_5793645257808198477_o.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1440" data-original-width="1078" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQhJAEMqsQHYhP-VtO5KGNptM9qD7Hp-UdexnnWjriy6NSda_6JI6o8UjtwyT-mizxew1-KKqpOvpWhPMu5ti0I9gxynAuPxkoogFxhiaEjqVWqczY1LZ2l7vVHOX5drUCOPouvykuFj2d/s920/107829888_3065049000251835_5793645257808198477_o.jpg" width="239" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Illuminated the work area well, here in a darkened room </td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjeXXhE1S0d_7LCdisJqA3DdZQsZqKtF3fbB-ESGsjgY4t4Dxw_g396B-mCZvAHp8SABfNhI_FdKww3J9FZ-8VcU87G8JdmolPv0LcEq_hSxK-tpP71pRY9vwgleLGZwQcPmFDhGXmnw2d/s1600/107527394_3065049026918499_1535134742631740143_o.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1440" data-original-width="1334" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjeXXhE1S0d_7LCdisJqA3DdZQsZqKtF3fbB-ESGsjgY4t4Dxw_g396B-mCZvAHp8SABfNhI_FdKww3J9FZ-8VcU87G8JdmolPv0LcEq_hSxK-tpP71pRY9vwgleLGZwQcPmFDhGXmnw2d/s320/107527394_3065049026918499_1535134742631740143_o.jpg" width="296" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">An angle poise for directional lighting on the subject. Don't use too strong a bulb or you will bleach out the form. </td></tr>
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<span style="font-family: inherit;"><b>6. </b></span><span style="font-family: inherit;"><b>Brushes. </b></span></div>
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<span style="color: #1c1e21; font-family: inherit;"><span style="caret-color: rgb(28, 30, 33);">Winsor and Newton series 7 miniatures are my core brushes. Size 2 and 4 mostly, occasionally a size 1 for tiny things. Plus a short flat, a filbert and a mixing brush, as shown. Occasionally </span></span><span style="color: #1c1e21;"><span style="caret-color: rgb(28, 30, 33);">I</span></span><span style="color: #1c1e21;"><span style="font-family: inherit;"> use a longer haired brush, for this I use Raphael series 8404 size 1 and 3, which </span>I<span style="font-family: inherit;"> use for longer fine </span>brush<span style="font-family: inherit;"> strokes such as those used when painting feathers. </span></span></div>
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<span style="font-family: inherit;">If I was to say I don’t have a lot of brushes, I’d be seriously lying, there are hundreds of brushes on the shelves but the two I always use are the W&N series 7 miniatures, plus a synthetic filbert and small and large flat (the large one is for taking paint ou<span class="text_exposed_show" style="display: inline;">t of the pans and mixing). The Rosemary eradicator, short flat or Pro Arte flat shader are good when a bit of tidying is needed (I don’t use them for lifting paint but move it around a little sometimes. The Sekaido filbert (the green one) is good for painting rounded forms but any synthetic filbert does the job. I also have a few larger brushes for painting big stuff. But I could manage with just the W&N.</span></span></div>
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Why? </div>
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1. I’m a pretty dry painter and the hair is short so that suits dry brush work really well. It’s so much easier to control than longer haired brushes and holds a decent amount of paint in the belly. </div>
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2. Despite being short haired the point is really good. They have a different cut than similar brushes, such as Rosemary and Co spotters - which have finer hairs and are too rounded for fine work.</div>
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3. They seem to last longer than other similar brushes </div>
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W&N series 7 miniatures are easy enough to find, Jacksons Art, Ken Bromley and Amazon amongst others sell them</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-y5n8mXmlc2wlmZgNuEksNXOWsQWrk_9V20XnVtCnwY4rX8afHa0smY2ahVomWlxA-Ap1Rsfq-AF2PJFKVah5HBhaNyaf_r7tum6zbI27-9VeyE24jjbPsuiF6UuR2gd4vOEIocBx5Xij/s1600/83524660_3001997253223677_8944057141043044905_o.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1440" data-original-width="1224" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-y5n8mXmlc2wlmZgNuEksNXOWsQWrk_9V20XnVtCnwY4rX8afHa0smY2ahVomWlxA-Ap1Rsfq-AF2PJFKVah5HBhaNyaf_r7tum6zbI27-9VeyE24jjbPsuiF6UuR2gd4vOEIocBx5Xij/s400/83524660_3001997253223677_8944057141043044905_o.jpg" width="340" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Range of essential W and Newton Miniatures, flat square, filbert and a large flat for mixing paint</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgZ50aygmMEFk_HCpmbnmzVO_3Tq8w-7v_BWQ3bXPnCbWphOuNdpMv5OWwl8U9YZKQEP3vXFTf-eZlKCHh3SARZSBAvhrfCyJubA1JepjBxBl448Ga9-qUCnrPoak4ClNdYFsRDj7BAY1S/s1600/IMG_1525.HEIC" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgZ50aygmMEFk_HCpmbnmzVO_3Tq8w-7v_BWQ3bXPnCbWphOuNdpMv5OWwl8U9YZKQEP3vXFTf-eZlKCHh3SARZSBAvhrfCyJubA1JepjBxBl448Ga9-qUCnrPoak4ClNdYFsRDj7BAY1S/s900/IMG_1525.HEIC" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Raphael pointed brushes on the left (size 3 and 1) and the shorter W and N miniatures on the right (size 4 and 1) </td></tr>
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<b><span style="font-family: inherit;">7. Ceramic Palettes</span></b></div>
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<span style="font-family: inherit;">Two types 1. flat and large 2. with wells. <span class="text_exposed_show" style="display: inline;"><br />I use the flat plates which aren’t art supplies but plates for sushi! Any white plate or tile will do. You can find them in homeware stores for a low cost. The small palette with deep wells came with my W&N paint box - not sure that’s still available.<br />I also use tinting saucers but I can’t find one for the photo. They’re small and easy to carry. I put them somewhere safe and can’t find now! </span></span></div>
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I recently bought the large combi palette, it’s huge! About 13 x 9.5 inches. Very heavy ceramic palette but great for the studio. Available on Amazon and elsewhere, link below.</div>
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Why? </div>
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1. Large flat palettes are for mixing larger quantities of paint and for dry brush. You can use the dried skin of paint.<br />
2. Wells are for watery washes and glazes.</div>
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Tip: use a large flat brush to lift paint from pans and to mix </div>
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3. In my opinion ceramic is far superior to plastic, I like the way the paint handles on the glaze and also how it dries. I don’t like anything plastic or synthetic but I do have some plastic for travel - if I have to consider weight but hate the way paint behaves on plastic, however once it’s worn or rubbed down slightly it’s not so bad, wash it and abrade the surface with a magic sponge. See the two photo’s of the plastic palette and the way the paint rolls into balls (green) compared to the ceramic flat palette (pink). </div>
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MEEDEN Studio Porcelain Paint Palette Artist Mixing Painting Tray 13 by 9-4/5 Inch for Watercolor Gouache Painting, 17 Wells <a data-ft="{"tn":"-U"}" data-lynx-mode="origin" href="https://l.facebook.com/l.php?u=https%3A%2F%2Fwww.amazon.co.uk%2Fdp%2FB0861RG69X%2Fref%3Dcm_sw_r_cp_api_i_RaZ7EbENETFB0%3Ffbclid%3DIwAR3A2rc85OdDfikjJHvIHYgINldxDTd9IF62vDswnhGSNptyMKwsomLabDw&h=AT1Y05v7HJWPL8ucujnUOSB0wmsCJGZNRDDCwJ1DSvBFEIb1gD3E3dcEsjzJdFOu_doaOgisrlLut8hDOTqDz4N5WMSA1EVWsuJYSOIiy187k5p_iFhAWF3HEXJJnTonUPQ0AwLzcDsE0M46_bE40n2wUwca-dNPkPo1mZfg8EZoNY6eqtKmA6dZzo45UAqS3RvTXEQDE2VQuB3D3WQiiQFcR6h1_vNnDeiZQqYN3ttwXmkujsJM4wp5ycOmhV7nYd5oD30vY-e7NwWYLPj3FN-DhD_FN1RSI_3HNKaNG2HOudzw1SFPcfSmVWCiwFIoZ2iqHm9F2sp5D_cP0qKlHode1p7kJEpUcNUL5Y3lC6SPkvvRYI4rVKhJMm9GOJC5wxjIdoV8sZAgCZcAe3DBYP0sfrBlQtNE63NOCLzd41tkNSaF0kqgEkKk2OOIEIdTLQTnxJ72ICfkl5lqDyVfyaWwjAMaDwjxKGPKMiZbJfPL_eJb7hXrcjWnxF-y97ajramb6Slev1A7qrhrd-CouNVmxVBE2bxPP1CKGGMRTuYU_ZKUSIpGLz-Ibd8RbV7t91VzkRasmHgMU9c80MIzWv-uYhvHw1tznKCtLnBzDiqN7cz4CRm7mpTWM0fib25JujSVqMQ" rel="noopener nofollow" style="color: #385898; cursor: pointer; text-decoration: none;" target="_blank">https://www.amazon.co.uk/…/ref=cm_sw_r_cp_api_i_RaZ7EbENETF…</a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-ZW9_EFhioV0vh54E4jgeb6AxovDel3zx6lj4nyaeXZ6tfWWJwO6VjPpdG13qvweVTNoFONHzuT6-N2M5lmlvTDFSaQ1NFILuCyBU1KhQZ_zrdNbbTK4sJae8cAdWLcAn_Maz8xfJa4EL/s1600/104846398_3017812388308830_5438872964992350162_o.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="1440" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-ZW9_EFhioV0vh54E4jgeb6AxovDel3zx6lj4nyaeXZ6tfWWJwO6VjPpdG13qvweVTNoFONHzuT6-N2M5lmlvTDFSaQ1NFILuCyBU1KhQZ_zrdNbbTK4sJae8cAdWLcAn_Maz8xfJa4EL/s900/104846398_3017812388308830_5438872964992350162_o.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A selection of different palettes, deep wells for watery washes and flat surfaces for dryer thicker mixes and 'skins' of paint</td></tr>
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<span style="font-family: inherit;"><b>8. Watercolour Paper </b></span></div>
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<span style="font-family: inherit;">Paper is always a hot topic and choice really does depend on your approach to watercolour. A few years ago I wrote a blog on paper choice with comparisons - but since that time things have changed, particularly with Fabriano, which I no longer use. Links to those blogposts are at the end of this post.<br />- they include the back story and some information - if you’re new to botanical painting it might be useful. </span></div>
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<span style="font-family: inherit;"><b>I currently use 2 papers:</b><br />1. Saunders Waterford High White HP, comes in 3 weights, including 140lb (300gsm) 200lb (425gsm) and 300lb (640gsm)</span></div>
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<span style="font-family: inherit;">2. Stonehenge Aqua HP available<br />in 140lb (300 gsm) and 275lb (550 gsm) </span></div>
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<span style="font-family: inherit;">I mostly use imperial sheets and cut to size with both papers. Note that blocks only come in 140lb (300gsm) they are available in a range of sizes, check the links.</span></div>
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<span style="font-family: inherit;">Why do I use these papers? </span></div>
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<span style="font-family: inherit;"><b>1. Saunders Waterford High White</b><br />I’ve been painting on this paper for a few years since it was first introduced. It is a relatively new one for SW and having painted on the old cream coloured ‘gritty’ paper, I understood why they introduced a smoother whiter paper. It’s a very reliable paper with no artificial brighteners. It takes a lot of colour layering, which doesn’t dull. It has a fairly tough surface with the sizing, so doesn’t break down so easily, some lifting can be done if needed - as long as you don’t scrub too much, although not as tough as the old paper, which would take any amount of abuse. Edges on it are pretty sharp, although not as sharp as Stonehenge Aqua but it appears there’s a trade-off between sharp edges and smoothness with papers, thus the surface does have a little texture, which puts me off it slightly (see image below). I love the option of the 200lb weight, which is just right for me - 140 lb is ok for smaller works but I like a heavier paper for larger works. As a pretty dry painter the 200lb (425gsm) is perfect for larger works and I occasionally use the 300lb for larger works. The different weights are much the same in handling (unlike papers like Arches and the discontinued Canson Moulin de Roy, where different weights are like different papers).<br />Like any paper, you really do need to paint a full painting on it or several, to really 'know' and understand the pros and cons, so spend some time experimenting, new papers take some adjusting to. I’ve painted on this paper since it was released and did a trial for it prior to the release, maybe around 4 years ago (can’t recall exactly). When it came onto the market it did seem less smooth than the prototype and was slightly different, I guess that’s inevitable - I wrote about this on the blog, link at the end. It’s a good quality reliable paper but I heard a rumour that it may also be difficult to find in some areas up ahead.<br />My most recent painting on this paper was Erythrina vespertilio (the orange flowered plant image), painted for the Sydney Florilegium on the 200lb weight, painted 2019). This work was about A2 size. I sprayed the back of the unfinished paper with water and carefully rolled into a big cardboard tube before finishing it off in Australia. It survived the journey well but it was noticeably different to paint on when I arrived at the Gold Coast - and retained a lot of moisture from the humidity. Which goes to show how paper handling is differs depending on where you live! Always paint on the correct side as the back goes fuzzy - not that you can’t paint on it but I tend to burnish it. I’ve probably painted around 20 plus works of various sizes on this paper, including all the English Garden Magazine Illustrations, so I feel like I know it pretty well by now. </span></div>
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<span style="font-family: inherit;"><b style="font-style: normal;">2. Stonehenge Aqua HP</b><br />This is quite a new paper for me, I’ve been painting on it for maybe 3 years on and off, I’ve probably done about 15 smaller works of it and two larger works with another currently underway. The 275lb is my preferred weight for larger works but I also use the lighter weight blocks for convenience and smaller works, they handle much the same. The surface is beautifully smooth and edges as crisp as could be needed - it’s lovely for making soft edges too. Colour is great but my issue is when painting darker richer subjects, it doesn’t seem to layer paint so well and shifts underlying paint slightly if I’m not careful, this isn’t a big issue for me as I’m a dry painter but for a wet painter I can see this would be a big problem. Also, I rarely lift paint but if you like to ‘lift and shift’ paint, it’s not for you. It’s not terribly forgiving if you overwork although you can burnish with an agate stone but the surface will lift again. Never paint on the wrong side as the surface will break down very quickly, you can feel the difference between sides. Despite the small issues I love this paper for paler subjects and feel I'm getting to grips with it now. My most recent and largest work on this paper was the <i>Lessertia frutescens </i>painted as a submission for the RBGE florilegium It’s on the 275lb and slightly larger than A2 size. I’m currently painting my RBGE florilegium entry on it - so I definitely want to do more on it. Ive recently painted a fairly large number of small works on the blocks for the Artist Support Pledge initiative and you can see I've invested in quite a few new blocks! </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX3j8-rmlRr5OsK-WNLAPXM_h5MRs-VhkGY1kya-mKMyjiRNGtAl2i5UHB4WbnWVnJyAByajqmy60ud4xcRVcEN54gn6muoJhNdr6iOW0CpuVtEMSZJs6nHlvYmCPBpuYRK1ttAP53cLUe/s1600/stonehenge.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX3j8-rmlRr5OsK-WNLAPXM_h5MRs-VhkGY1kya-mKMyjiRNGtAl2i5UHB4WbnWVnJyAByajqmy60ud4xcRVcEN54gn6muoJhNdr6iOW0CpuVtEMSZJs6nHlvYmCPBpuYRK1ttAP53cLUe/s920/stonehenge.jpg" width="320" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOb9AkDrzk04wJEr2r3V5YwyKgas1k1FhFqj5YfjRN9gk8LI0zQ58hE788tN12uCVw_VcDv0A95vH3FdybUNwL35pevyuoIsNIZSFHuIf7Tj1LQIk7OQqTe_q1S97mNH3fZTiOsP32qSt2/s1600/IMG_9308.HEIC" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1600" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOb9AkDrzk04wJEr2r3V5YwyKgas1k1FhFqj5YfjRN9gk8LI0zQ58hE788tN12uCVw_VcDv0A95vH3FdybUNwL35pevyuoIsNIZSFHuIf7Tj1LQIk7OQqTe_q1S97mNH3fZTiOsP32qSt2/s900/IMG_9308.HEIC" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Saunders Waterford on the left and Stonehenge Aqua on the right. Note the slight texture in the Saunders paper.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD8S_NtC-_Oy0wZl6wW2SNF6TnTtORU9ykbv9aakv78CxH4thT3VfXy5bjjx9nqs0w8DrUmru5a5Eno9YhkZgkC-PUzqaQGNN7UX_wSMIyP-FbOcRmxeWfAxKbp7LbWxd4WTcCGHphZGRy/s1600/Erythrina+vespertilio.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1305" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD8S_NtC-_Oy0wZl6wW2SNF6TnTtORU9ykbv9aakv78CxH4thT3VfXy5bjjx9nqs0w8DrUmru5a5Eno9YhkZgkC-PUzqaQGNN7UX_wSMIyP-FbOcRmxeWfAxKbp7LbWxd4WTcCGHphZGRy/s1200/Erythrina+vespertilio.jpg" width="326" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Erythrina vespertilio </i>2019 on Saunders Waterford High White 425 gsm </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmHss0OdBZoiNlcrp1GxOsDsJ7v9jd5ukF82y8qP3PBqyuABIQBvqwiLWvtkV-ktkyCRL4Pd3w5ZOxBF09RlJJIhFFP3K4_PkIuGU_pwYAN0IiLBZ4hfsecLAgH5UqShoFwHACfUsN_aqm/s1600/Lessertia+frutescens+white+bg.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1271" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmHss0OdBZoiNlcrp1GxOsDsJ7v9jd5ukF82y8qP3PBqyuABIQBvqwiLWvtkV-ktkyCRL4Pd3w5ZOxBF09RlJJIhFFP3K4_PkIuGU_pwYAN0IiLBZ4hfsecLAgH5UqShoFwHACfUsN_aqm/s1200/Lessertia+frutescens+white+bg.jpg" width="317" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Most recent painting of <i>Lessertia frutescens </i>2020 on Stonehenge Aqua 550 gsm</td></tr>
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<a data-ft="{"tn":"-U"}" data-lynx-mode="origin" href="https://l.facebook.com/l.php?u=https%3A%2F%2Fwww.jacksonsart.com%2Fstonehenge-aqua-watercolour-paper%3Ffbclid%3DIwAR1OddbMJawJmmqPeJ_-oF-bKV8Ll02DDL6KtfZpxkz4UJF0OSF9XK6HdYg&h=AT0n1xsxSkkexqNCcNDUXsL4t6Hyg9WcMP-FgGdWLT9hb9B-585xkBQvM_iTy3v0MLntORdkDhGSDrN41wECm_rqN7lExQTKFltHEvytHndfvccoMcfilYRwSiqdFr3LL9TAVrLUaTuTbWZcL7NwzufCrF_PFyyZZNZRdJnGqSvUBYNvBgIM4v6EQz6NkBDEcCB-lzmEaoXGYChrB6qZsyH7FdmTyvwkf1dIECgt023lyvuEL-LoyY0WDbLcOdXQD-aXwAFf6C6KJhkUwclAmCsDLvzK7fuEIcmoP6O6S6Ka4iaw31lOqq_heBD4CeRTXOtgHCxeF6Jrzq7zRVWRzn_N3dbte7BqGB3WAATT-CVDNUtl0zyNO4t_Qv-eGA5AgcWCLS1cPjEenQn2PJTkJqKlWsi4BpI7fkrocEvqxNSxwlsXR1op-bp-AMOFA5-PvtFrcYLSskoOKaTkFwqw31lBOPtIyaYqp0hLVL6Wv25ZyLVUksBtttYsTF8EJ87ja6JFzIU60BaSuKNb3H6fSEmGJjJDIAeVcUeP8gw272U1eEuNWyRgYnRTUWcQTbLZ--e5oScJx2X040gvrHuCRG1R-9d2UaOH4yi12dOdDDHyLPO7G_LgO4NwXFCLuFBNiRCgUg0" rel="noopener nofollow" style="color: #385898; cursor: pointer; text-decoration: none;" target="_blank"><span style="font-family: inherit;">https://www.jacksonsart.com/stonehenge-aqua-watercolour-pap…</span></a></div>
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<span style="font-family: inherit;">So in conclusion I like both papers for different reasons and subjects. The only way to know if you like a paper or not is to try it! and paint often on it. The only papers I really wouldn't use is any paper with pulp, such as Bockingford or Botanical Ultra, they're not the best to paint on but ok but I'm unsure about the longevity, I recommend always use artist quality materials rather than student quality, even for study pages. </span></div>
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<span style="font-family: inherit;">I’ve posted a few images using the different papers. You can read about which paper in the captions.</span></div>
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<span style="font-family: inherit;">Old blog posts: </span></div>
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<span style="font-family: inherit;">2013 this one is comparing several different papers at the time.<br /><a data-ft="{"tn":"-U"}" data-lynx-mode="origin" data-lynx-uri="https://l.facebook.com/l.php?u=https%3A%2F%2Fdiannesutherland.blogspot.com%2F2013%2F11%2Fwhich-watercolour-paper.html%3Fm%3D1%26fbclid%3DIwAR1bDfp_X6esh5DdJMoVc4NNG6YSa4tmdNSreR0nP0AVUopWL6cEwxexeSg&h=AT3CReyqWQpbrmlZIhxvWrezC_no3Siptf-i3NLYTbnqmk3X7gqqRaQ3uI5jd41WZNZeHK7oE7zDo1dwq5MvZDLZAijPrXQHktaeqpumDyrYGjqyRhbcka-zBxa03tLmQZ7FJpZSHeYChpKDgvaXouQD_O7GJmY504581uo_gF9EAN3mr2VTnB05biXEbrjkyMQqyJrYr8TcSVt2uHMWNRqFkh9nA0-mIXVR6MehYSpZEMvDqvBad_-UHP-qcD27Bh-F2l4rSSNHOfPPuzh_OD7twpcCXwueoU6_DiVZ_AY68KFgbJ5lVl91j9X2HRLx9a4yHIhx7BRWbakT9n2pbM8YTH9cm_VN6Lap8yDz1GWkXn7DPfyPwz0N6IeMqx71-P_t1ZKlSkmSsdRJqB_lcVsUPoi89L61reFUIxzBOBP5H159isPJgMRF-i2W72ricDJ2M3KB33VuWT8XakqubEZ42DjF9ZKqBnDMnpkjiiPDnBwqMAM6gmyjMAyVswFdGcbzJXnVCVqIOcu_YQRFNWur2sTFLfUWpJz4x4OqtlIGk2TIwVfgzoQySCWT0WEtOTgGHwKWwrTe0DRJCiglkGu7JNjmrdnZD6qP9WJqFt6o2StdJSnXoiCOY6YUNwz6K8bLcrQ" href="https://diannesutherland.blogspot.com/2013/11/which-watercolour-paper.html?m=1&fbclid=IwAR1bDfp_X6esh5DdJMoVc4NNG6YSa4tmdNSreR0nP0AVUopWL6cEwxexeSg" rel="noopener nofollow" style="color: #385898; cursor: pointer; text-decoration: none;" target="_blank">http://diannesutherland.blogspot.com/…/which-watercolour-pa…</a></span></div>
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<span style="color: #1d2129; font-family: inherit;"><span style="caret-color: rgb(29, 33, 41);">2016 comparing the new Saunders Papers A blog called '</span></span><span style="color: #1d2129;"><span style="caret-color: rgb(29, 33, 41);">Paper</span></span><span style="color: #1d2129; font-family: inherit;"><span style="caret-color: rgb(29, 33, 41);"> Matters'</span></span><br />
<a data-ft="{"tn":"-U"}" data-lynx-mode="origin" data-lynx-uri="https://l.facebook.com/l.php?u=https%3A%2F%2Fdiannesutherland.blogspot.com%2F2016%2F04%2Fpaper-matters-st-cuthbert-mill-vs.html%3Fm%3D1%26fbclid%3DIwAR0G98_tJfNxOE5WTHrk0y_1jh5-otghvPq7dI4diD-sKZRIgwka4XK-LPo&h=AT2HJ-Oxk1GVZiTZzOSe9tESIDZnbPFNH_UBNjPWS8bs4UgK-TLfiicJLSCGvI9pJ3pIoyxt7IJYMwCWyry20uURRgzT9HS-rDHOEhIjTsg7eufGx_xKqtbJldJ4rMSoKA5Kzn7XJ2jmLZu2GKNJ-Sz-IcGBpAASlLmDgm9rbkMrPsOzE28d5vNV2_y4ougLiPOpT-l4YAJXoLo7d_fQ848lltZHGH2geatfOZ58iN_LQ2DTL0r_LMlrGC4Wl43ZsZCJE3zUVM5B9scyVqyGsGcuh6b61K7ch7MuEd6RsbY4GChkMz5cJsxSp7PVQ2oHdAoqz_QF_TOpsuw8fWHB53caBW3O0S7JomBnOYpeJAN6_yK5hWFd897Ah9no2SEcOMl4wpIrGzJYpAaLRA_oby7EXk01jLpv_0rgUkp_joyG11VQSx7f0oRx4KyPDbpjWHnYQIm0bEG8VnXl7mj6nwg3kz4Imjp6wkGp1uVlp7vutdzVIloo6n8_aTpfoUdIta5f6xJh7xHsWBoqnPTsioOPdcXqc1_OZ6Pf_p8t368mqlhlofdHGOyepUfj9dSvR4p9NDlpc1MZDCygDFRRWTFJVdYbL2f0AL0_WOcx-9WAt48_ljmqsCpluqVeN3sh2m5FhY8" href="https://diannesutherland.blogspot.com/2016/04/paper-matters-st-cuthbert-mill-vs.html?m=1&fbclid=IwAR0G98_tJfNxOE5WTHrk0y_1jh5-otghvPq7dI4diD-sKZRIgwka4XK-LPo" rel="noopener nofollow" style="-webkit-text-stroke-width: 0px; caret-color: rgb(29, 33, 41); color: #385898; cursor: pointer; font-family: inherit; font-style: normal; font-variant-caps: normal; letter-spacing: normal; text-decoration: none; text-transform: none; white-space: normal; word-spacing: 0px;" target="_blank">http://diannesutherland.blogspot.com/…/paper-matters-st-cut…</a></div>
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<span style="font-family: inherit;"><b>9. Sketchbook</b></span></div>
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<span style="font-family: inherit;">I’ve tried a few different sketchbooks but my personal favourite is the Stillman & Birn Zeta Series bound softback book with heavyweight smooth paper. I’ve travelled all over the world working in these books and they are great! Just my opinion of course</span></div>
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<span style="font-family: inherit;">Why?</span><br />
<span style="font-family: inherit;">1. Good weight of paper at 180lb (270 gsm) compared to many other sketchbooks, which have thinner paper, which isn’t great for watercolour. </span></div>
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<span style="font-family: inherit;">2. Watercolour works well on this paper and I find I can build rich colour and fine detail. It won’t take too much overworking though if you use lots of water and eradicator brushes but will take some lifting if required - keep in mind the surface is never going to be as good as a top quality 100% cotton watercolour paper and remember this is a sketchbook and not for finished paintings. The alternative would be to make your own from wc paper but I don’t have time for that. </span></div>
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<span style="font-family: inherit;">3. Great for graphite although I find it comes out slightly darker than on other papers so I start a grade harder on it. Their Epsilon is also good sketchbook for graphite with a slightly lighter weight paper but I generally use the Zeta for both </span></div>
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<span style="font-family: inherit;">4. The softback unlike the hardback allows the book to open to a fairly flat surface, so I can easily work on a double page spread that crosses over the two page spread giving me a larger working area. </span></div>
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<span style="font-family: inherit;">5. They come in a range of sizes, I use most sizes but for larger studies I use the 8 x 10 inch (20 x25 cm) book who’s is a decent size when opened flat. The mini sketchbook is also great for travel and the 6.5 x 8.5 inch (14 x 22 cm) book is a good size for travel. </span></div>
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<span style="font-family: inherit;">Available from Jacksons Art and other online art stores </span></div>
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<span style="font-family: inherit;"><a data-ft="{"tn":"-U"}" data-lynx-mode="origin" data-lynx-uri="https://l.facebook.com/l.php?u=https%3A%2F%2Fwww.jacksonsart.com%2Fstillman-birn-zeta-softcover-sketchbook-270gsm-smooth-8x10in-20x25cm-portrait%3Ffbclid%3DIwAR0y5GGwJ1x17dSfdajOv_W-ewvN7j1iKX3Lq-P4P25RkGQTeM6FRAM1ORQ&h=AT1Qj7bccKr0WdBna5pCIwrSOf6Rgq3jBfJKUW56S-F_lH5dqEUqd019zYR1_eW6_kT7a8RwLm3RQdVrtarGhrxcC1JOBavVPLD2IOHwKTWdslFlUjyCv3LHrYZderAf6oWL7lbm2ThqgUxID-2Lg3SdGLyK30F1svOkfWnoZMnAccNjxh64i3TAYDPGtZxAOtO7l9rAHBWFOgNXVpGbrRsKS4w8OrO6L1Z5CzuQXKkmTtAkZESIdFDrLYam8UcoBaxdpw4ntvIB2kjrkuFLcg-j9eakdQCjQlv-IfBqvXHRLJmj1CGH8vHUTLij5togg7ln8Dcd9IhlFy8FgWaiTCQTXFK2AdZuuKxDVQiIKXJiJlJtmek2BDO-RX_TU1m3j_DOEvlgAw4180czxNUIaiqXQmcjAdVJBSNDjEfE5mmG3O6Jme1TD7h9RlmUkfCgCoJOwsMyH3nLM7YCpawdttj-f_8bjUApJx6U0KGU9ajbuARfEvP-xlJqc5Kx8cW7OESLkUvrTHJKIdohmEfHoW8PyGv9IrnBI0bZ0wEApR_czIbmDtU8HvbftZopD91Y9RuwQezff5abbkELe5Z1lBUSTy4p3DCFdp7-H-w6CiPjEanoLdoqMEWKxHp6uYi_PlE_jV4" href="https://www.jacksonsart.com/stillman-birn-zeta-softcover-sketchbook-270gsm-smooth-8x10in-20x25cm-portrait?fbclid=IwAR0y5GGwJ1x17dSfdajOv_W-ewvN7j1iKX3Lq-P4P25RkGQTeM6FRAM1ORQ" rel="noopener nofollow" style="color: #385898; cursor: pointer; text-decoration: none;" target="_blank">https://www.jacksonsart.com/stillman-birn-zeta-softcover-sk…</a></span></div>
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<span style="font-family: inherit;">Here’s a range of studies made in different sized zeta sketchbooks</span></div>
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<tr><td class="tr-caption" style="text-align: center;">Stillman and Birn Sketchbooks in various sizes, here the small and medium books </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlEBpiroC8Pg7y-awyuDQQutvTa6FEGcZes1nlWFp5lyM0_tlf7VV-DM2Pj1w8l_YU-k7ClpY-R3z3E52ks-y3Y10cmrCfbqVMrvtLReWHPFrUOW42opWoDvh1eL6eGPHeOWl672o2MZbv/s1600/116445393_3116458218444246_5850183636750096263_o.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="794" data-original-width="1080" height="293" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlEBpiroC8Pg7y-awyuDQQutvTa6FEGcZes1nlWFp5lyM0_tlf7VV-DM2Pj1w8l_YU-k7ClpY-R3z3E52ks-y3Y10cmrCfbqVMrvtLReWHPFrUOW42opWoDvh1eL6eGPHeOWl672o2MZbv/s800/116445393_3116458218444246_5850183636750096263_o.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Larger sized 8 x 10 inch book allows for more in-depth studies</td></tr>
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<span style="font-family: inherit;"><b><span style="font-family: inherit;">10. Watercolour Paint</span></b></span></div>
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<span style="font-family: inherit;"><span style="font-family: inherit;">I’m a Winsor and Newton pans girl. I’ve been using them since I had my first paintbox at around 14 yrs old! That doesn’t mean I haven’t accumulated a large number of other paints and some tubes over the years! but my core box is W and N Artist Quality paint, which is housed in my old wooden box. I don’t even really have to think that much about paint choices because this colour range does everything I need. All of my paintings in the last few years have been complete<span class="text_exposed_show" style="display: inline;">d using only these colours. Including challenging coloured subjects like the Jade vine. </span></span></span></div>
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<span style="font-family: inherit;"><span style="font-family: inherit;">What’s in the box</span></span><br />
<span style="font-family: inherit;"><span style="font-family: inherit;">4 yellows</span></span><br />
<span style="font-family: inherit;"><span style="font-family: inherit;">5 reds</span></span><br />
<span style="font-family: inherit;"><span style="font-family: inherit;">6 blues</span></span></div>
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<li><span style="font-family: inherit;">Lemon Yellow Nickel Titanate</span></li>
<li><span style="font-family: inherit;">Winsor Lemon</span></li>
<li><span style="font-family: inherit;">Winsor Yellow</span></li>
<li><span style="font-family: inherit;">Transparent Yellow</span></li>
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<li><span style="font-family: inherit;">Quinacridone Magenta</span></li>
<li><span style="font-family: inherit;">Permanent Rose</span></li>
<li><span style="font-family: inherit;">Quinacridone Red</span></li>
<li><span style="font-family: inherit;">Scarlet Lake</span><span style="font-family: inherit;"> </span></li>
<li><span style="font-family: inherit;">Permanent Carmine or Permanent Alizarin Crimson</span><span style="font-family: inherit;"> </span></li>
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<li><span style="font-family: inherit;">Cerulean Blue</span><span style="font-family: inherit;"> </span></li>
<li><span style="font-family: inherit;">Manganese Blue</span></li>
<li><span style="font-family: inherit;">Cobalt Blue</span></li>
<li><span style="font-family: inherit;">Winsor Blue Green Shade</span></li>
<li><span style="font-family: inherit;">Indanthrene Blue</span><span style="font-family: inherit;"> </span></li>
<li><span style="font-family: inherit;">French Ultramarine</span></li>
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<span style="font-family: inherit;"><span style="font-family: inherit;">Some of these I don’t use so much - like cerulean and others, like Trans yellow and cobalt blue I use lots of. </span></span></div>
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<span style="font-family: inherit;"><span style="font-family: inherit;"><b>Why I use these paints:</b></span></span></div>
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<span style="font-family: inherit;"><span style="font-family: inherit;">1. It’s good to feel like I know my paints and their properties, which is how manageable this box is. I know all of them and know what to use with very little thought. Simply because there are not so many. </span></span></div>
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<span style="font-family: inherit;"><span style="font-family: inherit;">2. I really can mix everything that I need from this range of primaries, all the greens and browns you could ever need can be made and there are enough ‘brights’ for every colour of flower and rich beautiful dark colours and browns too. I decided on this selection after I went through my much larger collection and experimented to see what I could mix. If I could mix a colour with these primaries - the paint was removed from the box. </span></span></div>
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<span style="font-family: inherit;"><span style="font-family: inherit;">3. I feel like the colours are stable and reliable. W and N has changed in recent years but then so does everything, but I still feel confident about the permanence and quality of this selection.</span></span></div>
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<span style="font-family: inherit;"><span style="font-family: inherit;">4. I prefer pans because I paint pretty dry and the pigment content is higher in pans (less gum Arabic etc.) this means I can easily build rich colour using everything from a watery tea wash to creamy mixed and dry brush to build the saturation. Although I do have some tubes of the same colours if working on larger washes - it can be easier. Some people struggle to get the paint creamy enough with pans but if you lightly spray the pans first and use a larger flat square brush that’s never a problem. </span></span></div>
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<span style="font-family: inherit;"><span style="font-family: inherit;">5. I like to use primary colour mixes because it’s so easy to ‘shift’ a colour bias - from cool to warm depending on the affect light has on the subject. </span></span></div>
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You can buy W&N from most art shops and online - such as Jacksons Art and Ken Bromley, although they are more difficult to find in some countries. </div>
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Here’s a whole load of colour mixing photos, from white to black and lots in between. Again, it’s just my choice and what works for me but there are lots of other options and opinions on what works best.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGqZpO7mWkt1tdbycTk3TI4Pj9m9eByjS9qzxuhTtIHpPMqR0IBfsvv4rvGLI_VaMapVE7mIqiiilK1CTW4e_pPhrd92I6gCV_Ao8RTXcnQATN7wr6DeVDBNqzlFlco2JSYURFzwuxuO1R/s1600/116190657_3119263558163712_1584875951080166462_n.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="848" data-original-width="932" height="363" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGqZpO7mWkt1tdbycTk3TI4Pj9m9eByjS9qzxuhTtIHpPMqR0IBfsvv4rvGLI_VaMapVE7mIqiiilK1CTW4e_pPhrd92I6gCV_Ao8RTXcnQATN7wr6DeVDBNqzlFlco2JSYURFzwuxuO1R/s900/116190657_3119263558163712_1584875951080166462_n.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">My old W and newton watercolour box with the primary colours, the larger pans are good for most used colours </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvsuPa0pIDFPRF-PF4JcZRQCF_XKIXCxEoqkKMegwBi6U5PItkyBCQAvzE-4MJSQe2avEybiBirtRkcFgv3O6gKLls2dLwLFSTeDtQgdeWi_cY4ntCHWQxIQlFql13gPsmb5LB4I1x3ODC/s1600/116221343_3119263588163709_6500514294630866610_n.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="508" data-original-width="750" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvsuPa0pIDFPRF-PF4JcZRQCF_XKIXCxEoqkKMegwBi6U5PItkyBCQAvzE-4MJSQe2avEybiBirtRkcFgv3O6gKLls2dLwLFSTeDtQgdeWi_cY4ntCHWQxIQlFql13gPsmb5LB4I1x3ODC/s400/116221343_3119263588163709_6500514294630866610_n.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">I reduced my palette some years ago and using only the primary palette given above. Any colour that I could mix was removed, such as perylene green and perylene maroon. I find I can achieve much more vibrant colours which can easily be shifted to warmer and cooler versions with 3 primaries, its actually much simpler because you understand the colour shift with this method. </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSu5Qmx4NR5WrxIUZFzYYHx2njf9Ywuw-9DT8Uw-oKeDE87G-4N3iKuTHmCCl62hGEL_AZcszP9OIrNT7Gj0QidTHMAm57IgOMRqDmhdb1ZibOcd2rdjyYmEU9lVhco-SI-uIjmRVDDAv7/s1600/shifting+colour+bias.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="854" data-original-width="1440" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSu5Qmx4NR5WrxIUZFzYYHx2njf9Ywuw-9DT8Uw-oKeDE87G-4N3iKuTHmCCl62hGEL_AZcszP9OIrNT7Gj0QidTHMAm57IgOMRqDmhdb1ZibOcd2rdjyYmEU9lVhco-SI-uIjmRVDDAv7/s400/shifting+colour+bias.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Shifting colour bias left and right. the basic hue in the centre. Add more yellow to make a yellow biased green on the left and more blue and red to make darker cooler shades. This makes mixing greens much simpler as the colour varies in relation to light</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8vktW6Uty3cLDgGC7hvSZoCaUwVyN1MDOVr8TvTnzudyysydzx1be-W8c_ijPXhtnnU8iI4qVzm2rrfq3YpFHZ2zLROuXio4lHnTcQnKcAtfd0QQBrlJxMwV1c0oKCBMzYo6CwbBoZUGF/s1600/116156516_3119263548163713_609138933703037874_n.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="960" data-original-width="764" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8vktW6Uty3cLDgGC7hvSZoCaUwVyN1MDOVr8TvTnzudyysydzx1be-W8c_ijPXhtnnU8iI4qVzm2rrfq3YpFHZ2zLROuXio4lHnTcQnKcAtfd0QQBrlJxMwV1c0oKCBMzYo6CwbBoZUGF/s920/116156516_3119263548163713_609138933703037874_n.jpg" width="254" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">I developed my own colour mixing system for greens (and browns) using the 'light value' of the blue as the 'predictor' colour..... but that's another story. I think there's a post about it somewhere in the history of the blog. I also developed other mixing systems based on identifying the important 'predictor' colour. Light value of colours is often over looked in colour mixing. </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSshIIU2miEodxCf0g5mbsHMW88GIGEPwChFUz_j86TiDLN-aQ8Urw3wTh37f93tjLETMCD3b8dDZaw6fc7AOQjSdtawMNsNbUR3Le1-KVPmNbvmdNpNhWaGLYPb4xJaCheFHFOMwLHT-y/s1600/116272489_3119263914830343_8858211801902479541_o.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1254" data-original-width="1440" height="278" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSshIIU2miEodxCf0g5mbsHMW88GIGEPwChFUz_j86TiDLN-aQ8Urw3wTh37f93tjLETMCD3b8dDZaw6fc7AOQjSdtawMNsNbUR3Le1-KVPmNbvmdNpNhWaGLYPb4xJaCheFHFOMwLHT-y/s920/116272489_3119263914830343_8858211801902479541_o.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Colour shifting only 3 colours for all greens and browns in this raging hellebore leaf. </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjB8JIfRAORHbc2IkONx98wwQLC433Dof3PFxYMGxUZQECmsvDYX7pa2BAFNL56lxdB9fuNHXLjUvEKOha37_w6tbIeQkcl1u5nkRncEw5pCEbuq1VSaZBBPy_-YUyvDi2V630pYpPnO37q/s1600/colour+mixing.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="722" data-original-width="709" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjB8JIfRAORHbc2IkONx98wwQLC433Dof3PFxYMGxUZQECmsvDYX7pa2BAFNL56lxdB9fuNHXLjUvEKOha37_w6tbIeQkcl1u5nkRncEw5pCEbuq1VSaZBBPy_-YUyvDi2V630pYpPnO37q/s1020/colour+mixing.jpg" width="314" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">I can mix everything that I need with these colours</td></tr>
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<b><span style="font-family: inherit;">11. Agate Burnisher</span></b></div>
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<span style="font-family: inherit;">With some watercolour papers the surface becomes slightly abrasive after washes. Close your eyes and feel it - when dry and with clean hands of course to see what I’m talking about. So, I find a gilders agate burnisher useful to smooth the surface. After which it’s much easier to create clean edges, markings and the general finish is better.<br />It can also be used to smooth paper in areas where I made an accidental splodge of paint<span class="text_exposed_show" style="display: inline;">! I usually lift with with a scalpel for small marks or<br />clean water and a flat brush and mop with a muslin cloth (never kitchen towel). This disturbs the papers surface sizing so leaves it slightly rough. When it’s dry dust away any bits of paper or debris with a large clean brush and now the area can be smoothed with the burnisher.<br />Obviously it’s best not to make any<br />mistakes and to protect as much as possible but it happens. </span></span></div>
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<span style="font-family: inherit;">I use the no. 31 burnisher but the 30 would also do the job.</span><br />
<span style="font-family: inherit;"><a data-ft="{"tn":"-U"}" data-lynx-mode="origin" data-lynx-uri="https://l.facebook.com/l.php?u=https%3A%2F%2Fwww.goldleafsupplies.co.uk%2Fgilding-restoration%2Fagate-burnishers%2Fpolished-agate-burnishers%2F%3Ffbclid%3DIwAR077-xyuDXyd8Xa5hQPjB7PJ1FjRfYSIIO6TjgmlJOw6wheJW0g1eq1qAk&h=AT0xGfLTHHlQpzMYafUjmQ0IeaJrZTTJj6stux0JXQntmYWhcXpX2j3JsaIG9fdPdAC0Vec2fzQM95_wXoOxPyy4zwdyCCtb4G297vFNa7WYfKc9bAuGsmHLL1y97hADA8ptV3NRDf1kMJIJK_IDP9TQH6_RsTKgGvcX3JKZeaniVsV5QTvYRyYgfM1qPTFgKzF2u3wGLzydB835PVXgysZtBbMH-2OQX42fjXkowXRYg6qWdma0-koRUjJ7d6Li23hPvDQk74YwhK63G8WfhbtVmqJ8yfCERyF1QamjRGJU-S_h2ibaJjQJyUH3FOLZKP8BEmk4cBusGy4mSeKF0YHvK4-8IB125_Ee3ZQ88KIEfrTpp1CvZH7ySpMiViStw5hvMibM3Id5HR4i2XmFHrv7MVIgHfhFnY_qXPQxPrdiOw0AkAnMv6KdapoyyeY1XBq0US_HGpZpWqB0r8lYRbRmPDplBgrg2ovt2CmozaHxyKMsRforw37v9BrId8Ine9y0uOO_fBCSOI3DGjAzLN-UebFLbEbMJ5MD01ATA810NJfpac9iS1ipauGHUTWsxO-jEaATj7xapDgZ5tJVuOQj6zVLt57jvOL74rZhoaBVECI4o2XCKYunnG1X4fi2vDLMT4N2Ueutlg" href="https://www.goldleafsupplies.co.uk/gilding-restoration/agate-burnishers/polished-agate-burnishers/?fbclid=IwAR077-xyuDXyd8Xa5hQPjB7PJ1FjRfYSIIO6TjgmlJOw6wheJW0g1eq1qAk" rel="noopener nofollow" style="color: #385898; cursor: pointer; text-decoration: none;" target="_blank">https://www.goldleafsupplies.co.uk/…/polished-agate-burnis…/</a></span></div>
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<span style="font-family: inherit;">Palm stones can also be used and are pretty good too or failing that the back of a spoon! </span></div>
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<span style="font-family: inherit;">Why I use this tool.</span></div>
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<span style="font-family: inherit;">1. The a largish flat surface with a smooth curved edge means there is less chances of indenting the paper which can happen with a spoon or rounded stone - only rub lightly though with any stone.</span></div>
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<span style="font-family: inherit;">2. It’s pretty large - I can’t lose it. </span></div>
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<span style="font-family: inherit;">3. The long wooden handle makes it easy to apply even pressure. Sometimes I burnish a whole sheet of paper first to remove any texture - yep I like my paper smooth! </span></div>
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<span style="font-family: inherit;">4. I can use the side of it for small areas.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8gAF6RBJNdUET8L7someSEqLY6QayOQtxiJKRF2wP80BDVYmnpY4Q9UW-pIe9JRZtAhiLGbzuFPT4-bZ2PNE1-afZqla5WenYD-XEK5ROvqXQJzKPhPHwN-aV_r7r8f_-AWa3ppCc8K0V/s1600/IMG_0400.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1597" data-original-width="1600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8gAF6RBJNdUET8L7someSEqLY6QayOQtxiJKRF2wP80BDVYmnpY4Q9UW-pIe9JRZtAhiLGbzuFPT4-bZ2PNE1-afZqla5WenYD-XEK5ROvqXQJzKPhPHwN-aV_r7r8f_-AWa3ppCc8K0V/s920/IMG_0400.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A palm stone </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbx5Xv4QhSqE1AmuYop1dO61A6wK24IRhkQsDqI6w6WyNEYRHkvB8yoqbrHoww-GVtSSwm7VWbUuRF4wxYK0ihx6VKTdnDckDa1MNxb8zFsYvIjGN5-QQBFL38lTtLO0LyBt5RboTnkWon/s1600/IMG_0413.HEIC" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbx5Xv4QhSqE1AmuYop1dO61A6wK24IRhkQsDqI6w6WyNEYRHkvB8yoqbrHoww-GVtSSwm7VWbUuRF4wxYK0ihx6VKTdnDckDa1MNxb8zFsYvIjGN5-QQBFL38lTtLO0LyBt5RboTnkWon/s900/IMG_0413.HEIC" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Long handled burnisher, smooth surface well</td></tr>
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<span style="font-family: inherit;"><b><span style="font-family: inherit;">12. Pencils</span></b></span></div>
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<span style="font-family: inherit;"><span style="font-family: inherit;">My preferred brand for tonal drawing is Faber Castell 9000, using mostly grades 4H to 6B but the majority of the foundation work in my drawings is completed with the Harder grades because they create a smooth finish. I do use other brands including Mitsubishi Hi Uni and Caran d’ Ache and both are very good pencils but they are a little softer so have to start with a harder grade. I always seem to revert to the FC 9000 as my preferred pencil<span class="text_exposed_show" style="display: inline;">.<br />I also have a few Faber Castell and other mechanical pencils for line drawing, lead widths 0.3mm, 0.5mm and 0.7mm and generally use a 2H or H grade lead for line work. I use the thicker leads a to give ‘emphasis’ in line drawings. I also have clutch pencils but prefer the good old wooden pencil. </span></span></span></div>
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<span style="font-family: inherit;"><span style="font-family: inherit;"><b>Why I prefer Faber Castell 9000</b></span></span></div>
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<span style="font-family: inherit;"><span style="font-family: inherit;">1. They are slightly harder than other pencil brands. That means pressure of application needs to be fairly light -if used too heavy handed they can feel ‘scratchy’ but if used properly they give a lovely even base layer to build on from light to darker tones. </span></span></div>
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<span style="font-family: inherit;"><span style="font-family: inherit;">2. I seem to be able to sharpen the leads to a longer tapering point than with some other brands, such as Derwent, which are softer, grainy and seem to break more often. The reason I use long point sharpened with a heavy duty knife is as follows: a) I only need to tweak the point on an emery board to sharpen, rather than resharpening the whole pencil all the time b) having a long lead means that it’s impossible to apply too much pressure, if you apply too much pressure the lead will break. Sometimes it’s necessary to dull the tip on spare paper before using as it can be too sharp. I can also use a long lead at different angles to create different effects.</span></span></div>
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<span style="font-family: inherit;"><span style="font-family: inherit;">3. I find that the grades layer well, as long as too much pressure isn’t applied (if too much</span></span><br />
<span style="font-family: inherit;"><span style="font-family: inherit;">Pressure is applied the wax in the graphite will create a surface that resists further layers and little flecks of graphite get stuck in the surface) of course some of this depends on the paper or board used too. I never miss more than one grade when layering graphite as this nice good transition in tonal values, e.g. starting with say a 4H the next grade should be 2H. Sometimes I don’t skip any grades.</span></span></div>
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<span style="font-family: inherit;"><span style="font-family: inherit;">Will cover paper for graphite in a separate post. </span></span></div>
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<span style="font-family: inherit;"><span style="font-family: inherit;">4. You can buy these pencils anywhere! Many online stores and shops. Such as Jacksons Art</span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAYor3UxhNQeaeZd7_5_rZCavJko1u8IpD_brTKANMnCbxZxlfe2L8267r195GOvc8EcIRfJj_Y7KSMVhbEDXnS8hSuzQh4v_kPzV6WUE-k7WD-wW0JWJybmTdBM-SPsAGPCLXadZCfCTa/s1600/IMG_1558.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="960" data-original-width="790" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAYor3UxhNQeaeZd7_5_rZCavJko1u8IpD_brTKANMnCbxZxlfe2L8267r195GOvc8EcIRfJj_Y7KSMVhbEDXnS8hSuzQh4v_kPzV6WUE-k7WD-wW0JWJybmTdBM-SPsAGPCLXadZCfCTa/s720/IMG_1558.JPG" width="262" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Always sharpen your pencils well, I use a heavy duty Knife and and sanding block or emery board for finger nails! Low tech gives good points</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6Em8Wyqv4kB9Qhku9Ry6H1euHCROqN5gD5LZ8Z9w-hHdUyCrT0ZavjPEwdyjpVD8Qh79miI2iMuqOHcvlgiD2dKmkt7VjCN2UWVim8FwEHUeRjErQ60-5iGXhJeGJOPMhPS2WScynXnUp/s1600/IMG_1557.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="1440" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6Em8Wyqv4kB9Qhku9Ry6H1euHCROqN5gD5LZ8Z9w-hHdUyCrT0ZavjPEwdyjpVD8Qh79miI2iMuqOHcvlgiD2dKmkt7VjCN2UWVim8FwEHUeRjErQ60-5iGXhJeGJOPMhPS2WScynXnUp/s900/IMG_1557.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">I use the mechanical pencil for lightweight outline drawings and a range of grades in the wooden pencils to add tone (shading)</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXxGPsyMYFTyBuSy5nkuiLVQfZOeMZJB3NalwqCPImxFkLH_hqwEOnUf5AvFsCQPQ8e0rP7yY_cN_LPS8MPI-sC6fs-1qnBR4QRS4ei3cn7dutlks4dhZyA7D3L7LJG35R4vq4pSHAKfCy/s1600/IMG_9006.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXxGPsyMYFTyBuSy5nkuiLVQfZOeMZJB3NalwqCPImxFkLH_hqwEOnUf5AvFsCQPQ8e0rP7yY_cN_LPS8MPI-sC6fs-1qnBR4QRS4ei3cn7dutlks4dhZyA7D3L7LJG35R4vq4pSHAKfCy/s820/IMG_9006.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Faber Castell come in two sets which can be useful initially, thereafter buy individual pencils of the most used grades </td></tr>
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<span style="font-family: inherit;"><span style="font-family: inherit;">13.<b> Paper and Board for graphite and Ink </b></span></span></div>
<span style="font-family: inherit;"><span style="color: blue; font-family: inherit;">To be completed soon </span></span><br />
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<span style="font-family: inherit;"><span style="font-family: inherit;">Although I also draw on watercolour papers I use several specific papers and boards depending on the desired effect </span></span></div>
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<span style="font-family: inherit;"><span style="font-family: inherit;">Strathmore 500 Plate surface </span></span></div>
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<span style="font-family: inherit;"><span style="font-family: inherit;">Shoellershamme 4G Board </span></span></div>
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<span style="font-family: inherit;"><span style="font-family: inherit;">Some watercolour watercolour papers</span></span><br />
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<span style="font-family: inherit;"><b>14.</b> </span><b style="font-family: inherit;">Various 'Heath Robinson' style solutions to to securing plant specimens and other items</b><br />
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<span style="font-family: inherit;"><span style="font-family: inherit;"><b>15. Measuring and Scaling </b></span></span><br />
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Dianne Sutherlandhttp://www.blogger.com/profile/00336704902577001166noreply@blogger.com1tag:blogger.com,1999:blog-6401160288631130110.post-56861512265492595152020-04-19T00:37:00.000-07:002020-04-19T00:44:46.598-07:00British Wildflowers Exhibition: Easton Walled Gardens 2020Before the country went into lockdown, I participated in a small exhibition of British flowering plants at Easton Walled Gardens, Grantham. My intention was to publish this short piece at the time of the exhibition but between flooding and pandemics I kind of forgot and never finished this post. So, several weeks after the event here it is. I've chosen just a few of the 14 works works to discuss the stories behind the paintings..... there are so many more that I wanted to paint. I suspect this may be the last exhibition I'll be participating in for a while but looking on the bright side, now is the time to paint!<br />
My daughter Polly and good friend Dawn Wright also took part in the exhibition. For my part, all of my works were on vellum, here's a small selection. I'll add a slideshow later of all my works.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh68Z3P9NHmPvgt1rdjaXANkTHeizYL7oyQ2J3RPp2uIeWkLOa7b9AACNSPIj8-vRp2ma7JYT2NPCplYe4NwT9q8PdpWZc9F5_wSgyF9hk5mKlhmAY52ibsGg_B1VNqRhyphenhyphenCnM-m3qSdI8-1/s1600/IMG_9549.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1277" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh68Z3P9NHmPvgt1rdjaXANkTHeizYL7oyQ2J3RPp2uIeWkLOa7b9AACNSPIj8-vRp2ma7JYT2NPCplYe4NwT9q8PdpWZc9F5_wSgyF9hk5mKlhmAY52ibsGg_B1VNqRhyphenhyphenCnM-m3qSdI8-1/s1300/IMG_9549.jpg" width="318" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Scottish Bluebell orHarebell, <i>Campanula rotundifolia (</i>Campanulaceae<i>)</i> on Kelmscott vellum. I found this plant growing in a wall in Grantown on Spey in NE Scotland. it was hanging on to the wall by a little tuft of moss that must have been retaining enough moisture for life support(see below). I've always loved this flower ever since I first set eyes on it when I arrived in Scotland in the late 1980's. The little bells nodded at the roadside as we drove by and I can recall stopping to see it. Its a difficult colour to achieve on vellum because of the creamy colour of the substrate. Cobalt blue with a touch of quinacridone magenta was the key ingredient. I'm now growing from seed for the garden this year. </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirT208b3EtrHODyOXMuGt9w_vRhuEn9iYZsOGU7WxT9gBB9jRZ939KklK0fGc-rBwkB0EIwgNjI-90SgXy-kazLiOjApUCvcIo0L03tMEKSYFu9eDchOrvCBrLHP9q-s74JKgQmy2oFzQw/s1600/IMG_4312.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirT208b3EtrHODyOXMuGt9w_vRhuEn9iYZsOGU7WxT9gBB9jRZ939KklK0fGc-rBwkB0EIwgNjI-90SgXy-kazLiOjApUCvcIo0L03tMEKSYFu9eDchOrvCBrLHP9q-s74JKgQmy2oFzQw/s1200/IMG_4312.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">It's surprising what a bit of moss will support! The Scottish Bluebell is quite long flowering plant, it provides food of pollinating bees after many other summer flowers have bloomed. There is a strong association with hares and these flowers, hence the name, it was believed in folklore, that witches transformed into hares, using the flowers in spells for their transformation. Many people also believed fairies lived in patches of harebells and if you happened to walk through such a patch, this could result in the fairies casting a spell, which is why it's also known as Dead Man's Bells! This painting seemed to take forever, painting on vellum is a slow process at the best of times but has the added benefit of paint being easily removed if it's not going to plant....as a result some days, I ended up with less than I started with.</td></tr>
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The harebell flowers are so small, papery and delicate to paint it was a real challenge, so I decided to paint a larger version of just one flower. I wouldn't normally do this but it seemed like I needed a closer view of these little flowers and it made a nice addition to the painting of the whole plant.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRHigvdzeGkKO1FWb-CY_r7HFXJYnY5c2yUx7L7sPZelaS-QCmfL6Xs1dLwDXOcurtclTvyWK3XrQ-msswTabyhap5DVt4jC4J3z9oFJO9xl4YmO8Jq8xKBH64QcahQGJAHsqVlP3gigya/s1600/IMG_9200+2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRHigvdzeGkKO1FWb-CY_r7HFXJYnY5c2yUx7L7sPZelaS-QCmfL6Xs1dLwDXOcurtclTvyWK3XrQ-msswTabyhap5DVt4jC4J3z9oFJO9xl4YmO8Jq8xKBH64QcahQGJAHsqVlP3gigya/s1020/IMG_9200+2.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Carfully adding soft layers of colour, larger areas of colour are more difficult on vellum because its's easy to lift the previous layer if too much water is used, dry brush work is essential.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgz5SqKadpqlISA5zHcQiOgWLYXt8esHUG9THchlWdxLbDblu-ep-wwQbOxeBo0OmCqPqzLQcIY3H9rITlGEfagWtDxK3gUjs2w6Jqmi-7Rd3yXKwxB1u68b9bA8C4Qhv0N9wsbq6th1V03/s1600/IMG_0343.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1345" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgz5SqKadpqlISA5zHcQiOgWLYXt8esHUG9THchlWdxLbDblu-ep-wwQbOxeBo0OmCqPqzLQcIY3H9rITlGEfagWtDxK3gUjs2w6Jqmi-7Rd3yXKwxB1u68b9bA8C4Qhv0N9wsbq6th1V03/s1120/IMG_0343.jpg" width="269" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Scaled up flower x3 on Kelmscott, almost finished<br />
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The second subject is also from Scotland, <i>Linnaea borealis</i>, the Twinflower, I've written a blog about this one before, but here are the little paintings. This is one of out smallest flowers, so a again I painted a larger study of the flowers. The Twinflower is in the Caprifoliaceae family, better know for Honeysuckle, which seems slightly surprising. It's a creeping plant that forms giant clonal mats of flowers as shown in the video below. It was a favourite of Carl Linnaeus and was named after him. It's and is found boreal pine forests, hence the second part of the name, it can also be found in birch and heather but needs sufficient shade to do well. It occurs in many other northern hemisphere countries, where it is abundant but in Scotland it is rare and associated with the remnants of the old Caledonian pine forests.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2EgTB31lomNZq6Xsddsu4IMr4T7C5sosJQgoxaDyjXupoGjicdd0VdiY8bvu2AKkNh7SUNbe-lhvd-v2z1lvwe6SImsT0WEzalQAK01fajXy_xZEUm2HwtTB6uxkRUjy0DLRFiWsZ0puk/s1600/IMG_8783.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1600" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2EgTB31lomNZq6Xsddsu4IMr4T7C5sosJQgoxaDyjXupoGjicdd0VdiY8bvu2AKkNh7SUNbe-lhvd-v2z1lvwe6SImsT0WEzalQAK01fajXy_xZEUm2HwtTB6uxkRUjy0DLRFiWsZ0puk/s1100/IMG_8783.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Beginnings using the sketchbook studies made in Scotland</td></tr>
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dzq6W9NukOl7Hs5OmV3VaxJE-mbcSv4uuwJ_HgHgOu-cgZfZdem-ldX4DB4F-0NlXqlWqQAjrw9RipOY8RVSg' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOBxFIWdGnJVDA5mTYpmYZjPf70lsFN71Biuz6r7Y-QAWgRHFCIYK3MjhDSpSL63dThGLY8phMPXVEbRjq9jS-Dhzkf4YbsSzITfxWKmPpT9tI_m9g1wQMkf5Oq7Fdxg9adLv7ZnGM06vM/s1600/IMG_0385+2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1413" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOBxFIWdGnJVDA5mTYpmYZjPf70lsFN71Biuz6r7Y-QAWgRHFCIYK3MjhDSpSL63dThGLY8phMPXVEbRjq9jS-Dhzkf4YbsSzITfxWKmPpT9tI_m9g1wQMkf5Oq7Fdxg9adLv7ZnGM06vM/s1000/IMG_0385+2.jpg" width="352" /></a></td></tr>
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The Twinflower painting is on goatskin Kelmscott which is mounted on a heavyweight board prepared by William Cowley, the only remaining vellum maker in the UK. I wanted to show this plant in its simplest form, showing the tiny twin headed flowers and creeping stems and tiny toothed leaves. In the UK this flower is only found in Scotland. It has had a difficult time existing with humans, land clearance up to the 1930's meant that populations of the plants became too isolated for pollinators to cross-pollinate, as a result the population was reduced to around 50 sites and the genetic diversity reduced. Looking at the video you might think it's a healthy population but the plant is actually a giant clone which makes it vulnerable. To add to the challenge of survival, it only produces one seed per flower, so should any disease or environmental change occur the entire clone will could be lost. Scottish Natural Heritage and Plant Life have been working to reintroduce the plant and the good news is that it's working but is an ongoing challenge. </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisXB8UznV4Eu5IANaEDlE1HeeKSX9y4RfWJKhfH-FSVKcVOPXmrF8F4sdsCBoMMrlSh9A0zylw7yWkcCKM0bPJSpJIZI9YUTeX4Xh-Snoxqhv-8mrDdu7DhIkePG2rWcpaL2ujXPDomuDT/s1600/A2CD19C7-54B4-4F88-8978-2C269D62A025.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisXB8UznV4Eu5IANaEDlE1HeeKSX9y4RfWJKhfH-FSVKcVOPXmrF8F4sdsCBoMMrlSh9A0zylw7yWkcCKM0bPJSpJIZI9YUTeX4Xh-Snoxqhv-8mrDdu7DhIkePG2rWcpaL2ujXPDomuDT/s1020/A2CD19C7-54B4-4F88-8978-2C269D62A025.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Enlarged study of single flower stem on Kelmscott vellum, with the characteristic two nodding bell flowers ( x2.5). The plant is covered in small sticky hairs and when the single seed develops it is also covered in these hairs, the seed sticks to passing animals who unknowingly disperse it to new sites in the forest. </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNcI-Os3zCjjZBRBXOdsxBFy7qZqOdr3FYyTBTm7H2nrDbsF7xPYFXwHo7XNP0VVtpaNBA0tc0ZLrUN6GPZxG63B1NwnnbV2G4NfBgNs8DzzqPWXtqCf2npZ1yZfnwPnlNfcPinilsrv7N/s1600/IMG_4671+2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="678" data-original-width="1600" height="168" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNcI-Os3zCjjZBRBXOdsxBFy7qZqOdr3FYyTBTm7H2nrDbsF7xPYFXwHo7XNP0VVtpaNBA0tc0ZLrUN6GPZxG63B1NwnnbV2G4NfBgNs8DzzqPWXtqCf2npZ1yZfnwPnlNfcPinilsrv7N/s1100/IMG_4671+2.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The giant clonal plant spreads across the forest floor and the fills the air with sweet perfume. </td></tr>
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The next plant is from the same family and is Honeysuckle, otherwise known as Woodbine, unlike the Twinflower it is common just about everywhere, the native version, <i>Lonicera periclymenum</i>, is widespread and found in hedgerows and woodland but there are many other species of honeysuckle that have become naturalised.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc8DiQUiW-ewRBWl0oWUVA0SlDUjrHCsTm2Vt0jmegEMPG5yeKf5WkkYFW-Uu0-GkrKvO9WlHhxRchgSV8B82998raqNDHOrBx6NKqZwJQGa-DZGwP1sljfzfzM0f2-bvV-tp8dbLuROrD/s1600/IMG_9808+2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1443" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc8DiQUiW-ewRBWl0oWUVA0SlDUjrHCsTm2Vt0jmegEMPG5yeKf5WkkYFW-Uu0-GkrKvO9WlHhxRchgSV8B82998raqNDHOrBx6NKqZwJQGa-DZGwP1sljfzfzM0f2-bvV-tp8dbLuROrD/s1200/IMG_9808+2.jpg" width="360" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Honeysuckle flower, bud and fruit cycle on natural veiny vellum, using the vellum markings as part of the composition can be effective. It's often necessary to use some 'body colour' on darker vellum - just a touch of opaque white is mixed with colour and used on the flower edges and filaments to make them 'pop' off the surface. </td></tr>
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Honeysuckle has a heady perfume at night, which pollinating moths, such as the Elephant Hawk Moth love but honeysuckle upports many insects, such as the White Admiral butterfly and of course many bees, but only a long tongued insect can reach the deep nectaries in the flower tube. Birds love the red berries in autumn and all round, it's a great plant for wildlife. This one grows outside my window so it was easy to access.<br />
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In plant folklore its long been associated with fidelity and young women were forbidden to bring the flowers into the house. Apparently it was believed that honeysuckle made the dream of their true love and stimulated risqué dreams! But having honeysuckle growing around the door was common and grown to prevent evil spirit from entering whilst bringing good fortune to the inhabitants. <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJRJJQg3VE4jTL98M9KNRkN_r_TANjTbjZ7cR-hqE1VY_8VM2hG2JJaTvs4-eWMpiJ8ZimKakdOxdegyx72y_LqJoxqyUgoMdR1CaMEyXRT-zlOwkukvs9Jbus1kHy_RTZM1ySRltkyp5i/s1600/IMG_0565.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="426" data-original-width="760" height="178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJRJJQg3VE4jTL98M9KNRkN_r_TANjTbjZ7cR-hqE1VY_8VM2hG2JJaTvs4-eWMpiJ8ZimKakdOxdegyx72y_LqJoxqyUgoMdR1CaMEyXRT-zlOwkukvs9Jbus1kHy_RTZM1ySRltkyp5i/
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<tr><td class="tr-caption" style="text-align: center;">An older study page of Honeysuckle, which I've painted many times. </td></tr>
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The Honeysuckle was a bit of an ad-hoc composition and I let the vellum guide me with no particular plan. I chose the focal point flower of the twining flower stem first and took it form there, the vellum was large enough to add more, I added the berries, then decided to sketch some additional stems onto tracing paper to see how they looked before taking the plunge. I don't often work this way but it's nice to have a more organic approach to painting sometimes ... a 'see what happens' approach without being overly precious.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnoX-AR7iNOeON7t0azhdLaopX52YQ9wDj6jREjVkDVLzEO1XuKJUSVwbIyzy5gVXiQTPJPQmHMux8of72esRtKidsX9FfdqySCX3tLvy5MZErq4l8hVCoTRM9ZQ3UWsuuL2MdqrXnTmDi/s1600/IMG_9764.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1519" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnoX-AR7iNOeON7t0azhdLaopX52YQ9wDj6jREjVkDVLzEO1XuKJUSVwbIyzy5gVXiQTPJPQmHMux8of72esRtKidsX9FfdqySCX3tLvy5MZErq4l8hVCoTRM9ZQ3UWsuuL2MdqrXnTmDi/s1020/IMG_9764.jpg" width="303" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Rough scribbled ideas! In the end I decided to go for the trio of stems as a composition because it created a square format and avoided the 'X' shapes in the crossing stems that can be distracting from the focal point, I felt that the veins described the habit of the stems without over complicating it. I often scrawl ideas onto tracing paper in this way - it gives me a rough idea of what works and what doesn't. </td></tr>
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The last one for this post is <i>Primula vulgaris</i>, I painted this some years ago on Kelmscott (see below) and was always curious to know how it would looks on dark veiny vellum, so I repeated the painting with some alterations on a very dark veiny vellum. I wasn't sure if the pale lemon flowers would work so well on a dark surface but thought I'd give it a try. I used quite a lot of the opaque Lemon Yellow Nickel Titanate, which I'd also used on my previous painting, but it's important to maintain some of the substrate showing through because there's nothing worse than overly heavy painting on vellum, which kills the luminosity - it's a fine balance of 'how much' is enough on vellum.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPUfQrBlhDlCPEWjninxNtRcbv6DgAKwWPlnLCZ8JTgqAzxxDsIC8zVYKH-NlbN-M00piQxOjazob-GkjRxP3eY1-Mf0Eyf29zweu4ZwG4LQF5JP-WY-Bzlmo-uN194B5MlDQYYR-m1D1p/s1600/IMG_9834.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPUfQrBlhDlCPEWjninxNtRcbv6DgAKwWPlnLCZ8JTgqAzxxDsIC8zVYKH-NlbN-M00piQxOjazob-GkjRxP3eY1-Mf0Eyf29zweu4ZwG4LQF5JP-WY-Bzlmo-uN194B5MlDQYYR-m1D1p/s1020/IMG_9834.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">I put cobalt blue under the leaves in the background and also on those with stronger highlights, surprisingly this creates the appearance of distance or highlights depending on how its used. I kept quite a lot of the vellum showing through the colour as I liked this effect. The roots were very easy to paint almost created by the veins in the surface.</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOGuo9BKuAa_rpZCpQysCobNRBYbfG2EbqZ4-saWSnj_MpLflB-cUWBUjYpDl_er0wqMuHd4EWgSy2jg681t8vzTRt9aif23nqFZ5WtUCV-tXF-owunRVBCKg2MvHJwzG7HFK0QX7yWGsv/s1600/IMG_9849+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1552" data-original-width="1406" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOGuo9BKuAa_rpZCpQysCobNRBYbfG2EbqZ4-saWSnj_MpLflB-cUWBUjYpDl_er0wqMuHd4EWgSy2jg681t8vzTRt9aif23nqFZ5WtUCV-tXF-owunRVBCKg2MvHJwzG7HFK0QX7yWGsv/s400/IMG_9849+2.jpg" width="361" /></a></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpmDRsHnAMieLmF1USx1dmt_GxPDQnIOzTAoUy80H4tvR2s0_IlbJAV46x3EmOzM9UZTI41uyT65e4hcW5zKdgUzJloNLqj6uILi5Bg7M7FkPyRreQGGyIfLZA_qT7MUGxheenKPDpL6da/s1600/IMG_0077.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpmDRsHnAMieLmF1USx1dmt_GxPDQnIOzTAoUy80H4tvR2s0_IlbJAV46x3EmOzM9UZTI41uyT65e4hcW5zKdgUzJloNLqj6uILi5Bg7M7FkPyRreQGGyIfLZA_qT7MUGxheenKPDpL6da/s1000/IMG_0077.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The image starts to emerge and you can see the effect where the opaque colour is used on the flower petals</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Finished painting on dark vellum above 2020 and below the original painting 2012 on Kelmscott. Two very different looks. Obviously I didn't have the plant for the second painting, neither did I have the original painting but I did still have photographs, studies and several other plants to work with, so it wasn't so difficult to repeat....now spot the difference! </td></tr>
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The exhibition was due to to open for Easton's Snowdrop week on the15th February, alas the high winds and floods put a stop to that on the first day and weather proved to be a bit of a challenge that week! Easton Walled Gardens is a beautiful venue to exhibit at, I spent a few daysin the Coach House painting. The exhibition ran until the 15th March and we took it down at the beginning of the social distancing. It was pretty much the last time we left the house.<br />
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<tr><td class="tr-caption" style="text-align: center;">A painting day in the Coach House gallery, where the light is wonderful.</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Snowdrops week! the sun came out eventually and all was good! </td></tr>
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Dianne Sutherlandhttp://www.blogger.com/profile/00336704902577001166noreply@blogger.com0tag:blogger.com,1999:blog-6401160288631130110.post-36675790617214304682020-03-05T10:51:00.003-08:002020-03-05T10:51:49.579-08:00The Crown Flower: Painting Calotropis gigantea for the IDSBA exhibition <div class="separator" style="clear: both; text-align: center;">
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<i>Calotropis gigantea,</i> otherwise known as the Crown Flower or Giant Milkweed, is a plant that I've admired ever since first seeing it on Gili Trawangan Island, Indonesia, in 2015 and every year since. It's the most striking of plants in structure, so I didn't have to think for too long about selecting it as a subject when it came to entering the <a href="http://idsba.com/" target="_blank">Indonesian Society of Botanical Artists exhibition</a>, scheduled for June 2020 in Jakarta.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMNSi1f61-0uJpgLE00IntNudCrR7lnS_kOT9esquSCqgcilaoND_RGbl7AjQHnv3WWns6dGdBEKRAqPPjOpBT-xVvyxub6f3yScWew5hYOBM1-okkMsxFL9rq4B3sFuZTxug0TRVX3bzU/s1600/calotropis+small.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1229" data-original-width="984" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMNSi1f61-0uJpgLE00IntNudCrR7lnS_kOT9esquSCqgcilaoND_RGbl7AjQHnv3WWns6dGdBEKRAqPPjOpBT-xVvyxub6f3yScWew5hYOBM1-okkMsxFL9rq4B3sFuZTxug0TRVX3bzU/s1100/calotropis+small.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.800000190734863px;"><i>Calotropis gigantea</i> finished painting, 51cm x 39cm watercolour on paper</td></tr>
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<b>The Plant</b><br />
For me the first stage for any painting is to carry out research, so here are just a few of the many facts about the Crown flower.<br />
<i>Calotropis gigantea</i> (L.) Dryand, belongs to the <a href="http://www.theplantlist.org/1.1/browse/A/Apocynaceae/" target="_blank">Apocynaceae family</a>, which is a pretty diverse and large group of plants with 410 genera and 5, 556 accepted species names. Apocynaceae means 'dog-away' in Greek, which explains why this family is also known as Dogbane, basically it's known to poisons dogs and other animals. In the case of <i>C. gigantea</i>, this is a pretty toxic plant to be handling and great care is needed, The sap contains white 'milky' substance which really does pour from the stem like milk when cut, if you happen to get this into your eye, it can temporarily or permanently blind and causes severe headaches too. I've also read that the plant is toxic if ingested, but not sure who would be dining on this one! Apparently the centre of the flower is supposed to be edible... I won't be trying it! The sap is allegedly used as an arrow poison, although I think perhaps this relates more to the African <i>Calotropis procera</i>, which is even more deadly and known as the Apple of Sodam, it has a more rounded fruit and a far worse reputation.<br />
The Genus name,<i> Calotropis</i>, comes from the Greek 'Kalos' meaning 'beautiful' and 'tropes' meaning 'boat' which refers to the structure of the flower.<br />
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<tr><td class="tr-caption" style="font-size: 12.800000190734863px;">Large swathes of plants on the north west coast of Bali, near to the quiet black sandy beaches, where just a few fisherman are the only people to be seen.</td></tr>
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<tr><td class="tr-caption" style="font-size: 12.800000190734863px;">Seed pod</td></tr>
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Native to temperate and tropical Asia, China, Malaysia and Indonesia, <i>C. gigantea </i>grows as a shrub or small tree, growing to over 4 m tall. I've seen it in many sites in Bali and Lombok and it's common in dry coastal areas where there is full sun but also near lagoons, I saw a beautiful one last year in Candidasa. Flowers are purple to white but some appear to be closer to a magenta colour and they are quite variable in colour depending on location/environment and age, the older flowers lose colour and fade quickly. Flowers are in large umbellate clusters. They have an unusual ' crown like' structure, at the centre is a large star shaped stigma which has 5 points, this is where pollen is found in the form of pollinia. The pollinia become attached to visiting nectar seeking insects, many insects are found in the nectaries but bees, possible carpenter bees are thought to be the specialist pollinators who inadvertently collect the pollinaria and carry it to other plants, which facilitates cross-pollination.<br />
Leaves are elliptic to oblong and are very woolly, the colour is a light grey green. Stems are also woolly. Fruits are large and pointed with many seeds.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ2lG_z9ZuCUVJ3fhmCCJFSTBpzWv1iyjA5B2NUpN7ERtI-DJWmSoSw5-exYL7HwHVnt2ScFObZJyj9DiwQFpv-W-juRsjfkkCzDvsxqDwYtSG_cOQSWy-J7V1d3Pu9UYb_oIvMkpWU-RV/s1600/IMG_5254.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1277" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ2lG_z9ZuCUVJ3fhmCCJFSTBpzWv1iyjA5B2NUpN7ERtI-DJWmSoSw5-exYL7HwHVnt2ScFObZJyj9DiwQFpv-W-juRsjfkkCzDvsxqDwYtSG_cOQSWy-J7V1d3Pu9UYb_oIvMkpWU-RV/
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<tr><td class="tr-caption" style="font-size: 12.800000190734863px;">Flowers and buds, note the yellow 'star' shaped stigma, the pollinia, which are pollen sacs (just like orchids) which become attached to insect pollinators and carried to other plants.</td></tr>
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Like many poisonous plants, this plant has medicinal uses, it contains calotropin and cardiac glycosides, the latter being similar to digitalis ( the foxglove) has been used in the treatment of heart conditions, however, much of the medicinal uses are reported to be anecdotal folklore type remedies but some studies regarding its efficacy in the treatment of cancers have been carried out, and reported to be effective in the treatment of asthma. There is also some evidence that it has mosquito controlling properties in the Japanese encephalitis carrying mosquitos.<br />
Fibre similar to flax is extracted from the stems and leaves of the plant and seepods produce a wooly material used for stuffing pillows. In Thailand the flowers are used for garlands but this can result in some eye problems for those making the garlands. Theres so much more that could be said about this plan<span style="font-family: "georgia" , "times new roman" , serif;">t, its </span>beautiful and fascinating but I'll move on.<br />
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<tr><td class="tr-caption" style="font-size: 12.800000190734863px;">Garlands made from the flowers are used in religious ceremonies copyright <a href="https://commons.wikimedia.org/wiki/File:Starr_070730-7945_Calotropis_gigantea.jpg" target="_blank">Wikimedia Commons</a> </td></tr>
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<b>Study Pages </b><br />
I visited the north west coast of Bali is 2019 and found a the wasteground with hundreds of these very common plants near to the volcanic black beaches. After carefully bagging cuttings and taking hundreds of photographs, I set to work in the sketchbook. The colours are unusual, the grey green hairy leaves were going to be challenging, there is no shine to work with, once cut the plant fades quickly and the leaves wilt so I did a mixture of sketches and field studies. colours so change one a plant is cut so it's important to colour match with a live or fresh plant.<br />
I used my usual system of colour matching using my trusty old green chart, its a high light value grey green, which means its a light blue, cerulean or cobalt or maybe a mix of the two, to achieve that light opaque quality, I used the Lemon Yellow nickel titinate and opaque which is great for these pale colours as well as glaucous leaves, it needs frequent mixing as it will separate but I liked this quality for this plant, I don't paint particularly wet so I don't have the separation issue on the paper. I also used some Winsor Lemon in the mix in places. the make a more natural green a small amount of Quinacridone Magenta was added. The flowers were fairly simple, also Quinacridone Magenta and Cobalt in various ratios, with a small amount of the lemon in places. So a very simple palette.<br />
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Starting by making drawings of the small parts of the flower as well as of larger sections of the plant is useful to get a feel for them, using a hand lens is useful at this stage to examine the unusual structure. The leaves are difficult because of the way that they rotate around the stem, so significant foreshortening is required. This is an important part of the process for me because it helps me to understand the plant and how it fits together, drawing larger sections of the plants give me ideas about the composition at an early stage.<br />
At this point I've already got a clear idea in my head about how I want to portray the plant and make a few thumbnail sketches to think about the arrangement.<br />
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I photographed and made measurements of all plant parts and referred to any reference material that I had to confirm points. Some of the leaves are large and I didn't want them to dominate the composition, so selecting a typical but appropriate cutting was important and I also wanted to show the typical upright growth habit but also shows the drooping nature of those stems with the weight of the large flower heads, this type of information about a plant can only be gained by observing the plant in its native habitat.<br />
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<tr><td class="tr-caption" style="font-size: 12.800000190734863px;">Colours, measurements and notes on observations regarding growth habit and arrangement etc. were made in a Stillman & Birn Zeta sketchbook, 8 x 10 inches, which is a good size for most plants. There aren't too many books on the Flora of Bali! but there is a lot written online. </td></tr>
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The greatest challenge about this work was the heat and humidity, it was November and quite late in the year, the first rains had just started. I had to use tracing paper at all times to stop my hands sticking to the paper, but the tracing paper kept sticking to me! next time ill use something less sticky, like mulberry paper. After 5 days of observation and sketching I had sufficient material to continue back home and planned to complete the painting in the uk. It's never the best option to complete the work at home and away from the plant but its not always practical to complete large works at the site.<br />
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I wanted to have three component parts of the plant in the composition and possible the seed pod. I made separate drawings of these parts on drafting paper and in ink and transferred them using a light pad, a MiniSun A2 size is great for transferring, even through this heavier weight Stoonehenge Aqua paper.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6SNzAZAh9AzB0cio7ERvVklgU9T9OUZ3tUHvzkHgJ9TDTjWMbVcJc5JycfNHMXqMDqR3oEoQOAdhJNGRJ4UFf8o0z2FpF_BLn075BG6lla4b6epnyQVNoWQL0tZXqJn5HW56316exYtKX/s1600/IMG_0612.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1193" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6SNzAZAh9AzB0cio7ERvVklgU9T9OUZ3tUHvzkHgJ9TDTjWMbVcJc5JycfNHMXqMDqR3oEoQOAdhJNGRJ4UFf8o0z2FpF_BLn075BG6lla4b6epnyQVNoWQL0tZXqJn5HW56316exYtKX/s1020/IMG_0612.jpg" width="238" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The A2 light pad is pretty bright and allows me to transfer through 275lb Stonehenge Aqua Hot Press paper - as long as the initial drawing is in ink. The separate flower on the right hand side was discarded as unnecessary, it was just left on the tracing because as one point I was considering dissections and a seedpod but decided against it. </td></tr>
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<tr><td class="tr-caption" style="text-align: center;">After transferring the drawing using the light pad I used my reference to begin the painting plotting in the star shaped flowers on the main cluster. </td></tr>
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<tr><td class="tr-caption" style="text-align: center;">I started off in natural daylight on an easel but because of the short timeframe to complete this work, I decided to work under lamps on an upright large desktop easel. It was a full sheet of imperial paper so I had to put an additional board underneath as the easel is slightly too short. I use two daylight lamps 5500 K and +90 CRI. I also use a x2.5 magnifier on an adjustable arm to check detail and for clean edges etc. </td></tr>
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<b>Making a Start and Materials </b><br />
The paper chosen was Stonehenge Aqua HP, which is a paper that I've used for quite a while, it's fine for smaller works but the surface sizing is really quite soft and as a consequence it's less robust than Saunders Waterford High White, which my normal choice these days but decided to give the heavier weight 275lb Stonehenge Aqua a try. It's incredible smooth and hard to see any mesh on either side. If you keep your work very clean and don't use too much water or if you refrain from pushing the paint around, this is a decent enough paper but it is quite difficult if you should happen to make an error - obviously no one likes to make an error but thats how it goes sometimes. Edges are clean and crisp but make sure you don't use an eraser on it as it ruins the surface, so a light clean tracing is vital. Also, use plenty of spare paper around the edge and the low tack tape with pull off the surface leaving a fluffy mess! which confirmed that sizing is very soft. I'm still not sure how much I love it for larger works. All paints are Winsor and Newton Artist quality pans. The colours previously mentioned were used for everything, so only 4 paints in total. Cobalt Blue, Windsor Lemon, Lemon Yellow NT and Quinacridone Magenta. I didn't use the Cerulean on the final painting.<br />
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<b>It's OK to Start Again</b><br />
Sometimes I find I'm just not in the best frame of mind to paint and feeling slightly stressed with too many distractions is never good, anyhow, there was a back facing leaf that I didn't much like, the only option for me was to start over. I always do this if somethings not quite right, its often quicker than trying to fix or alter something to distract. It wasn't that I hadn't planned it out well but when the paint starts to go on it becomes obvious. So after 4 days of work I started again, with a more focused approached and tweaked the composition and the offending leaf plus a few other areas.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk8ESi3JGh82cnW3sS6E4IahcEjf585ndYrhnjWZFgJ5XixT60c5df61bMSleavoTvjuDIZ8nyApV3aREVlJOMIiPTsaYdZHEsxHtYSqXX1MBqogQM1xxlFrIJA07RLm1S7MfMs7UXjGDg/s1600/IMG_0641+2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1320" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk8ESi3JGh82cnW3sS6E4IahcEjf585ndYrhnjWZFgJ5XixT60c5df61bMSleavoTvjuDIZ8nyApV3aREVlJOMIiPTsaYdZHEsxHtYSqXX1MBqogQM1xxlFrIJA07RLm1S7MfMs7UXjGDg/s1100/IMG_0641+2.jpg" width="330" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">First version, spot the difference with the one below (this one was scrapped but used for practice)</td></tr>
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<span style="font-family: inherit; font-size: x-small;">Leaf position, take 2: I just couldn't live with the ugly back facing leaf and twisted it slightly in this version, this didn't alter the accuracy and was a small adjustment. I made a few other changes too. I actually have two attempts at pretty much every painting and try not to be overly precious with any work.... if its not going to plan, start over and save yourself the grief of the 'annoying' bits. </span><br />
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<span style="font-family: inherit;">The leaves are difficult in this plant, the dull surface doesn't give provide and highlights and they have a 'v' shape or flat profile, this requires some careful use of shadows, especially at the leaf margin, where the leaves curve in places, these small shaded areas only required a more dense / creamy mix of the same colour and were carefully dry brushed on. I't amazing how little is needed sometimes. Cast shadows were Cobalt with a touch of Quinacridone Magenta. Rear leaves were kept paler and more blue bread to give the effect of distance, which is important with a plant where leaves rotate around the stem, this is commonly referred to as aerial perspective, it's no big mystery but simple creates separation between near and far parts using the same effect as those used by landscape painters - if you look to the distance the mountains will be paler and more blue and the foreground is stronger and more saturated - a very simple observation which is most useful in botanical work too.</span><br />
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<tr><td class="tr-caption" style="text-align: center;">Burning the midnight oil! still not added the smaller bud branch at this stage because initially I wasn't altogether convinced I needed it, so had left it off the tracing. </td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Almost finished, decided to add the smaller bud stem on the right as originally planned, it did need it as it describes the plant more accurately, <i>C. gigantea</i> is multi branching plant with many flower heads at different stages of development.</td></tr>
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<span style="font-family: inherit; font-size: xx-small;">It was hard work and many hours were spent on the intricate parts, I didn't have time for the seedpod and felt it was well balanced as it was, so declared it finished. I sent it off just in time before the deadline had to send in time for the IDSBA Call for Entries deadline, which was on the 29th February. Fingers crossed that it's accepted. I do hope to paint this again, it's so interesting and challenging. </span><br />
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<span style="font-family: inherit; font-size: xx-small;"><b>About the Exhibition</b></span><br />
<span style="font-family: inherit; font-size: xx-small;">The<a href="http://idsba.com/" target="_blank"> IDSBA exhibition</a> " Botanical Art for Friendship' is a collaboration between the Indonesian Society of Botanical Artists and the Korean Botanical Artists Cooperative. The exhibition is a great idea by this relatively new Society and will take place in the capital city of Jakarta at the National Gallery of Indonesia, which is a major achievement. I have been so encouraged by both the friendliness and professionalism of the Indonesian Society. Last year I taught a class there, which was a wonderful experience filled with enthusiasm and kindness. Their submission process required background information on the plant and references for information provided, something I think all societies should ask for. I hope to return to Indonesia for the exhibition in June, Coronavirus permitting of course! </span><br />
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<tr><td class="tr-caption" style="text-align: center;">The beach, near to where I found the Crown flowers </td></tr>
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<span style="font-family: inherit;">It's really great to be painting more, although I do feel a little 'painted out' just now, having completed previous paintings for the current exhibition (I'll write another blog about that). This was my 9th painting completed this year!... although to be honest most of the planning for this one, which is the hard part, took place at the tail end of last year. </span><br />
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<span style="font-family: inherit;">Now it's time to do other teaching work before starting my next painting, which will be to finish the <i>Sutherlandia frutescens.</i> </span>Dianne Sutherlandhttp://www.blogger.com/profile/00336704902577001166noreply@blogger.com1tag:blogger.com,1999:blog-6401160288631130110.post-33391830442886288552020-01-11T09:55:00.000-08:002020-01-16T04:17:02.275-08:00RBGE Florilegium: The Story of Illustrating the Cancer Bush, Sutherlandia A new decade is definitely a time for self reflection and I've decided that I don't paint nearly enough, so my aim for this year is <i>to</i> <i>paint more and to paint often</i>. The opportunity of being involved in the <span style="color: blue;"><a href="https://www.rbge.org.uk/science-and-conservation/library-and-archives/library-collections/image-collection/rbge-florilegium/" target="_blank">Florilegium project at the Royal Botanic Garden Edinburgh</a> </span>came up last year and illustrating a plant with a great story makes and ideal start for 2020! The chosen plant for the work is a South African native formally known as <i>Sutherlandia frutescens, </i>aka the Cancer Bush, now reclassified as <i>Lessertia frutescens</i>. Here's a little about the the process of illustrating the plant as well as the story of <i>Sutherlandia</i> and the Sutherlands, from South Africa to Edinburgh and back.<br />
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<tr><td class="tr-caption" style="text-align: center;">Sketchbook studies in South Africa<br />
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<b>The Plant </b></div>
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Before I get into the story, here's a little information about the plant and its habitat. The Cape Floristic kingdom is home to <i>Lessertia frutescens, </i>Sutherlandia (Family: Fabaceae) it is one of the richest areas for flora in the world. Still commonly known as Sutherlandia, the plant was recently reclassified as <i>Lessertia frutescens </i>from <i>Sutherlandia frutescens</i> based on its adaptation to bird pollination, which is by sunbirds. It grows in dry regions throughout the country and is associated with the Fynbos, but grows as far north as Namibia and Botswana and in the Karoo Desert. It's a short shrub, with greyish pinnately compound leaves, which vary considerably in size from 4-10mm. The flowers are orange-red in colour, up to 35mm, in short racemes at the leaf axils. The fruit is a large inflated 'bladder-like' pod, which is paper thin. Flowering time is September - December. </div>
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<tr><td class="tr-caption" style="font-size: 12.800000190734863px;">Large balloon like seed-pods, the plant has long been used for medicinal purposes (Photographed in March 2019 at Kirstenbosch)</td></tr>
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Sutherlandia has many common names, several relate to its medicinal properties, particularly with cancer treatment, such names include, the Cancer Bush or Kankerbos, the Zulu people used the name <i>Unwele, </i>because it was said that the plant 'stops people from pulling out their own hair' - thus takes away stress. It has long been respected in medicine by the original inhabitants of the Cape being used for washing wounds, controlling fever, for stomach and eye problems and cancer. Evidence is largely anecdotal, however, there is some research into its action as an immune stimulant for cancer and AIDs patients. This doesn't mean that it's a cure but Sutherlandia can help to stimulate appetite in patients with wasting diseases. Take a look at the <a href="http://http.//pza.sanbi.org/lessertia-frutescens" target="_blank">SANBI </a>entry for further information. </div>
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<b>The Florilegium</b></div>
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<i><b>If you are unsure about what a Florilegium is:</b></i></div>
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Modern florilegia seek to record visual collections of plants held by a botanic garden or specific place, either in living or historic collections. Artists are invited to illustrate plants from the collection and usually supplied with a plant list to choose from. The illustrations are usually required to show the important features of the plant. Resulting illustrations are often exhibited and published in books and the botanic gardens hold the illustrations for reference and education purposes. </div>
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<span style="color: #3d4539; font-family: "cambria"; font-size: 12pt;"><i>The aim of the RBGE Florilegium Society is to create a permanent, visual record </i></span><i><span style="color: #3d4539; font-family: "cambria"; font-size: 12pt;">of RBGE’s botanical and horticultural work through the acquisition of </span><span style="color: #3d4539; font-family: "cambria"; font-size: 12pt;">artistic </span></i><i style="color: #3d4539; font-family: Cambria; font-size: 12pt;">works featuring the plants that are grown, collected, studied and named by RBGE </i><i><span style="color: #3d4539; font-family: "cambria"; font-size: 12pt;">staff. The Society will also rai</span><span style="color: #3d4539; font-family: "cambria"; font-size: 12pt;">se RBGE’s profile as an important centre of </span></i><i style="color: #3d4539; font-family: Cambria; font-size: 12pt;">botanical art in relation to both our educational work and our art collection</i></div>
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Being involved in a florilegium can be a bit of a labour of love but it is a great opportunity for botanical artists. For me being a Botanical illustrator is all about recording and learning about plants as well as sharing with others...it's what I always wanted to do. </div>
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<b>First Encounters</b></div>
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The story of my interest in this plant began with a trip to South Africa with my daughter <span style="color: black;"><a href="https://www.pollysutherland.com/" target="_blank">Polly</a> </span>in March 2019. This is where we first encountered <i>Sutherlandia frutescens</i>, at <span style="color: blue;"><a href="https://www.sanbi.org/gardens/kirstenbosch/" target="_blank">Kirstenbosch Botanic Garden</a>.</span> Sadly it was at the end of its flowering period, with only a few flowers remaining. This plant caught our attention for a few reasons, firstly, it's my type of subject, I'm always drawn to plants in the Pea family (Fabaceae), their nitrogen fixing symbiotic relationship with bacteria that makes them so important, plus some plants just fill me with enthusiasm and demand to be painted. Secondly, the name 'Sutherlandia', made us want to find out more. Thirdly, it's medicinal properties. Lastly, it matched my nail varnish! </div>
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<tr><td class="tr-caption" style="text-align: center;">Tiny little flowers still hanging on in March, despite the flowering period ending in December </td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Display describing Sutherlandia medicinal properties, at Kirstenbosch Botanic Garden</td></tr>
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<b>The Opportunity: How Things Mysteriously Come Together</b></div>
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I knew I'd come back to this plant at some point, when out of the blue, my good friend and fellow artist, Shevaun Doherty, told me that a plant called Sutherlandia was on the plant list for the RBGE Florilegium and that I had to paint it? I immediately contacted them and claimed it. Both myself and Polly plan to illustrate different aspects of the plant, which is a slightly unusual approach but was approved. </div>
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<b>A Trip to RBGE</b></div>
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In November 2019, we were invited by Jacqui Pestell to visit the Herbarium at RBGE to complete some research. RBGE staff were so helpful and supportive and we spent a couple of days investigating and sketching. Even the current Regis Keeper, Simon Milne, invited us into his office to talk about Sutherlandia and his research<i>. </i>Outside his office<i> </i>is the banner dedicated to James Sutherland (c. 1639 - 1719) the first Regis Keeper of the Royal Botanic Garden, and of course the reason for the plants inclusion in the Florilegium became apparent, as <i>Sutherlandia frutecens</i> was named after him. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKN_gQEz_MgoW3rq9GMNdmvB0x0NkI-28eKwg1zhtT2tbn9gjjlYEDF2JG7TG8aGQPNbH06BP58EUm_M-gA_5SUlvOKLK6Tz2qyNb9HCybgcysrE61uzm3tSLWJ9iIUM2xMXm4mvQ7cRSh/s1600/IMG_6422+2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1094" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKN_gQEz_MgoW3rq9GMNdmvB0x0NkI-28eKwg1zhtT2tbn9gjjlYEDF2JG7TG8aGQPNbH06BP58EUm_M-gA_5SUlvOKLK6Tz2qyNb9HCybgcysrE61uzm3tSLWJ9iIUM2xMXm4mvQ7cRSh/s1000/IMG_6422+2.jpg" width="272" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"> James Sutherland at RBGE. The first professor of Botany at the University of Edinburgh, in 1675, he became Intendent of the Physic Garden, which later became the Royal Botanic Garden Edinburgh, thus he was the first Regis Keeper. Known for his enthusiasm for plants he published the first botanical work in Scotland 'Hortus Medicus Edinburgensis' in 1683. You can see the here the image of <i>Sutherlandia frutecens</i>, which was named after him </td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Viewing the large collection of <i>Sutherland frutescens</i> at RBGE herbarium, showing the various locations and name reclassification over the years.<br />
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<tr><td class="tr-caption" style="text-align: center;">Specimens from the Eastern Cape </td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Cultivated specimens from the garden</td></tr>
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<i>S. frutescens</i> had until recently been in the living collection in the RBGE, like many South African plants they will grow in the UK but in recent years the live plant has declined and it's now most likely part of the historic collection. From the Herbarium records it appears that some plants in the collection came to Edinburgh from Kirstenbosch Gardens. The herbarium specimens came from various sites across South Africa and show considerable diversity, particularly in leaf shape and size, which was interesting. Having a 'Type specimen' is important in deciding what is typical for illustration purposes. It was amazing to view samples described by legendary Scottish botanist, Robert Brown (of Brownian motion fame) he also who had a close association with Joseph Banks voyages to Australia....but that's a story for another time. We also spent time in the Library viewing some magnificent books with illustrations of South African flora.<br />
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<tr><td class="tr-caption" style="text-align: center;">Polly makes notes and sketches</td></tr>
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We really enjoyed our time at RBGE, we made notes, measurements and sketches as obviously watercolour isn't allowed in herbariums. Polly, who illustrates pollen and dissections, intends to return to see if they can capture pollen grains using the Scanning Electron Microscope, this is her specialist area of interest. I'll be making a more traditional illustration of the plant and some of the specimens had already given me some inspiration for a composition.</div>
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<tr><td class="tr-caption" style="text-align: center;">In the RBGE Library</td></tr>
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<b>Return to Cape Town</b></div>
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Less than 2 weeks after our visit to RBGE, we were back in Cape Town. This time we knew that Sutherlandia would be in full bloom. The botanical community are always incredibly helpful and it took just a few emails to friends to organise a specimens of the plant for the RBGE project, which was sorted in advance of our arrival. </div>
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<tr><td class="tr-caption" style="text-align: center;">Day 2 Arrival at Kirstenbosh Botanic Garden, late November 2019</td></tr>
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Kirstenbosch provided a permit to take a sample of Sutherlandia away, which was extremely accommodating. Garden officer Alice Notten took us to view several examples in the garden, it was a scorching hot day but we came away with a beautiful cutting of the plant. Over the next few days I worked quickly to record as much as possible, making detailed drawings and colour studies. As well as drafting a few compositional ideas. </div>
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<tr><td class="tr-caption" style="text-align: center;">Specimen from Kirstenbosch, I had to work quickly before leaving South Africa</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Sketchbook Study ready for the next step of creating the composition </td></tr>
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Investigation of the reproductive parts </div>
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<tr><td class="tr-caption" style="text-align: center;">Taking measurements and collecting as many drawings ans photographs as possible. Here a dissection of the seed-pods</td></tr>
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We also visited Karoo Botanic Garden, which I love! they also have several Sutherlandia plants but it's much hotter and drier there, flowering had mostly finished but there were piles of the hugely inflated ghostly looking seedpods on the ground. We took a road trip many miles into the Karoo desert where we observed the plant in the wild in many locations, we made further studies also took lots of photographic reference. Suffice to say its a very common plant, so was an easy task....apart from the heat! </div>
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<tr><td class="tr-caption" style="text-align: center;">In the wild, its easy to spot in the bright light with its small scarlet flowers and ghostly looking seed-pods<br />
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<tr><td class="tr-caption" style="text-align: center;">Road trip: growing at the roadside near Worcester </td></tr>
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That's the story to date, all that remains is to put it all together and complete the painting.<br />
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If you want to find out more about the RBGE Florilegium or wish to get involved see their Call for Entries<br />
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https://www.rbge.org.uk/science-and-conservation/library-and-archives/library-collections/image-collection/rbge-florilegium/call-for-entries-2020/<br />
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<br />Dianne Sutherlandhttp://www.blogger.com/profile/00336704902577001166noreply@blogger.com3tag:blogger.com,1999:blog-6401160288631130110.post-6737519928026255822019-12-31T10:34:00.000-08:002019-12-31T10:54:18.898-08:00Leaf Challenge: Regular Painting is Good for the Soul <div class="separator" style="clear: both; text-align: center;">
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It's New Years Eve and I forgot to do the food shopping, instead I sat in the kitchen and wrote my last post for the decade. It's all about snatching a little time each day to paint something small. Picasso famously said 'Art washes away from the soul the dust of everyday life' so that can't be a bad thing to end the year on ....there's been a lot of dust this year! but another plus is that regular painting is the key to improvement. With this in mind I decided it would be good for me to <i>power</i> through some speedy leaf painting. Of course in an ideal world I'd love to spend more time painting but it's not always possible. Each year I try very hard to complete a couple of 'substantial works' that I'm reasonably happy with, sadly sometimes not much else is achieved other than demos for tutorials. So my self-imposed challenge last week was to paint a leaf every day within 90 minutes....'<i>if possible</i>' being the caveat. <br />
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<tr><td class="tr-caption" style="text-align: center;">Details from leaves painted during week one.</td></tr>
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<b>Why Leaves?</b><br />
I love leaves! and it's the love of the subject drives the painter on to try harder to do better - and to never give up. There are so many leaves too choose from, many are challenging with incredible diversity and detail, there's more than enough to keep a painter occupied for a lifetime. As Lucien Freud said ' <i>it's what Yeats called the fascination with what's difficult. I'm only trying to do what I can't do.'</i><br />
I hope to carry on with this challenge for a while and to be a better artist but being fickle, I can always swap to a different subject should he mood change.... for now leaves are good. Here's the sum total of my efforts with some information on the process.<br />
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<tr><td class="tr-caption" style="text-align: center;">Green Photinia, leaf no. 1 This is a leaf with a deeply indented 'V' shaped profile - i.e. it indents at the mid rib. The light is coming from the right hand side. Yet note how the right side of the mid rib is in shade, so although the leaf catches the light near the outer margin, as it nears the mid rib it indents away from the light. Conversely, where to leaf bends upwards, on the left of the mid rib, the light catches the smooth surface, creating a distinct difference between the left and right side of the mid rib. It's at its darkest where the far left curls away from the light This left to right difference is a key feature of lighting that shows the 'V' shaped profile. </td></tr>
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<tr><td class="tr-caption" style="text-align: center;">I generally use a 4 or 5 stage process and bring the whole leaf up in stages. Top row: Stage 1. underlying colour (cobalt blue) wet-in-wet, the highlights are the most blue (not the shadows). Stage 2. Basic hue wash, (French Ultramarine, Winsor Lemon and Permanent Rose) wet-in-wet is used, the idea is to capture form from the outset. Work on one leaf blade at a time (here shown in 2 images). Bottom row: Stage 3. Add more selected washes, wetting/ dampening and adding colour only where needed rather than wetting all over. Use a slightly creamier paint mix, this selective approach enables me to retain and control the highlights. I also add that brown blemish with yellowing around it, the same colours are used to mix the brown and dropped onto a dampened area. Stage 4. Modelling dry brush technique using a much creamier consistency of paint onto a dampened surface to deepen colour. Drawing dry brush is used on the slightly damp to define softer veins. Dry brush on damp creates a softer smoother finish but the water:paint ration takes a little practice to get right. Towards the latter stages I allow the paint to dry to a skin on the palette and use a damp brush to moisten, this gives me a much richer colour for detail. I also pick out veins at this damp stage and sharpen up the serrated margin by wetting the edge and adding paint into the wet edge and blending into the main leaf blade. Stage 5, Fine tuning and tidying up, deepen where necessary using an effect that I refer to as 'polishing' using a very dry brush in a circular motion. Mostly painted with Betty Hayways size 4 and 7. The final touches using a size 2 Windsor and Newton series 7 miniature. This leaf took about 1 hour...if only they were all so simple!</td></tr>
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<b>Do try this at Home</b><br />
If you are thinking of trying some leaves, don't worry too much about the time constraint or perfection but do try to finish a small work in one day. For me, <b>the objective is to capture the overall 'character' of a leaf; its shape, form, colour and surface texture. It's not so much about tiny details or photorealism but more about the 'feel' of the subject.</b> Start to improve your observation and understanding of leaf shapes and surfaces within a very short space of time your drawing and painting will improve too. See previous posts by searching for the 30 day leaf challenge, which I completed several years ago.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMeB0XSkPL3SyOuJYTnl1lJIUaz6hBXvxnpU3tMAakryAH-AGHHBwl08RAZNHoe5n-3A1LSAy3Fyh2Snkcy0zZykwvbMAxo5xd1_LgFajGUmHskAPWFW1DCNfeBl_uLZaT0QVCSNstSFwL/s1600/IMG_8111.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1417" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMeB0XSkPL3SyOuJYTnl1lJIUaz6hBXvxnpU3tMAakryAH-AGHHBwl08RAZNHoe5n-3A1LSAy3Fyh2Snkcy0zZykwvbMAxo5xd1_LgFajGUmHskAPWFW1DCNfeBl_uLZaT0QVCSNstSFwL/s1100/IMG_8111.jpg" width="353" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Leaf no. 2. Another Photinia. Love the variation in these leaves. This is the red version found at the terminal branches, slightly weathered this time and curls back more, with less of a 'V' shape at the mid rib but still has some left to right difference and strong highlights. </td></tr>
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<tr><td class="tr-caption" style="text-align: center;">The process is much the same as the previous leaf but with different colours. Cobalt Blue first, then selective washes of reds and violets. The reds are: Scarlet Lake (warm) Permanent Rose (cooler pink /red) and Permanent Carmine (darker (warm red). Add some French Ultramarine to make the violet and a touch of Transparent Yellows in the mix makes those dark, almost black blemishes.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjdb2NcIoZRNoGRLJ201dEn_LFrp-d_Q0PQcaKFUFX6ni6TbEDxd7LDN8sdpB-OxfbowtdnveasREi3hyz2dqNIWdsRRv__YqcCG64o9sFwBYMLlJTl1G_TZqmTgw2NmxZ3HYbXImZ-mC_/s1600/IMG_8142.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="984" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjdb2NcIoZRNoGRLJ201dEn_LFrp-d_Q0PQcaKFUFX6ni6TbEDxd7LDN8sdpB-OxfbowtdnveasREi3hyz2dqNIWdsRRv__YqcCG64o9sFwBYMLlJTl1G_TZqmTgw2NmxZ3HYbXImZ-mC_/s1100/IMG_8142.jpg" width="245" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Finished leaf<br />
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<b>Can you see the Light: Technical stuff</b><br />
As a tutor one of the most common problems the I see in leaves is a lack of form, flat looking leaves result from poor or diffused light - poor light kills a leaf stone dead because everything is painted using mid tones. To bring a leaf alive you need light and shade (i.e. a range of tonal values). If you're a beginner, the best way of resolving 'flat leaf' problems is to enhance that light, exaggerate it in true Chiaroscuro Rembrandt fashion but use modern technology by using a fixed light source from a lamp. This doesn't have to cost a fortune, any angle poise lamp with a swivel head will do, then fit with a photographers bulb E27 screw fit, use 5,500k (Kelvins) which is the nearest to natural 'white' daylight and easy are to buy on Amazon or from photography suppliers, don't look in art suppliers for bulbs, many claim to be daylight but are not. Bulbs over 6000k give yellow light and bulbs under 5000K are blue, so will not give accurate colour. You also need the correct CRI, (colour render index) of 90 or above or as near as you can get. Bulbs with CRI over 90 are more difficult to find and you may have to settle for 80 but the higher the CRI the better the true colour. Light from the upper front left if right handed and the right if left handed, although I tend to light from the side the I think looks best for the subject. Pin your leaf to a piece of white foam board and light from your chosen side, move the lamp around to create good contrast. Try painting in black paint or ink first to avoid confusion between colour and tone.<br />
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Look at Ruskin's tonal studies for inspiration, it's all about light and shade, note the dramatic difference either side of the mid-rib. Study the masters!<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhyphenhyphenjcfR6ZhPLii0hmR6uVGdsLBUtWTNcoM7Iri7yRbcTfjckkoJp2KdHntxSbdCgn8dZl7gUuFD9gCwty6xHlZkp_lGSJTxXlkxvlsE4tl0WyUZbp_zuf4i_GBK6VERFbOt_49XUgjf0ja/s1600/IMG_8630.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1058" data-original-width="800" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhyphenhyphenjcfR6ZhPLii0hmR6uVGdsLBUtWTNcoM7Iri7yRbcTfjckkoJp2KdHntxSbdCgn8dZl7gUuFD9gCwty6xHlZkp_lGSJTxXlkxvlsE4tl0WyUZbp_zuf4i_GBK6VERFbOt_49XUgjf0ja/s1000/IMG_8630.JPG" width="301" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: white; color: #7f7f7f; font-family: "helvetica" , "arial" , "lucida grande" , sans-serif , monospace; font-size: 11.520000457763672px; font-style: italic; text-align: left;">© University of Oxford - Ashmolean Museum </span><span style="background-color: white; text-align: left;"><span style="color: #7f7f7f; font-family: "helvetica" , "arial" , "lucida grande" , sans-serif , monospace;"><span style="font-size: 11.520000457763672px;">From Ruskin's Elements of Drawing, watercolour and bodycolour over graphite</span><i style="caret-color: rgb(127, 127, 127); font-size: 11.520000457763672px;"> </i></span><a href="http://ruskin.ashmolean.org/object/WA.RS.ED.009" style="caret-color: rgb(127, 127, 127); color: #7f7f7f; font-family: Helvetica, Arial, "Lucida Grande", sans-serif, monospace; font-size: 11.520000457763672px; font-style: italic;" target="_blank">click for reference </a></span></td></tr>
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<b>Observe and Draw </b><br />
Make sure you get the leaf drawing correct, double check the typical features of a leaf and look at a few different ones if you're aiming for botanical accuracy, alternatively, you can just go with whatever takes your fancy, some leaves are more interesting than others, so choose wisely. Make quick notes on <b>leaf shape, margin, tip and base, venation pattern and surface texture</b>, <b>measure</b> height and width and note the widest point too as this can be a key feature, if you measure you can't go wrong. At this point , ask yourself what are you trying to portray, is it shiny, mat, puckered or hairy surface etc. Being accurate in your portrayal of any subject is important so never short cut the observation and drawing. Keep pencil lines minimal and light. I use a H grade for drawing.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIHXRIJeIWau1loe9FePyS42Gl0rPN5yKfmfwGZrpBsxnvtWY1EHGqBcJKIgfZw_7zGzPIM1mdYb7giyzzp3tC6L5lkOMr54lixUS9Bz3KnYITLrjncqI4oj-zIY-g-oxhlMa-LuYFGwfw/s1600/IMG_9249.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="508" data-original-width="750" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIHXRIJeIWau1loe9FePyS42Gl0rPN5yKfmfwGZrpBsxnvtWY1EHGqBcJKIgfZw_7zGzPIM1mdYb7giyzzp3tC6L5lkOMr54lixUS9Bz3KnYITLrjncqI4oj-zIY-g-oxhlMa-LuYFGwfw/s1000/IMG_9249.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Limited Palette with sufficient range of blues, reds and yellows does not impose any limitation on what is possible. I've been working with this palette for years. </td></tr>
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<b>Painting Materials - what you need and what you probably don't need </b><br />
My <b>palette</b> is limited to primaries, this is the best way of working for me, it keeps it simple and I can shift a mix to warmer and cooler versions of the basic hue - look carefully and you will see how light affects colour across the surface of the leaf, this is where using three primaries really works because that colour shift is made so much easier by adjusting the ratio of colours in the mix. There's no need to have the whole colour range from every supplier. Heres my basic <b><a href="https://5bd1fe77-b930-4cad-af6c-e383bd456297.filesusr.com/ugd/28a8b8_d793e676035242c7b68383314ecbec39.pdf" target="_blank">materials list</a> </b>for paints and everything else. With regard to paper, I'm not discussing Fabriano any more, yes there's a new one but I moved on anyway. I've tried a few different <b>papers</b> in the last few years, it takes time to get to know them, I mostly used Saunders Waterford HP high white 300gsm - it's a decent enough paper which takes a bit of effort with the edges but is tough and the colour is good. Botanical artists tend to prefer hard gelatine sized papers, starch sizing is generally a little too soft. I'm a fairly dry painter and careful washes is the best approach and if you work dry, so you never need heavier paper than 300gsm, it's pointless spending money on the heavy papers if you don't need them and often they are not so smooth as the lighter weights ( Arches being a prime example, the 300 and 600 gsm versions are like two different papers). I sometimes paint on Schoellershammer 4G which is super smooth and lighter in weight but because work dry there is no cockling, sadly this is another paper that appears to be discontinued. <b>Brushes</b>, usually size 2 and 4 series 7 miniatures and a size 1 short flat synthetic there are lots available. I did switch brushes for some of the leaves, which were painted with synthetic Betty Hayways brushes, I used the larger sizes 4 and 7 which worked well, point and belly are good but the small sizes are less so and as with most synthetics the tip goes quite quickly but I found I could use the large sizes for everything, even the dry brush. Use an elevated drawing board so that you save your neck and can see what you are doing and finally, use a magnifier! x2 is sufficient, more magnification isn't helpful as you can only see a tiny area also excessive magnification hurst your eyes.<br />
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<b>Starting to Paint</b><br />
After making a very simple line drawing with as little graphite as possible on the paper. I begin with underlying colour, in green leaves this is usually blue, a high light value blue, such as Cobalt, Cerulean or Manganese. In red and brown leaves, yellow and violet can be involved too, so this can require an underlying blended wash of several colours. You will see this in the various step-by-step images.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie_hf9O4aloo0Bw6ql7R2-vh9ge3ydMxiiIcxvxHpOYm4vUQPBbk5eCOEkxmM6R4csHHsqwwevkwmTwLx48smaO579Ntnu6TwXbDoiR7dX51oN7GM5_WsL_LKss6HC-0cX5JphaB7yvnzn/s1600/F6EE647E-B6A9-403A-B77B-DE789FDD195F.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1600" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie_hf9O4aloo0Bw6ql7R2-vh9ge3ydMxiiIcxvxHpOYm4vUQPBbk5eCOEkxmM6R4csHHsqwwevkwmTwLx48smaO579Ntnu6TwXbDoiR7dX51oN7GM5_WsL_LKss6HC-0cX5JphaB7yvnzn/s1000/F6EE647E-B6A9-403A-B77B-DE789FDD195F.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Leaf no. 3 A shiny Camellia. The process: this time a blended wash is used first using Winsor Yellow and Cobalt blue. The rich green hue is made with Windsor Blue Green Shade, Transparent Yellow and Permanent Carmine. I also added a little Indanthrene blue for the darkest greens. This leaf was a big challenge in a short time, it took the full 90 minutes because of all the layering with the veins and dark shades. I used a piece of agate to lightly burnish between layers, which makes sharper edges easier. I could easily have spent another hour on this.</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Finished Camellia</td></tr>
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<b>Work up the whole leaf, keeping the light with selective application of colour</b><br />
I can't stress how important it is to work up the whole leaf in stages, this is how you capture the light and shade to create a dynamic painting. If you try to finish little parts at a time, the end result can be quite flat and lacklustre, although it can start off ok, it often ends up disappointing ( I'm sure we all know that feeling). I work up all of my paintings in this way and the more complex the painting, the more important it is to attack as a whole. After the underlying wash I <b>add colour selectively</b> working on one leaf blade at a time. I <b>dampen and add colour where needed, which avoids adding too much water and painting over the highlights</b>, conversely, adding too much water in all-over washes flattens, loses highlights and creates hard untidy edges.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlWOfZos5EN0xEBxmOgN7rt6vqCIJTABr72cugJx4kTCHgdAvYMcH7sIk03tlXiACGNC-SeoScYICM6bytSiOkQxU64gsNTbUUhmrykRRehNaXICiRQPAbBuMynEV6oXiuYSrFPtwMHJ9G/s1600/910D47D8-BA35-4105-AE9D-FE8A13331F30.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1600" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlWOfZos5EN0xEBxmOgN7rt6vqCIJTABr72cugJx4kTCHgdAvYMcH7sIk03tlXiACGNC-SeoScYICM6bytSiOkQxU64gsNTbUUhmrykRRehNaXICiRQPAbBuMynEV6oXiuYSrFPtwMHJ9G/s1000/910D47D8-BA35-4105-AE9D-FE8A13331F30.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Leaf no. 4. An aged Oak leaf. Same approach but with underlying Transparent Yellow and Cerulean Blue in small parts, being careful not to overlap them, I carefully 'scumble' the blue in the highlights leaving some white, this gives the textured highlight, see first image. This was a difficult leaf and I can't say that I'm overly happy with it, having botched the highlight on the green. Have painted oaks before and used more warm violet in the underlying shadow layers so I think this might have been useful in the shade areas. Its Ok though but I'd approach it slightly differently next time, so lesson learned. The browns mix, Transparent Yellow, Scarlet Lake and Permanent Carmine with a touch of French Ultramarine, the green mix is made using the same blue and yellow. Looks slightly unfinished but I wasn't in love with this leaf. </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXp3-Iy11xOGjU_QifK-nzmBCT8CLo9NTBDF1EgjQ-Zh3V_bSvx7svZNUFGcAxE6loFzzPEqybozHyD46qKVIBsKQmqbyjaky6Eza2iRhTA9KW2DJC90aJ3NWCzSsP4AC6bQb7EPOU4wYD/s1600/IMG_8254.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1071" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXp3-Iy11xOGjU_QifK-nzmBCT8CLo9NTBDF1EgjQ-Zh3V_bSvx7svZNUFGcAxE6loFzzPEqybozHyD46qKVIBsKQmqbyjaky6Eza2iRhTA9KW2DJC90aJ3NWCzSsP4AC6bQb7EPOU4wYD/s1000/IMG_8254.jpg" width="267" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">No. 4 Finished...sort of </td></tr>
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<b>Depth and Detail</b><br />
Once I'm satisfied that I've added enough colour using selective washes, which is usually only 2 layers after the underlying wash, I start to use different dry brush techniques. Sometimes I use a 'scumbling' technique for texture, I use dry on damp for smooth deep colour with creamy paint to 'model' the surface, for creating rich colour and shadows. I also use a 'sweeping motion' for long leaves and a 'drawing' technique on damp and dry for detail and finally a 'polishing' circular motion which is the driest, and creates the shine. I use much the same techniques on vellum but with fewer washes.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaDP6YVBw1XBy7QDwTCtV3-fdNKokGUUHLs1E8lSg_FRKrB3rydsiR_5Zq90Apzy2VcSw_lrdkVoKrKQtIsFiJ7QLV03VQFj7cwdYoQv6o9Iaj91oM06lx0tJkFO5vmJYKnGdbaVOlPHcf/s1600/67E7C410-C746-4428-8109-D7D0AE91D8B7.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1600" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaDP6YVBw1XBy7QDwTCtV3-fdNKokGUUHLs1E8lSg_FRKrB3rydsiR_5Zq90Apzy2VcSw_lrdkVoKrKQtIsFiJ7QLV03VQFj7cwdYoQv6o9Iaj91oM06lx0tJkFO5vmJYKnGdbaVOlPHcf/s1000/67E7C410-C746-4428-8109-D7D0AE91D8B7.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">No. 5 Holly. Can't beat a challenge and holly is always a challenge! It's dark, shiny, textured like leather and with points that stick out at all angles! I put the initial blue wash down, using Cobalt and Manganese Blue, I love the manganese for those electric highlights! Next I 'scumbled' on the green in patches, working between veins and into highlights to give that textured appearance of an old dark holly leaf, younger leaves are lighter and slightly smoother. This is a very dark green leaf, Indanthrene Blue, Transparent Yellow and Permanent Carmine were used. The initial selective washes of green were more of a yellow biased lighter green mix, it looks messy but stick with it. The later colour is dry brushed on, it has more blue and is darker, so, a more viscous mix of paint. 'Polishing' it on with a dry brush smooths areas. The brown mix for the blemishes is the same three colours just start with the red and yellow and add blue until you achieve the correct brown. The approach is much the same for all leaves in terms of stages though, keeping the highlights is vital in holly but they're a stronger blue than you might imaging so be brave with the initial wash, it pales away against the dark green. I used the agate burnisher between layers to shape up the edges. </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieBHgrhb1Y-V0mrqCjfsySCZxmhQvqZKaUoAVSTrCACL3HD1vu40KehVRV4TJxZWODnztCpfaIbwbHH3523-eoh6lUx9636ACwHrp8lBFAzIp7c6cCYUHy3NG8hMrf1mg4J_3q1DcEDtVJ/s1600/Image+1834.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1093" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieBHgrhb1Y-V0mrqCjfsySCZxmhQvqZKaUoAVSTrCACL3HD1vu40KehVRV4TJxZWODnztCpfaIbwbHH3523-eoh6lUx9636ACwHrp8lBFAzIp7c6cCYUHy3NG8hMrf1mg4J_3q1DcEDtVJ/s1100/Image+1834.JPG" width="272" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Leaf no. 5 Holly finished </td></tr>
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What you may have noticed is that the order is much the same in all of these leaves, there is some 'back and forth' in terms of approach but its broadly the same 1. underlying wash, 2. Selective colour layers into wet (2 or 3 layers) 3. Depth and Detail with dry brush on damp 4. Finishing touches and review.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi64l9ooRUrWeouifq1a9I1bTR5rbS359rkLK-thaa7tcGMDQWoVdB7uaKwG37rtEktw_AKYF254VJ33cyRANyF6ZTbFA-aAIiX3g3lfn-JPrtLyFYnZQDo7A77cdhVqMIM9oT6JvjMRY07/s1600/IMG_8380+3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="908" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi64l9ooRUrWeouifq1a9I1bTR5rbS359rkLK-thaa7tcGMDQWoVdB7uaKwG37rtEktw_AKYF254VJ33cyRANyF6ZTbFA-aAIiX3g3lfn-JPrtLyFYnZQDo7A77cdhVqMIM9oT6JvjMRY07/s1200/IMG_8380+3.jpg" width="226" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Leaf 6. Two for one bonus! the front and back of a <i>Cyclamen coum </i>leaf. Underlying blue is the same in both. Sorry I forgot to photograph the stages of the back but it involves a lot of Quinacridone Magenta, some French Ultramarine and Permanent Carmine. The patterned front is easier than it looks: underlying blue is Cobalt and Cerulean, paint in the veins and outer edge lightly using a green mix for the veins and a yellow biased mix at the edge. French Ultramarine, Windsor Lemon and Quinacridone Magenta is used. Add centre pattern working between the veins by wetting the area to be painted first and use a stipple effect to blend into the lighter blue area between the centre ands margin colour which has more yellow in the mix. Build colour using dry brush. Put in the flash of magenta on the central vein and petiole and it's done! </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_qPIfN10NGQlQGLXsZIk9D00QSqKC34PyWMxJwC15-ZjcR8OQ3QiVT21pV39B0x46tIZcWaGv3HJ6PdBCjMOXpjX-6l3sQJFmBFjCnQTxN1fw9rAX1UNOHAD7OBDInP0U6-OUnd4Hj9ya/s1600/1C78A826-5F9B-4B82-BE40-9DC2437463C5.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1600" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_qPIfN10NGQlQGLXsZIk9D00QSqKC34PyWMxJwC15-ZjcR8OQ3QiVT21pV39B0x46tIZcWaGv3HJ6PdBCjMOXpjX-6l3sQJFmBFjCnQTxN1fw9rAX1UNOHAD7OBDInP0U6-OUnd4Hj9ya/s1000/1C78A826-5F9B-4B82-BE40-9DC2437463C5.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Process of the front in stages and the latter stages of the back.<br />
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Finally, I achieved the small goal of painting a leaf every day, simply by staying up for an extra hour at night or getting up a little earlier, which felt quite satisfying. I realise now that I could do the same with other work, especially if I also neglect the food shopping and other domestic tasks.<br />
There wasn't much left in the garden by the time I reached leaf no 7. but I was determined to finish this. I chose an ageing rose leaf, which was pretty much about to drop all its leaflets except the green one, which was clinging on for life. This explains the missing leaflet on the left hand side. An interesting one to paint because I used 3 different underlying colours, blue, violet and yellow. I decided to paint this one on Schollershammer 4G paper, which is great for crisp edges and most like the surface of vellum - but use too much water and it will look like the mountains it will cockle so much. It's a great surface if you're in training for vellum and want to work dry. Alas, its a shame that it doesn't seem to be available any more as its my favourite paper for drawing too. Such is life.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMSlgE6OUt1nJKbrVSa_UanzEMe7VOeHof0OWlMokoKjK5B-6Tm0kxU0NdAhAtVlFGOGURGEcAqNAArSRROjokJq5d49fpz1Y18d1fxyMxluHmsYqbhhD8dE03YbqRfJLjBbjLehspV2VL/s1600/28C952EC-1463-4BFE-9FAC-A04CF55BFBE0.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1600" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMSlgE6OUt1nJKbrVSa_UanzEMe7VOeHof0OWlMokoKjK5B-6Tm0kxU0NdAhAtVlFGOGURGEcAqNAArSRROjokJq5d49fpz1Y18d1fxyMxluHmsYqbhhD8dE03YbqRfJLjBbjLehspV2VL/s1100/28C952EC-1463-4BFE-9FAC-A04CF55BFBE0.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Leaf no 7 Rose. My first compound leaf. A strange looking leaf from the underlying colours, cobalt on the green leaflet and Cobalt and Quinacridone Magenta on the brown leaflet to make violet with Windsor Yellow on the Yellow ones. I used French Ultramarine, Windsor Yellow and Permanent Rose for all colour mixes. </td></tr>
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Thats all folks! .......until next year.<br />
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Wishing you a great New Year with much painting in 2020<br />
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<br />Dianne Sutherlandhttp://www.blogger.com/profile/00336704902577001166noreply@blogger.com2tag:blogger.com,1999:blog-6401160288631130110.post-55922984508615554032019-09-14T04:39:00.001-07:002019-09-18T14:01:05.031-07:00Painting Rich Colour, Texture and Detail: Rudbeckia This week I painted the second in a series of four illustrations, a Rudbeckia inflorescence, a cultivar called "Summerina Brown", which has dark golden brown velvety 'petals' (ray florets). This type of colour and texture can be challenging and in order to achieve such a finish it's necessary to understand two things. Firstly, the importance of underlying and interacting colours and secondly the necessary of different watercolour techniques to maintain underlying colours and build texture. Here is a little about my process.<br />
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<b>Lighting</b><br />
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These flowers are incredibly obliging for the painter, they flower for months and last a long time once cut, towards the end of summer they start to yellow producing amazing autumnal colours. I began by lighting the plant to make the most of its colour, using a 5,500 k daylight lamp with a CRI (colour render index) of over 90. I wanted to bring out the full range of colours and the velvety texture, without good lighting this isn't possible, is I played with the light until I created the desired look but kept in mind the true colour of the flower at all times. I took many reference photographs in case the flower wilted, but it didn't! </div>
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<tr><td class="tr-caption" style="font-size: 12.800000190734863px;">The flower: I used a few different flowers for reference, this one had a slightly gnarled centre, so I used one with a fresher looking centre. I lit the flower dramatically to bring out the golden colour and to make more of the highlights which had a contrasting violet appearance in places, these contrasting colours work to enhance each other. </td></tr>
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<b>Research </b></div>
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I made sketches and notes about the plant and other Rudbeckias in my garden. It's a member of Asteraceae, which have an inflorescence comprising a central disc of tiny flowers, surrounded by the petal like ray florets. In this Rudbeckia the stem is ridged and hairy, leaves are simple and hairy on both sides. I also made sketches of other Rudbeckia from the garden as seen below, but this Summerina Brown is my favourite and I loved the way the petals twist and turn, it makes a much more interesting composition than the one below, which is nice but quite stiff.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAKIueUMC2vUSapW6mL-G5qT7ioILFxjK3W7KPJbRM-p1nm4xX9ThMj_S1EDR8tJ0hgaRzA4JBUn7XM5dR7jDGLJUBYBdCmdD0e7plCRvTt0cq1-PEUoRAIaPfdM29ZpNf7JidcJocWRVB/s1600/IMG_0807.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1352" data-original-width="1600" height="337" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAKIueUMC2vUSapW6mL-G5qT7ioILFxjK3W7KPJbRM-p1nm4xX9ThMj_S1EDR8tJ0hgaRzA4JBUn7XM5dR7jDGLJUBYBdCmdD0e7plCRvTt0cq1-PEUoRAIaPfdM29ZpNf7JidcJocWRVB/s1000/IMG_0807.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.800000190734863px;">Sketchbook studies: A different Rudbeckia, gorgeous colours but not such an appealing shape.</td></tr>
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<b>Process </b></div>
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Colour matching is the first task and I do this in good natural daylight. I identify any underlying colours, there are violets and golden yellows. and dark red/browns in the ray florets.<br />
I begin by painting in the underlying colours in the petals, I identify rich violets mixed from Indanthrene Blue and Quinacridone Magenta and also a warmer mix of Indanthrene Blue and Permanent Carmine (mostly carmine). I also drop in a few small highlights of a lighter Manganese Blue which makes the violet pop.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhW-FiwGjFZQ5rY-FwY5BdFU0cnGkq0M26jgdxnWJYeIjSisBkPrXHUF3aLj8BGYQ83qCrc0MvYN_3yhxeb4hyphenhyphenKPDpXveauiZmTvthsI_hWvzJ1vyPu8oqtDOADk4XuMGfPqjbBM8zyDNI/s1600/IMG_1938.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1373" data-original-width="1600" height="342" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhW-FiwGjFZQ5rY-FwY5BdFU0cnGkq0M26jgdxnWJYeIjSisBkPrXHUF3aLj8BGYQ83qCrc0MvYN_3yhxeb4hyphenhyphenKPDpXveauiZmTvthsI_hWvzJ1vyPu8oqtDOADk4XuMGfPqjbBM8zyDNI/s1100/IMG_1938.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.800000190734863px;">Putting in the underlying colours also creates form and structure in the early stages of the painting</td></tr>
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As a slight aside, I can't miss out the central disc structure. I plotted this by lightly drawing in the two spirals, one is clockwise and the other counterclockwise, you can probably see below that one spiral is not as steep as the other. This is actually easier than it looks if you sketch the spirals in and then paint around the little flowers, towards the centre of the disk they disappear into a furry type of appearance. I paint the spirals in first but not as straight lines but painting around the little bumps of the flower and add a the violet wash over the top, varying the colour slightly from a blue violet to a red violet by altering the ratio of blue and red. I leave the yellow pollen areas clear of paint and add yellow later. Finally. I deepen between the flowers where necessary using creamier darker mixes, which are almost black using the same colours as the painting develops, the colours are Indanthrene Blue, Permanent Carmine and a touch of Transparent Yellow.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7n2OZsMqFnPTuQ_tWl7uyibQoHIXY9ArJ8oQ78hJrXGbTC2V9gTJ4JdV-tJSa4qL1hVUUZi9jUu7eyYRAw0uA_9129pmuoZmyYrG84Oc1-JEj4NwLIWtj1L_pSwCdHnLNBlieZ7Y0Dk-V/s1600/Image+1536.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1448" data-original-width="1600" height="361" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7n2OZsMqFnPTuQ_tWl7uyibQoHIXY9ArJ8oQ78hJrXGbTC2V9gTJ4JdV-tJSa4qL1hVUUZi9jUu7eyYRAw0uA_9129pmuoZmyYrG84Oc1-JEj4NwLIWtj1L_pSwCdHnLNBlieZ7Y0Dk-V/s1100/Image+1536.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.800000190734863px;">This is a typical composite Inflorescence. Here you can see the two spirals in the central disk, which comprises many tiny flowers, the yellow is the pollen from the open flowers at the outer edge. Flower opening is sequential and this maximises a chance of pollination over a long period. Each tiny flower can develop into a single seed if successfully pollinated. </td></tr>
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After painting in the underlying violet colours I start to add selective areas of the golden colour, I do this by dampening the area where I want this colour to shine through and apply by dropping a condensed creamy mix of Transparent Yellow mixed with a touch of Scarlet Lake into the brighter areas. It's important to control the intensity and spread, so dampening the area with the right amount of water is important.<br />
I also start to add the darker reds, using a combination of 3 reds. The reds in this flower vary from cooler to warmer mixes depending on the light. The three reds used in this painting are Quinacridone Magenta (cool), Scarlet Lake (the brightest 'hot' red) and Permanent Carmine (darker warm red). I also mix very rich dark purples for the deepest shadow areas using the Carmine and Indanthrene.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7vSOoaMHjQ8MUbiYlDaqUNrHFp3SrPtOHmtCDzCB58KJ1Td84VGi-9k4k9Zp_XJmR71_cRK91d9xrTQx8Q3gpgbumVxioIFFAhd9TUH3ACWk5ciuwtjbfGCKuDKoUzS0ZckWj9eg09fJi/s1600/30F7CD4E-AF8D-4F3C-80BA-A0DB6DD958F1+2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1250" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7vSOoaMHjQ8MUbiYlDaqUNrHFp3SrPtOHmtCDzCB58KJ1Td84VGi-9k4k9Zp_XJmR71_cRK91d9xrTQx8Q3gpgbumVxioIFFAhd9TUH3ACWk5ciuwtjbfGCKuDKoUzS0ZckWj9eg09fJi/s1100/30F7CD4E-AF8D-4F3C-80BA-A0DB6DD958F1+2.jpg" width="311" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.800000190734863px;">Adding the bright colours, yellows and reds.</td></tr>
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At this stage, I begin to build the petal colour and texture. Using transparent yellow, scarlet lake and Permanent Carmine in different ratios of mixes, I continue to build colour by what I refer to as 'selective application' wetting/dampening small areas with clean water and dropping in colour. In fact I seldom add a wash of any one colour all over any subject and use this selective approach all of the the time, its more like a 'patchwork' painting.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2gP1KxrnSzMlpSsrx2ttLWx7wAVmL12-lykqyWInSEqXImE8mn5B9DJ8yAJnWF4zMqbhBDSJHgioWlRJr0cC-3NTlnMSv3CZL-bTjA6JQHD6Ralgf5ee8LsxIB6R52Sx4fKHdvBKbP8cO/s1600/IMG_1962+2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2gP1KxrnSzMlpSsrx2ttLWx7wAVmL12-lykqyWInSEqXImE8mn5B9DJ8yAJnWF4zMqbhBDSJHgioWlRJr0cC-3NTlnMSv3CZL-bTjA6JQHD6Ralgf5ee8LsxIB6R52Sx4fKHdvBKbP8cO/s1100/IMG_1962+2.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">building up the petal veins with soft veins </td></tr>
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As I build colour less and less water is used, ironically water can be the enemy of the watercolour botanical artist, too much in a flower like this will spread and dilute colour, it can also flatten the intensity of the colour and smother the underlying colours that we want to preserve, making them dirty (not to mention the problem of ragged and hard edges) - too little water makes unsightly thick paint, so I find dampening the the most useful approach.<br />
There are deep ridges and soft veins in the ray florets/ 'petals' and I dampen the area and paint these using a fairly thick mix of paint onto a pre dampened area so that lines are soft. To define edges I wet the outer edge where the hard line is needed and drop creamy paint at the edge and soften inwards. I use dry (damp brush is probably a better description) on a slightly dampened surface to create the velvety surface texture. There is much selective layering and building of colour, some needs to be overlaid and other areas preserved - at this stage I find that I have to be brave and keep going! adding small amounts of reds, violets and brown using these techniques but still using the same colours by dampening and dry approach interchangeably to control the colour. At this stage I must keep a close eye on the light and shade in the flower to see the bumps and crevices in the 'petals' and elsewhere. I try not to make assumptions and keep looking at the subject for clues. I find consistent lighting from a lamp and squinting helps me to see the lights and darks yet I always use a magnifier to see and paint the detail.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCPGJfpDOj0fgajv6V1blH8nybWmZgGgtNLIqb1BpG_OFgtc6_7QScq9ea_1YusmEy1-elnWM6DDEWeOFplYF_CxHXDEzvnF2tywz9mBWGrrrVRX9vTosEEjElb0LKZwgZA328mRb_HgVj/s1600/Image+1538.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1400" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCPGJfpDOj0fgajv6V1blH8nybWmZgGgtNLIqb1BpG_OFgtc6_7QScq9ea_1YusmEy1-elnWM6DDEWeOFplYF_CxHXDEzvnF2tywz9mBWGrrrVRX9vTosEEjElb0LKZwgZA328mRb_HgVj/s1200/Image+1538.JPG" width="350" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.800000190734863px;">Bring up to this stage using the red/brown mixes for the colour building. I use dry on damp and dry on dry depending on the desired outcome, dry on damp is great for those soft veins. A wetter surface is needed for creating a sharp edges and dry on dry can create more texture.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8CN4OKM6OKOUFzhTD8w0FMd4K49kUUPwKhmND9ZqY3c5nCxWXJ6cctdqEjZEsrEK_5CPpxD42Rmoiw3Y1dmbCtryAew2Uqn5Um-G8J_MJphPo6e6CQLp8xm9c-SqfWEJNQDCYhr9bc5ZS/s1600/65C3785B-F589-4B4B-9F7F-77CFD889129C+2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="778" data-original-width="798" height="388" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8CN4OKM6OKOUFzhTD8w0FMd4K49kUUPwKhmND9ZqY3c5nCxWXJ6cctdqEjZEsrEK_5CPpxD42Rmoiw3Y1dmbCtryAew2Uqn5Um-G8J_MJphPo6e6CQLp8xm9c-SqfWEJNQDCYhr9bc5ZS/s1200/65C3785B-F589-4B4B-9F7F-77CFD889129C+2.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.800000190734863px;">I add the stem and this looks almost finished but I continue to add more colour as the actual flower is richer. Definition is still needed in the center and edges. </td></tr>
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I add the green stem and a single leaf, for this mix I use underlying blue on the light side of the stem (Manganese Blue) and underlying violet at the shade areas (Manganese Blue and Quinacridone Magenta) these subtle colours are hardly visible but do make a difference. I use a mix of Indanthrene blue, transparent yellow and a touch of quinacridone magenta for the green mix (yes the same colours as used elsewhere) I paint in the darker ridges and than add a yellow biased green mix first, followed by a richer darker green (more blue and red in the mix) - using the same colours in the flower and the greens creates more 'unity in a painting. I never find the need to use ready made greens, some greens contain black and other pigments that flatten the colour especially when mixed. Don't get me wrong some ready mixed greens are probably ok but I never find the need for them.<br />
Finally, I add the fine hairs at the edge that are on the white paper using a mix of manganese blue, quinacridone magenta and transparent yellow to mix a grey, where the pale hairs are on the green, I use some white gouache and add a small amount of the same colour. I also paint a small shadow line under some of the hairs using a violet mix. At this point I put the panting away for a day and then review.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHoijDW_MBH-LDi5LskSSLow5u450JnQVkfwWbhFjxh8uxgaFeNeBsxaypqjCPqaOg5tKkxReLGSnYtYkA-f2LiXNCNabkXIMiq6wSOXFe_bCyJaBmkRx2ghKEkHF_FkpCzfO5gPbUOopm/s1600/1ED1D808-ADC9-4B98-ABA5-D6215E19A229.JPG" imageanchor="1" style="font-size: 12.800000190734863px; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1600" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHoijDW_MBH-LDi5LskSSLow5u450JnQVkfwWbhFjxh8uxgaFeNeBsxaypqjCPqaOg5tKkxReLGSnYtYkA-f2LiXNCNabkXIMiq6wSOXFe_bCyJaBmkRx2ghKEkHF_FkpCzfO5gPbUOopm/s1200/1ED1D808-ADC9-4B98-ABA5-D6215E19A229.JPG" width="400" /></a></td></tr>
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Rudbeckia watercolour size 28 x 18 cm The finished painting, slightly deeper colour added all over.</div>
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<b>Materials </b></div>
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<b>Paints, Windsor & Newton artist quality: </b></div>
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Reds: Quinacridone Magenta, Scarlet Lake and Permanent Carmine</div>
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Yellows: Transparent Yellow </div>
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Blues: Manganese Blue and Indanthrene Blue </div>
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<b>Brushes:</b></div>
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Winsor and Newton series 7 Miniature size 4 and 2 </div>
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<b>Paper:</b></div>
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Saunders Waterford 140lb (300gsm) HP High white </div>
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I've been using this paper for all my tutorials and paintings over the last few months and find that it's pretty robust. so for the moment will stick with it. I seldom need a heavier paper as I don't use much water, I only use heavier paper if working on large paintings, such a a full imperial sheet size. </div>
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Dianne Sutherlandhttp://www.blogger.com/profile/00336704902577001166noreply@blogger.com3tag:blogger.com,1999:blog-6401160288631130110.post-15303130918935632122019-08-24T04:10:00.000-07:002019-09-17T09:25:22.968-07:00Beginning in Botanical Art and illustration<div class="separator" style="clear: both; text-align: center;">
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I saw a post on social media the other day from someone asking about <b>where to start in Botanical Art</b> <b>and Illustration</b>, it got me thinking about the important points. So here's my <i>not so short </i>take on the subject based on my own process, where I started and what I needed to learn. I've made a top 12, there's probably more. These are not intended to be rules and of course there are many different learning styles and approaches .... this is mine.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGjYKoHZWWG1e3tWAmsilNJUtOL13cDRlW7ASSDOehLIg2ncWh_GV9nMeANLprcKKm0W1NVxUTnNTPBG_rUKoZd6x_KtW7o-7IJLplleru_J4hCGYID2fApOK-rIh2XXjE_Bynp0Dz_O_r/s1600/IMG_0264.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1467" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGjYKoHZWWG1e3tWAmsilNJUtOL13cDRlW7ASSDOehLIg2ncWh_GV9nMeANLprcKKm0W1NVxUTnNTPBG_rUKoZd6x_KtW7o-7IJLplleru_J4hCGYID2fApOK-rIh2XXjE_Bynp0Dz_O_r/s1200/IMG_0264.jpg" width="366" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A foxglove, <i>Digitalis purpurea </i>from my sketchbook, it doesn't have to be finished - it's a place for working things out rather than perfect illustrations</td></tr>
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First of all there is no magic or quick route, it will be <b>hard work at times </b>and requires tenacity. Outcomes may be frustrating at times but it will also be <b>fulfilling</b> and will make you so happy when you succeed, you will <b>love it</b> and your obsession with plants will grow.... but be aware that it will be a<b> rollercoaster</b>! There is nothing more exciting than a new subject and a blank sheet of paper. So here goes:<br />
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1. <b>Study a little botanical art past and present</b>: from the old masters and contemporary artists, this will feed your mind. Look at the big names Redoute, Ehret the Bauer Brothers and Sydney Parkinson, etc. alongside the more recent greats such as Rory McEwen and Pandora Sellars and right up to date - there are a huge number to choose from, so I won't name any contemporaries but there's a great library of images online these days. When I say study, I mean<b> <i>really</i> study them</b> - <b>buy a little notebook and make a list of the artists you like and ask yourself what it is that you like.</b> Don't just be overawed at the impact of a beautiful work but l<b>ook a the the finer points</b>, such as the <b>light and shade</b>, <b>learn to see where the light is coming from</b> and <b>how the artist used it</b>. Look at how the the <b>colours are handled and the composition</b>. Also maybe look at work that you don't like so much and ask yourself why? You don't have to buy books but there are a few that are useful, lots of resources are available but also try to <b>visit exhibitions -</b> there is nothing quite like seeing the real thing!<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhY5qWwjf80KdTmJLr3l-F4GpdQTgq81J9ozCsc6i7pIMddDMrmux49JTQSUfTRrrNRkTBlGSwcAz5WQbIwDys8uBCG76y9MZWlBmx8scPE60wbZMgdZptx1PXHYNsjxrwtWGn4Hkt5mceH/s1600/IMG_8691.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1600" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhY5qWwjf80KdTmJLr3l-F4GpdQTgq81J9ozCsc6i7pIMddDMrmux49JTQSUfTRrrNRkTBlGSwcAz5WQbIwDys8uBCG76y9MZWlBmx8scPE60wbZMgdZptx1PXHYNsjxrwtWGn4Hkt5mceH/s1000/IMG_8691.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sketchbooks of George Ehret (1708 - 17700 at the Natural History Museum</td></tr>
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2. <b>Keep a Sketchbook:</b> this is a must do! This keeps everything in one place and you can <b>see your progress over time.</b> <b>It's your place</b> and you don't have to share it unless you want to. <b>Start with simple subjects</b> drawing first, then <b>gradually introduce tone</b> by shading <b>and colour</b> by making simple <b>colour swatches </b>to match the plant at first. Finally, <b>work out the process</b> for painting. <b>Make notes </b>on everything, name, the date, write about features of the plant.....this will i<b>mprove both your observation and knowledge of plants</b>. It will build a wonderful reference library! Leave in the stuff that went wrong too, its a lesson in itself! but if you really can't stand to looking at your mistakes simply stick something over it.<br />
I use the <b>Stillman and Birn Zeta series</b> soft back because it has a heavyweight paper at 270gms and handles washes well, I occasionally use the Epsilon series for graphite work as the paper isn't so heavy and isn't needed for graphite. I don't much like ring bound books because I like to work across double page spreads (as you can see). It's <b>available in a range of sizes,</b> I use the 8 x 10 inch (20.3 x 25.4 cm) book, any larger becomes too daunting and not so useful as a sketchbook because it's too big! but also the 5.5 x 8.5 inch (14 x 21.6cm) are good, and the mini book 3.5 x 5.5 (8.9 x 14cm) is great for keeping in your bag! see their website for sizes <a href="http://www.stillmanandbirn.com/">www.stillmanandbirn.com</a><br />
Keep in mind that sketchbook paper isn't ever quite up to the standard of watercolour paper so it will handle slightly differently than a cotton paper. You can make your own sketchbook of course but thats another subject.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQB9ChlZv4Weufp78I18CUWBV6VijrXDrQMeGCViVMQo2F6DD4bhVyHpYXe5zJrIQ-TRfyIHFS_cxkBtKKCCln51PNfMzTc2aPf0AeBhJ9zPOzAk_nYR9eqM4QAX4w4L2gxwJE__InY1Ju/s1600/IMG_5459.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1600" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQB9ChlZv4Weufp78I18CUWBV6VijrXDrQMeGCViVMQo2F6DD4bhVyHpYXe5zJrIQ-TRfyIHFS_cxkBtKKCCln51PNfMzTc2aPf0AeBhJ9zPOzAk_nYR9eqM4QAX4w4L2gxwJE__InY1Ju/s1000/IMG_5459.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The 8.5 x 5.5 inch still man and Birn Zeta series book on the left and the mini </td></tr>
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3. <b>Draw from life and do a little everyday:</b> That means <b>observational drawing from an actual subject, </b>which is important because you can<b> see how a plant is constructed</b>, you can<b> turn it around, hold it in your hand and get a feel for it's texture and surface </b>and <b>you can even take a plant apart in order to understand it</b>. You just can't get this from photographs, I'll write more about using photographs later but they are flat 2 dimensional images and can distort shape and colour and you often can't understand the growth habit of a plant if you are not familiar with it.<br />
I <b>start with the most basic measurements,</b> <b>height and width of the whole, then break it into parts.</b> <b>Look for shapes within the subjects,</b> circles, and triangles, <b>look at angles.</b><br />
Don't be afraid to <b>correct or to try again</b>. Drawing is <b>a process of working it out</b>, don't expect it to be correct from the start. <b>Start with simple obliging subjects:</b> no one wants to see droopy leaves, choose tough flowers, long lasting buds, fruit and seed pods. Avoid subjects that move with the light or wilt. Make sure that you align parts correctly in your drawing, especially where a stem passes behind other part and re-emerges or where the stem lines up with the flower centre, it's all connected from the stem to the ovary. Remember that the seemingly complex web of veins in a leaf meet up, all of these things can be broken down into an order ....misalignment is one of the main errors in drawing, so check overtime. Create a check list to ask yourself questions for every drawing and <b>be your own critic.</b><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9ftTLnjJItK_eja57MtO1GRjFL-ESzzABM5xMddMfASdCTOn8-Q-3wXpbdJDyJl1IcqIDdlwXQa54gi1iujPNa3x0M9htynsDQZZ8lIN0WaTJzkPqbJEV2GlzAUhIE7Yl0_IZKg1bapEc/s1600/-5425911834305221775_IMG_2793.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1432" data-original-width="1600" height="357" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9ftTLnjJItK_eja57MtO1GRjFL-ESzzABM5xMddMfASdCTOn8-Q-3wXpbdJDyJl1IcqIDdlwXQa54gi1iujPNa3x0M9htynsDQZZ8lIN0WaTJzkPqbJEV2GlzAUhIE7Yl0_IZKg1bapEc/s1000/-5425911834305221775_IMG_2793.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Deconstructing a Hellebore</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNfwQBG7cv_EXhncI7WSNCyL5zPeoy85HqC4MK-zG94fU1u6ZO-mdxoAF1c44CO1HQEwFMJ3M7BNkYFu_5U9FG2REm5K6B3UlooJD3ZTDSkC6lRPxQcmoFFnxvl-q4B3XBGhohUOvmEzf6/s1600/IMG_3379.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1150" data-original-width="1600" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNfwQBG7cv_EXhncI7WSNCyL5zPeoy85HqC4MK-zG94fU1u6ZO-mdxoAF1c44CO1HQEwFMJ3M7BNkYFu_5U9FG2REm5K6B3UlooJD3ZTDSkC6lRPxQcmoFFnxvl-q4B3XBGhohUOvmEzf6/s1200/IMG_3379.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Hellebore: Graphite Sketchbook Studies using line and tone as preparatory work for a larger study. Notice all the measurements and enlarged parts. Enlarge by multiplying the measurements for parts that are too small to easily see. </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPZPdrKi8pfBzJnTIB-XvCV-Q1e9rdgKLaWCeKhF8Vs4Bf7RtqWD7nXlhw5r5XqMzXrP6ZKJ-PWF8DuvpD6nzmlcp5axNctLMk3Byz0OFKoUV-hVfrTS299Wr8azcupCfv-06MfSARaVsr/s1600/blog-grafwood.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="722" data-original-width="1000" height="231" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPZPdrKi8pfBzJnTIB-XvCV-Q1e9rdgKLaWCeKhF8Vs4Bf7RtqWD7nXlhw5r5XqMzXrP6ZKJ-PWF8DuvpD6nzmlcp5axNctLMk3Byz0OFKoUV-hVfrTS299Wr8azcupCfv-06MfSARaVsr/s320/blog-grafwood.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Always sharpen pencils and understand their tonal values from H (Hard grades) which are the lightest in tone to B (Bold) which are the softest and darkest. </td></tr>
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<b>4. Research your subjects: </b>Being a botanical artist involves <b>detective work</b>! This is your plant research and it goes hand-in-hand with numbers 2 and 3. I put my research notes into my sketchbook. First of all find out what are you painting, i.e. <b>the plant name</b>, you can use flora books or online resources for this, but if you don't know exactly what it is say so and <b>don't guess</b>. It's much <b>easier with species than with cultivated plants</b>. If you buy a plant be sure it has a label or ask the name and check that its correct, you can often find a description in a book of for name and also what family the plant belongs to. <b>Learn a little about the system of the Latin or scientific name (the 'two name' binomial system)</b><br />
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For example 'Foxglove' is a common or vernacular name.<br />
The Latin name is <i>Digitalis purpurea</i> which is written in italics or if hand written is underlined.<br />
<i>Digitalis</i> is the first part of the name, this is the genus<br />
The second part of the name is <i>purpurea, </i>this is the species or specific epithet.<br />
A quick Google search also gives the family name Plantaginaceae, this is not written in italics, it's always worth learning which family a plant is in because you find out about relationships and similarities and differences in families. <br />
This system may seem complicated at first but the<i> </i>2 name system, known as binomial nomenclature, was largely developed by Carl Linneaus in 1753 and it's used to name all living organisms and is the internationally recognised system, so we need to know about it - in actual fact it avoids any confusion. It's really not that difficult if you don't try to learn too much at once, deal with it on a plant by plant basis. Then there are hybrids and cultivars derived from those species but I'm not going to go into this here.<br />
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Next: <b>describe your subject</b>, you don't need to be a botanist simply describe in your own words initially, a book like the Cambridge Illustrated Glossary of Botanical Terms by Hickey and King is a good reference. For example descibe the shape of the leaf, whether it's hairy, it's outer margin, the pattern of the veins, the shape of the flower, the shape of the stem and reproductive parts etc. gather as much as you can. This sounds like a lot but if you sit down with a plant you can describe it in about half an hour and it's well worth the effort.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUTifn7EJXCtuKb5CiCDWApAb8dar706P9v_K406vBjtIFViJB0U0_5AM-dDeDNNEkxhcHUggFopCqTqIdP62IYxL3fxwqmVHLjcMVNXWzQUhpVpkXEnaRjnC4EcbKGZqU4aYNsl4Lp9EZ/s1600/IMG_6497.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1456" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUTifn7EJXCtuKb5CiCDWApAb8dar706P9v_K406vBjtIFViJB0U0_5AM-dDeDNNEkxhcHUggFopCqTqIdP62IYxL3fxwqmVHLjcMVNXWzQUhpVpkXEnaRjnC4EcbKGZqU4aYNsl4Lp9EZ/s1200/IMG_6497.jpg" width="363" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Plant research, name and describe the plant, its parts as well as the process</td></tr>
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<b>5. Choosing and keeping subjects: Don't pick overly difficult subjects in the beginning</b> it can be the most frustrating experience for a beginner ! <b>Go for more robust plants</b>, orchids are obliging and fruits are fantastic subjects! <b>they last for a long time and change slowly.</b> <b>Start smallish</b> but not too small that its hard to see or draw. Seed pods and dried subjects make great subjects too and can be kept for a long time, so start collecting! dried leaves, nuts twigs and seedpods. Pot plants are very handy as are the contents of the fridge, chili peppers, garlic, vegetables etc. With plant cuttings, <b>keep them cool </b>when not in use, either outside or if it's hot or in the fridge in plastic containers on damp kitchen towel. If flowers wilt, cut the stem and plunge into hot then cold water to revive.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzaebhAJMfyLZIgispcAJ0vYOJAq8yuQP0Z8X6s2B0tdWPcWoG-Yc5OJOhRUZXHFgSNRNFCLUKxOxcWiWMlrg_LKF2zZ-ZhgnyopEDnPEu_ZO_U3y5VPAe0x-0CZj2XbX4nC0TTrtxF-SJ/s1600/challenge2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1075" data-original-width="800" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzaebhAJMfyLZIgispcAJ0vYOJAq8yuQP0Z8X6s2B0tdWPcWoG-Yc5OJOhRUZXHFgSNRNFCLUKxOxcWiWMlrg_LKF2zZ-ZhgnyopEDnPEu_ZO_U3y5VPAe0x-0CZj2XbX4nC0TTrtxF-SJ/s1000/challenge2.jpg" width="297" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Seedpods are very obliging subjects for a beginner</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6zef4agkHBp-SoshrNjBIzN8_Pb62WUVfIJ9tciIc0r9UjwxlJQyPwHLFuCHlMWXvCK-uDa7hLfoNl9HMGjs9bq3biZCGzmBiQFRR_e2EpjHt5Pck6spBJvZlRvxQ08AAtgTXq-2HPd_U/s1600/IMG_1850.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1383" data-original-width="1600" height="345" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6zef4agkHBp-SoshrNjBIzN8_Pb62WUVfIJ9tciIc0r9UjwxlJQyPwHLFuCHlMWXvCK-uDa7hLfoNl9HMGjs9bq3biZCGzmBiQFRR_e2EpjHt5Pck6spBJvZlRvxQ08AAtgTXq-2HPd_U/s1100/IMG_1850.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Something from the fridge! There's always a treasure trove of subjects </td></tr>
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<b>6. Know your materials: </b>Its' all too easy to get carried away buying materials and equipment that you don't need, based on recommendations but this is often a form of procrastination. While it's nice to have a every colour in the shop - you have to ask yourself if you need all of these paints? will they make you a better artist? The simple answer is no, while it's important to have good quality paints, brushes ands paper - you don't actually need all that many paints. I work with a primary palette of 5 reds, 5 blues and 4 yellows, you can read about that in my last post. There really is no need for anything else. It's more important that you learn what your colours are, understand their properties and know how to mix them. Again, refer to the previous post.<br />
I mostly use two brushes, a size 4 and size 2 series 7 Winsor and Newton miniature, plus a synthetic filbert size 1, and a flat, such as the Rosemary and Co eradicator to the Pro Arte Masterstroke flat shader, they cost less than £3. I also have a size 6 flat for mixing and taking paint out and a basic sable wash brush size 6.<br />
Paper is a matter of choice so try sample packs, you need to actually paint a whole subject though to really find out if you like it or not. It's a good idea to exchange paper samples with friends rather than buying expensive paper that you don't like. But you will need a Hot Press (HP) paper, because it has the smoothest surface for fine detail, some artists paint on Cold Press but this has too much texture for me. I use a few different papers mostly 140lb (300gms) all are 100% cotton. For example: Saunders Waterford HP ehigh white, Arches HP and Stonehenge Aqua. Only use heavier paper if you're working larger or paint with a very wet style.<br />
A good quality range of pencils, such as Faber Castell 9000 grades 4H to 6B<br />
A putty eraser and hard dust free eraser, a retractable Tombow eraser too<br />
You will also need a couple of ceramic palettes, ceramic is better than plastic<br />
Something to measure parts with such as a transparent ruler and/or dividers<br />
Magnifying glass x2<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht3R4GMe6u0ChqRyLsVXu1wTCumypAVqoDpYjPbqyQsXBPd105eIqDOAy8IqTXB_WHD7G0yDj3Cz7ujMOHJwjPXn2-CEz15ZKKFDjlrqEcDGsFBIvCHVnN-Htt-aEpBIvFBfDkQ8w-Nw3y/s1600/IMG_2019.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1085" data-original-width="1600" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht3R4GMe6u0ChqRyLsVXu1wTCumypAVqoDpYjPbqyQsXBPd105eIqDOAy8IqTXB_WHD7G0yDj3Cz7ujMOHJwjPXn2-CEz15ZKKFDjlrqEcDGsFBIvCHVnN-Htt-aEpBIvFBfDkQ8w-Nw3y/s1000/IMG_2019.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">My paintbox and an exercise matching colours using the primary palette of reds, blues and yellows</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKcfsEUkFpw_V9Xm9SCu26eCB7luJEiWYRVEWTYpWwbXOp2mG9v5VR-ltr0XQ4DJcs7QcIcCddGoqsvH0NEM43nSFRjK04q2XZ8wtGzgSz9qNh15-c5brSg21mBGeU1UL-y-f1i9KlqLX2/s1600/IMG_2011.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKcfsEUkFpw_V9Xm9SCu26eCB7luJEiWYRVEWTYpWwbXOp2mG9v5VR-ltr0XQ4DJcs7QcIcCddGoqsvH0NEM43nSFRjK04q2XZ8wtGzgSz9qNh15-c5brSg21mBGeU1UL-y-f1i9KlqLX2/s1000/IMG_2011.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">My trusty old paintbox. I use a ceramic palette with wells (shown here) for watery washes and a flat palette for creamy and dry mixes. </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsMyA_0HsxjKnca_2mjel6PIGN30MaZ7ZCtoEBNWhMVPg510gG7Z8jSzNZ6704pyWVgLaIxEougNr7onx9spT-fOgW8vgS_ojh-l0WlFKU6GwKSlEdXXiDI4GNiYRgwwf7T7mmBvWOkvqF/s1600/IMG_9515.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1202" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsMyA_0HsxjKnca_2mjel6PIGN30MaZ7ZCtoEBNWhMVPg510gG7Z8jSzNZ6704pyWVgLaIxEougNr7onx9spT-fOgW8vgS_ojh-l0WlFKU6GwKSlEdXXiDI4GNiYRgwwf7T7mmBvWOkvqF/s1020/IMG_9515.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Flat ceramic palette for thicker creamier mixes and dry brush </td></tr>
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<b>7. Make the workplace comfortable with the correct equipment: </b>If you're not comfortable, you can't paint well, it sounds silly but makes sure that you can reach your paints and water and that they are on the correct side, thats the right side for right-handers and the opposite for left. I can't tell you the amount of times I've seen students trailing a wet brush from the other side and then wondering why they have so many splashes on their work!<br />
Invest in an adjustable height chair - it's important not to strain your neck and to be able to get at the parts you are painting.<br />
A drawing board, which can be elevated is useful, a piece of MDF and a block of wood will do. Elevating the drawing board means that you can see what you are doing properly, a board laid flat creates perspective distortion unless the subject is small, this perspective issue occurs because the top of the board is further away than the bottom of the board.<br />
I use a lamp for painting with a daylight bulb (there's a post about what a daylight bulb is somewhere in this blog) and a lamp on my subject. The lamp on the subject is generally pointed at the subject from the upper left if you are right handed, and the upper right if you are left handed.<br />
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<b>8. </b><b>Understanding the tonal values to create realistic form: can you see the light?</b><br />
I mentioned having a lamp positioned on the subject in 7, this is vital to create constant light and shade and to make an interesting drawing or panting with good form. While natural light is great, it does change throughout the day and this can confusing for beginners. Light and shade is important in our work, so its worth spending some time on it.<br />
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Start with rounded forms, these are the easiest, and work up to more complex ones. Use photography to turn images to black and white as this can be very useful to see the lightest and darkest parts and all of the areas in between.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGpQ6NxtJnB5Nc2QcqV7ZJFLqs4nyjUaLd_S5qp1tZq5-U9NcEk9bYD9qycwjU9BC6Kcd21RzPqTjJ3KMFDrF4PzzLaJwSm4SEmbX2FvdBBfjzgR3-qwduhlKgzYyD0ZT5LBOasfwO_gJM/s1600/apple+form.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1283" data-original-width="1600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGpQ6NxtJnB5Nc2QcqV7ZJFLqs4nyjUaLd_S5qp1tZq5-U9NcEk9bYD9qycwjU9BC6Kcd21RzPqTjJ3KMFDrF4PzzLaJwSm4SEmbX2FvdBBfjzgR3-qwduhlKgzYyD0ZT5LBOasfwO_gJM/s1000/apple+form.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Light coming from the upper front left side on this apple, means that the shade is on the right but it's also got some light reflecting back onto its shiny surface beneath the form shadow. Light and shade can be confusing we have to train ourselves to use it </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglZtqOzsXug_dvwkQiyIUcN947DXsBx3zu-6JtfH7JwTFEiwKNy0nZHPDkME2DPLnAkj8NKuvwu4hh8OatgO80GQq_86es9R0kAh8dWXwdqH_auToXB1zwlB9bRnO0yIc1Y4gY2keGyozq/s1600/IMG_6509.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1600" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglZtqOzsXug_dvwkQiyIUcN947DXsBx3zu-6JtfH7JwTFEiwKNy0nZHPDkME2DPLnAkj8NKuvwu4hh8OatgO80GQq_86es9R0kAh8dWXwdqH_auToXB1zwlB9bRnO0yIc1Y4gY2keGyozq/s1000/IMG_6509.jpg" width="400" /></a><br />
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<tr><td class="tr-caption" style="text-align: center;">Tonal painting and contour drawing of an apple, showing the light coming from the upper right this time. Note where the highlight is and the form shadow, everything in between are mid tones, if light is too diffused there isn't enough light and shade to make and interesting painting or drawing, so play with the lighting.<br />
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPZPdrKi8pfBzJnTIB-XvCV-Q1e9rdgKLaWCeKhF8Vs4Bf7RtqWD7nXlhw5r5XqMzXrP6ZKJ-PWF8DuvpD6nzmlcp5axNctLMk3Byz0OFKoUV-hVfrTS299Wr8azcupCfv-06MfSARaVsr/s1600/blog-grafwood.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="722" data-original-width="1000" height="231" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPZPdrKi8pfBzJnTIB-XvCV-Q1e9rdgKLaWCeKhF8Vs4Bf7RtqWD7nXlhw5r5XqMzXrP6ZKJ-PWF8DuvpD6nzmlcp5axNctLMk3Byz0OFKoUV-hVfrTS299Wr8azcupCfv-06MfSARaVsr/s1000/blog-grafwood.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.800000190734863px;">Always sharpen pencils and understand their tonal values from H (Hard grades) which are the lightest in tone to B (Bold) are the softest and darkest. Start light and work towards the darker shades.</td></tr>
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To make tonal studies you can use pencils, black paint or a neutral tint mix, it's a good idea to get and overall feel for a subject by making a tonal study first, this will ensure that you get the tonal values right.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCWNuzTVVlyAZjx5EBty0duUJWQ9dU5Ib5J75S2TXFeCKsJ5EhOTe8BiLsndWyGsOl_GkEf5dyzW6Rhv7-QF4ZnUM3HAGRcJwm7Q5Ymv4GqB2eIfW6lEs6qfDH8lZAX343GPH_8FmqF1K5/s1600/line-to-tone.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="474" data-original-width="1064" height="177" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCWNuzTVVlyAZjx5EBty0duUJWQ9dU5Ib5J75S2TXFeCKsJ5EhOTe8BiLsndWyGsOl_GkEf5dyzW6Rhv7-QF4ZnUM3HAGRcJwm7Q5Ymv4GqB2eIfW6lEs6qfDH8lZAX343GPH_8FmqF1K5/s1000/line-to-tone.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Heres a measured line drawing of a leaf and a tonal study of the the same leaf using continuous tone. See how light and shade is used to create form. The shading involved starting with a 2H and building up to the darkest tones with HB, 2B and 4 B</td></tr>
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Converting this concept to colour can be more challenging but if you understand the basics of light and shade first it will be much easier to create a convincing looking painting.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJO7aLtLUk7rDTF2PP0ueSSNKTFPQa-wXApdkMgMu9b_UsmoFjsodGjLdzMCm5ioR8XNPNjHmGAJiz3ArxO7c6BpKcxcfrjjIbk6U-p0cYz58qOk3Q8JpDnO56zkB7Xtns23RcWZlgZSom/s1600/IMG_6335.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="743" data-original-width="800" height="297" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJO7aLtLUk7rDTF2PP0ueSSNKTFPQa-wXApdkMgMu9b_UsmoFjsodGjLdzMCm5ioR8XNPNjHmGAJiz3ArxO7c6BpKcxcfrjjIbk6U-p0cYz58qOk3Q8JpDnO56zkB7Xtns23RcWZlgZSom/s1120/IMG_6335.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Initial tonal drawing for the painting below. it's important to understand the different tones between parts and in relation to light and shade, the light flowers will require harder grades of pencil and the darker leaves will require softer grades. The more shaded areas also require softer grades. For example flowers might require a 4H for the lighter parts but no harder than HB for the darkest areas within them, whereas leaves might start with a 2H for the lightest parts and working up to a 6B for the very darkest parts, using every other grade in between.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4cwkznYJPd1_OLpyUaRnMdWxew2DeRXO7jjyqaLpLUpsSYlHocRQqvIFbxyu8HpnXDweNc9KWGdDiimy9pYI1f3q8mHiT11yOMArbY5EHZ8hLyIH1MupuMl9cKSZDJbtWFcxXUzZnIe4f/s1600/IMG_0851+2.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="882" data-original-width="720" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4cwkznYJPd1_OLpyUaRnMdWxew2DeRXO7jjyqaLpLUpsSYlHocRQqvIFbxyu8HpnXDweNc9KWGdDiimy9pYI1f3q8mHiT11yOMArbY5EHZ8hLyIH1MupuMl9cKSZDJbtWFcxXUzZnIe4f/s1200/IMG_0851+2.JPG" width="326" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The final painting maintains the same tonal values. Convert your image to black and white to check them! </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCy0NW3kthxtm3NdmjQKj_21OcsFncGTIweGQhQIh7zcpLj5JiBC9WajCA-HiGTXnwxFtF8mhrh-wjNGwtWOsSeYAbaYBaLMfpaSjuYG4NYhowdFrQEEWnYmuB5tcMUNVcsswxLalvvH_4/s1600/IMG_0851+4.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="882" data-original-width="720" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCy0NW3kthxtm3NdmjQKj_21OcsFncGTIweGQhQIh7zcpLj5JiBC9WajCA-HiGTXnwxFtF8mhrh-wjNGwtWOsSeYAbaYBaLMfpaSjuYG4NYhowdFrQEEWnYmuB5tcMUNVcsswxLalvvH_4/s1200/IMG_0851+4.jpg" width="326" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photographing and converting the colour image back to black and white helps me to check those tonal values. </td></tr>
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<b>9. Learn Techniques in graphite and watercolour: </b>Spend time experimenting with techniques. With graphite we mostly use the continuous tone technique, this produces a smooth finish, the motion requires elliptical movements, working over and over lightly to gently work the graphite into the surface of the paper, other techniques include stipple and hatching. I can't cover all of these here but if you delve back in time there are some posts on shading in graphite.<br />
With watercolour you need to be able to use flat washes, graded washes (from dark to light), blended washes (working from one colour into another), wet-in-wet (dropping colours into a wet surface and controlling them) but to really achieve the depth and details in nature, the dry brush techniques are necessary too. There are a number of approaches to dry brush, which can be used to model the surface of a subject building rich colour, or to add different types of detail, the approaches are different and I use 5 different ones. There isn't room to explain all of these here but i'll write more in the future. Take a class if you can but make sure it's one where you will learn these techniques and methods. Once you have the techniques learned you can really start to develop your work, you can make clean edges, rich colour, texture and fine detail. All of which are vital for botanical artists.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4HWPZN23MZhxs_kqW1cjJ-utDiBB8tnW0JL9aH8IY_pbxHKunKnfcBa4GOz2F3PiWaNt10-lkEkNnS4vEZiMNexkvSqeiX_H-pkd3-CSLIIs5il36hD4BzIGQZyL4nqmQpX3Xn7-ALsUL/s1600/IMG_9154.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4HWPZN23MZhxs_kqW1cjJ-utDiBB8tnW0JL9aH8IY_pbxHKunKnfcBa4GOz2F3PiWaNt10-lkEkNnS4vEZiMNexkvSqeiX_H-pkd3-CSLIIs5il36hD4BzIGQZyL4nqmQpX3Xn7-ALsUL/s1000/IMG_9154.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Learn the various dry brush and wash techniques. From my watercolour Techniques Tutorial, modelling dry brush</td></tr>
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<b>10. Learn about colour mixing: </b>This relates back to the previous materials entry. Learn about primary palette colour mixing, make colour charts and experiment with saturated and desaturated colours. Practice matching colours to a subject. For example, if you have a red / orange flower, start with the nearest red in the palette, if the flower is leaning towards orange, add some yellow to it, if it's leaning towards purple add blue. That's a simple version but if you use a limited palette you soon get to grips with the warmer and cooler versions of colours in your subjects. Colour charts and wheels can really help with deciding where to start and you can simply place your flower on them to see what the nearest colour is. Greens need special attention, you can read previous posts on green mixing but bear in mind that most greens will require a blue plus a yellow and then a very small amount of red to make a more natural green, again, if your colour palette is only primaries this makes it quite easy. Simpler principles can apply: for light greens use a light blue, for mid greens use a mid blue and for dark greens use a dark blue. This sounds obvious but it's often missed.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6DCigvRDNSd4Nvr46rlIBIJIYhuZLJDZ2VDNa-6QOgRKUegV_EAl64G1En7frUHWExyrUvqqCLa_yZ1lYSagTJO3AmxJ2ceZ9YY5QELo4sLUYsPXHwa1ZB5QuK-nuR6-5JKZ1N_2dhJQW/s1600/IMG_0709.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1600" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6DCigvRDNSd4Nvr46rlIBIJIYhuZLJDZ2VDNa-6QOgRKUegV_EAl64G1En7frUHWExyrUvqqCLa_yZ1lYSagTJO3AmxJ2ceZ9YY5QELo4sLUYsPXHwa1ZB5QuK-nuR6-5JKZ1N_2dhJQW/s1000/IMG_0709.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Purple chart, mixing and matching purples to the subject using the blues and reds</td></tr>
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<b>11. Draft and redraft: </b>After making sketches and deciding to compose a painting, draft out a rough composition, this can be done on tracing paper. Re-work the drawing until you are happy with it, arranging or rearranging. This preparation work is preferable to rushing in with a painting and eliminates the possibility of errors.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOAUuYWadjTsUE_e5Qse_ddBATBzRAeN8VNdKz3o-3WGaXE8ZJgwJ7ouzMNVlgHaZwo_3XuD5PiRR61nWSFrO-9TA87Z2B5M9SrVfXAeQ4KepT6JY8pk7HoFLEcXxub6u2qYN8lDy2IGY0/s1600/IMG_3722.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1209" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOAUuYWadjTsUE_e5Qse_ddBATBzRAeN8VNdKz3o-3WGaXE8ZJgwJ7ouzMNVlgHaZwo_3XuD5PiRR61nWSFrO-9TA87Z2B5M9SrVfXAeQ4KepT6JY8pk7HoFLEcXxub6u2qYN8lDy2IGY0/s1000/IMG_3722.jpg" width="301" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Drafting the layout for a composition using tracing paper, parts are cut out and rearranged slightly. </td></tr>
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<b><br /></b><b>12: Photographs: </b>Don't be afraid to use technology. Photographs can be useful to supplement your work but it's important to understand the subject first and to be able to draw it from life but don't ever rely on photographs for colour as they can be quite inaccurate.<br />
You have seen that in this post that I have used photographs to check for tonal values and to check and play with lighting effects. Photographs are also useful for capturing subjects in the field and that change or are short lived.<br />
Equipment like light pads are useful for transferring drawings. Digital microscopes are amazing for close-ups of small parts and apps can even be used to edit images of your work to see how they might look with more colour or darker tones. Technology isn't something to be afraid of, it's just another tool.<br />
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Most of these points can be expanded on, this post is intended to provide an overview of some of the processes involved in producing botanical work. Hopefully I will be able to expend on some of them in the future.<br />
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<b><br /></b>Dianne Sutherlandhttp://www.blogger.com/profile/00336704902577001166noreply@blogger.com5tag:blogger.com,1999:blog-6401160288631130110.post-2325126641795930452019-07-31T03:32:00.001-07:002019-07-31T05:44:15.432-07:00Primary Palette Colour Mixing <div class="separator" style="clear: both; text-align: left;">
It’s been a very long time but the blog is resurrected!</div>
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Having recently written a tutorial about colour mixing using a primary palette, I decided that this would be a good subject to kick start the blog with. A few years ago I decided to eject all of the unnecessary paints from my
paint box in order to simplify the colour mixing process, if you’re wondering why I dismantled my beautiful looking paintbox, I found I was only actually using a small number of paints and simply didn’t
need them all, also, it’s so much easier to teach students using a limited palette and it puts a stop to the idea that you always need another colour in the palette. To prove that this was a good idea to myself, I removed everything that I
felt wasn’t needed and attempted to mix the same colour using primary colours, it was surprising to see how many of those colours I could match!<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEU-j3hlwI5ga1U-pmIqp8I_iX6OyBlbKb_co7DNnTTMNYCHOrhakimb-NrIHw11D6d5VFr0JTjJUCoLspAffK7m3Lup4G54l_zKLudSag0L7cW6i6IKqE5ygwSHVoZk8kwiSLcAOafXK5/s1600/IMG_8763.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1153" data-original-width="1600" height="287" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEU-j3hlwI5ga1U-pmIqp8I_iX6OyBlbKb_co7DNnTTMNYCHOrhakimb-NrIHw11D6d5VFr0JTjJUCoLspAffK7m3Lup4G54l_zKLudSag0L7cW6i6IKqE5ygwSHVoZk8kwiSLcAOafXK5/s1000/IMG_8763.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The streamlined paintbox on the left and all of the un-necessary paints can be seen on the right. I swapped half pans for full pans with the most used paints. </td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi94tHcyIwW8Fj1XeCY8cwV5dI2bgL4TZmZc6mgyJnqM0K7ZBDZcNS7jmyEw-aA1yZZF_Y6_cy-tZrwAkyMrorzt3HrIUCRA5eaS9EyEmbFSDwNIxPQ9D8TPa21IVl1LYEtahROxSuykq_D/s1600/IMG_0102.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1328" data-original-width="1600" height="331" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi94tHcyIwW8Fj1XeCY8cwV5dI2bgL4TZmZc6mgyJnqM0K7ZBDZcNS7jmyEw-aA1yZZF_Y6_cy-tZrwAkyMrorzt3HrIUCRA5eaS9EyEmbFSDwNIxPQ9D8TPa21IVl1LYEtahROxSuykq_D/s1200/IMG_0102.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Mixing and matching some of the colours with primaries, here are some typical paint box colours: the umbers, sap green the perylene's, quinacridone gold, some violets and there were many more! In fact I had in the region of 100 paints including most of the W & N artist pan colours, which is frankly ridiculous but good for paint manufacturers! This exercise enabled me to remove all of the paints that I didn't need. I know that there are other properties that can't be exactly replicated but in most cases the primary mix was better (in my opinion) and there is the opportunity of easily shifting the ratio of colours to make it warmer or cooler and making a shade version, so further simplifying the colour mixing process. </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7AM7VJHoopXa6_kP4wxllA7u7tOe49npH0PYm7jbCGKbf89PUECuK_fCulhsbjK0poEC6D8b_HwOQQAdF1DcQVFluqcuDD3gWIyxNj9z6UXGJVRvsB9fM9VS-ZD1NO5Zyd6f1-1FDnrAH/s1600/IMG_0105.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="901" data-original-width="1600" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7AM7VJHoopXa6_kP4wxllA7u7tOe49npH0PYm7jbCGKbf89PUECuK_fCulhsbjK0poEC6D8b_HwOQQAdF1DcQVFluqcuDD3gWIyxNj9z6UXGJVRvsB9fM9VS-ZD1NO5Zyd6f1-1FDnrAH/s1000/IMG_0105.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">How a mix of 3 primaries can be shifted left and right of the basic hue mix (centre) to create a range of greens found in a leaf, simply by altering the ratios within the mix and creating a more natural shift to a paler warmer green (adding more yellow) to a darker cooler shade green (adding more blue and red). This approach to colour mixing creates much improved continuity and transition in a painting and is a simple to learn. </td></tr>
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<b>What is a Primary Palette</b></div>
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There is often a lot of confusion about what a primary palette is, the most basic form comprises just one red, one blue and one yellow, from which all secondary and tertiary colours can be mixed. However, a palette of just 3 colours will not provide the range of colours needed in many brightly coloured botanical subjects, so if you've tried that and failed - don't be put off because paint is not like the light and you'll struggle to achieve everything! My primary palette is actually quite broad with 4 yellows, 5 or 6 reds and 5 or 6 blues, any less would be too limiting for me. Since streamlining the paintbox I found that have a far greater understanding of colour mixing. </div>
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If you want to see my palette choice you can find them in my suggested materials list on my website <a href="https://docs.wixstatic.com/ugd/28a8b8_d793e676035242c7b68383314ecbec39.pdf" target="_blank">click here.</a></div>
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The old paints haven't been wasted though and I've given many of them away to those that still use them but I can honestly say I haven't missed any of them. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSgNzIyx50fX8R3U54G6QPaqT7eptzvLK6V-0Z-MqJlnGvOp2wbsVNWN6kStlLAi_H13ozn-G0341WCIyKdvJpWURdRU-Qvv1CwSLvqlxpnPfopL0zTMI2jrduOyjBhEGz0AdeQBJZALIG/s1600/IMG_0361+2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1530" data-original-width="1600" height="382" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSgNzIyx50fX8R3U54G6QPaqT7eptzvLK6V-0Z-MqJlnGvOp2wbsVNWN6kStlLAi_H13ozn-G0341WCIyKdvJpWURdRU-Qvv1CwSLvqlxpnPfopL0zTMI2jrduOyjBhEGz0AdeQBJZALIG/s1000/IMG_0361+2.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Some of the paintbox survivors - reds, yellows and blues, checking out their light value and saturation here by painting from full saturation to a pale watery wash.</td></tr>
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<b>Making Useful Colour Charts</b><br />
There is no point in making colour charts for the sake of it, they have to be useful. Once I'd removed the redundant colours, I set about making some basic colour charts mixing primary colours to make a wide range of secondaries and tertiaries, such as seen in the simple charts below. The first task included making secondary mix charts - a yellow and red chart, a blue and red chart and a blue and yellow chart. For this I used 1:1, 2:1 and 1:2 ratio mixes which gave me a large range of colours which are warmer and cooler than the 1:1 ratio.<br />
Then I add the third primary colour to those mixes, for example adding a small amount of red to a green mix, (made from blue and yellow) can create a more natural looking green but you can also shift the balance of the same three colours to make brown or grey as well as a range of greens etc.. It became very clear that this provides everything I could ever need. I made brown and black charts using the dark value pigments mixed using thick creamy paint mixes charts and grey and white charts, using high light values colours painted as tints.<br />
The <b>light value </b>of the colours and <b>the viscosity of the mix </b>are all important too. But thats for another post.<br />
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<b>Putting the Charts into Practice</b><br />
To use these charts, I simply place a new subject onto the most appropriate colour chart as a starting point. All the mixes have a warmer and cooler version of each mix and are painted in swatches which start at full saturation and then watered down to a tint. Below are just a few examples.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4WSjaJ0vnz7ma0D5KiElIuwe1SkoW-_IhOsLxFtJakoIeZxwnVCKwCJAxPweaefcm2ytS-BXoeQnyl4rfS_-OhFsxsJ8UCupXAkGhmovmO7ya6GRecixAlatrLGILiN9letTg-27MYhIQ/s1600/IMG_0110.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1076" data-original-width="1600" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4WSjaJ0vnz7ma0D5KiElIuwe1SkoW-_IhOsLxFtJakoIeZxwnVCKwCJAxPweaefcm2ytS-BXoeQnyl4rfS_-OhFsxsJ8UCupXAkGhmovmO7ya6GRecixAlatrLGILiN9letTg-27MYhIQ/s1000/IMG_0110.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A selection of colour charts and subjects painted using the charts mixes for guidance. </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCtsRRM0_0_6ejXAmldKjGtqIWs_H3XG8MHmsijACadvLOusBhjzuqXxBln1RoqXQA1w8EndvJ6sfNnYHXtKTM8xpHsiXfqqUAOt03_cACQecK_Dx0QdBgb-sUWZckEKLCAlaCyNDfFSb7/s1600/IMG_9251.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="960" data-original-width="764" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCtsRRM0_0_6ejXAmldKjGtqIWs_H3XG8MHmsijACadvLOusBhjzuqXxBln1RoqXQA1w8EndvJ6sfNnYHXtKTM8xpHsiXfqqUAOt03_cACQecK_Dx0QdBgb-sUWZckEKLCAlaCyNDfFSb7/s1000/IMG_9251.JPG" width="317" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Identifying the mix from the Green chart: Using the 'light value' of the Blue as the predictor colour for green mixes. This creates light greens, mid value greens and dark value greens, then shift the ratios of the mix to make browns by increasing the red and yellow. Simply drop the leaf onto the chart to match the colour. See the last but one post for more about the green chart</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRpgEY1dm9uIWdJBXdcCOlxDiMW1EoyeFbkFm6pzIwUQuB2RvwWIxFW7Rqi1ILn4bvzRj2jhyphenhyphenNPJl7byGGD-IrE-uKUTS9eSuQuHs89JVwBoC9uPnM7_LaohvB2N6kVTP0gW6J7dtKjTu6/s1600/IMG_0346+2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1393" data-original-width="1600" height="347" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRpgEY1dm9uIWdJBXdcCOlxDiMW1EoyeFbkFm6pzIwUQuB2RvwWIxFW7Rqi1ILn4bvzRj2jhyphenhyphenNPJl7byGGD-IrE-uKUTS9eSuQuHs89JVwBoC9uPnM7_LaohvB2N6kVTP0gW6J7dtKjTu6/s1000/IMG_0346+2.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Using the same three colours to mix all the yellows, greens and browns in this Hellebore leaf by shifting the ratio of colours in the mix.<br />
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<span style="font-size: small;">Of course there is a lot more to mixing and matching colours in a painting, such as the underlying colours and the effect of light and shade, which could be discussed here but I'll save those topics for another time. The 'take home' point is that that this method of colour mixing provides a great insight into the properties of colours, their light value and dominance etc. and makes it easier to achieve the range of colours in a subject with improved transition. Also, you only have to paint the charts once and thats it, no confusion over which colour to choose and its much more cost effective if you're on a budget. </span></div>
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<span style="font-size: small;">To finish, it seems a bit cheap to include only images of colour charts so heres a much shortened, sped up video of painting a white flower from the tutorial. It's hard to find good information on mixing whites. Often the advice is to use leaves behind the subject or to use the dreaded 'grey', which looks...well like a grey flower. In my experience, neither approaches are overly helpful as many flowers don't naturally sit in front of a leaf. In fact white flowers have many colours, they're just pale but first of all we have to first be able to see and identify those colours,(the charts help yo to identify those colours) -</span><span style="font-size: small;">they have colour reflected onto their surface from the surroundings too, so there is a lot to consider. Using</span><span style="font-size: small;"> watery tints in deep wells is a must for whites as are high light value colours. But enough for now.</span></div>
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Finally, it's been over 10 years since I started this blog, things gave changed a lot both with social media, with my painting and teaching since that time. Blogs may be a little outdated now but I still have a soft spot for them. It's a great diary and journey for me to look back on (typo's included!). I've neglected it for the past 2 years due to lots of other things, both good and bad but hope to make the occasional post again now that I've settled into a new home.<br />
Thank you for readingDianne Sutherlandhttp://www.blogger.com/profile/00336704902577001166noreply@blogger.com5tag:blogger.com,1999:blog-6401160288631130110.post-28330488879696023182017-06-03T10:56:00.003-07:002017-06-04T13:32:58.493-07:00Botanical Drawing: Pencil Review, Caran d'Ache GrafwoodToday I tried out the Caran d'Ache Grafwood pencils to see how they compare to other pencil's, specifically with my old favourites the Faber Castell 9000. Check out the previous post <a href="http://diannesutherland.blogspot.co.uk/2014/08/which-pencil.html" target="_blank">'</a><a href="https://www.blogger.com/null" target="_blank">Which Pencil'</a> to read about other brands. I decided to try the pencils out on a drawing of a mid pink single <i>Rosa gallica</i> flower because it wouldn't take too long, has a good range of tones and some fine detail in the venation and anthers.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCGGUm5akhA6O2w4am7ai0nP86_mw6w3R-IhD2ynUV4m6dVOXUypOn3SnURcggjfa1dkWhETU-ri-mfQUqiVMM_iVOdibCK71gVpZTJTrdltvAaDPOronbXw6q3iv9UgK9jmRTrKH4NKOc/s1600/blog-final.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="three stages of a pencil drawing of a rose" border="0" data-original-height="420" data-original-width="1200" height="140" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCGGUm5akhA6O2w4am7ai0nP86_mw6w3R-IhD2ynUV4m6dVOXUypOn3SnURcggjfa1dkWhETU-ri-mfQUqiVMM_iVOdibCK71gVpZTJTrdltvAaDPOronbXw6q3iv9UgK9jmRTrKH4NKOc/s1200/blog-final.jpg" title="rose drawing in stages " width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Stages of the drawing, working from light to dark. First layer 4H, thereafter, 2H, HB, B, 2B and 3B</td></tr>
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The pencil's come in a round upright tin, which contains grades 4H - 9B. Smaller sets are available but I like to work with a full set to enable me to achieve the full range of tones found in botanical subjects. They cost around £34 from Jackson's Art for the 15 pencils, which works out a good bit more costly than Faber Castell 9000's Art set, with 12 pencils ranging from 2H to 8B and which costs around £11 from Amazon. Adding the 3 Faber Castell grades make the equivalent 15 grades, makes the total cost around £15. Pencils are also available individually ( see the links at the end of this post). The question is, at more than double the cost, are the Caran d' Ache worth it?<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifpJhvcc_9FxRN4x5JlTUmnmT00q6s4dnxhlAJ7Zpljl_f7KtfCHXgoZQoBMZJLQME0DHRa6jXhU5o2iCe8b_r-m1hHFS1NhZw_tbgVS-KbcDXBdQ1l3E7zX7UOdNFbOGnmIfpeqVSsKvE/s1600/pencils.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="Caran 'd Ache pencil tin and pencils on paper" border="0" data-original-height="1600" data-original-width="1008" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifpJhvcc_9FxRN4x5JlTUmnmT00q6s4dnxhlAJ7Zpljl_f7KtfCHXgoZQoBMZJLQME0DHRa6jXhU5o2iCe8b_r-m1hHFS1NhZw_tbgVS-KbcDXBdQ1l3E7zX7UOdNFbOGnmIfpeqVSsKvE/s900/pencils.jpg" title="Caran 'd Ache pencil tin" width="251" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The tin of pencils is quite portable and the colour coding is useful</td></tr>
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It's worth pointing out that I used Canson Heritage HP paper for this drawing, which in hindsight was a mistake. I always use HP watercolour paper for my drawings but this wasn't great, the surface is very soft and fibres lift easily from it, even with the lightest of pressure.<br />
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I can usually tell if a pencil isn't good when I sharpen it, for example, Derwent pencils are dreadful to sharpen and they're probably my least favourite to use. The wood is hard and rips and the leads break, they're softer than other brands, so much darker grainier results occur. I'm sure Derwent are good for other types of drawing but they're not the best choice for botanical work. The Caran d' Ache sharpens well, I noticed that they are chunkier to hold than Faber Castell pencils, but that's not a bad thing. The wood is painted from light to dark grey, so are colour coded, which is useful when reaching for the pencils. <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN_5O-t9IfFWvyVR06XBRCYiTGyhNk_Wvhzc_0UA7L_Mdzf8wiLbpcl1tDOk35wJA8TQouLF5XOGJ5OA_0ylh0bY1jRXmgTv6zFgKylSVUbhj4-XQanPZQDyywTBoVi6ygIFCuncmNjG6t/s1600/blog-grafwood.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="comparing faber castell 9000 pencils and Caran d'Ache" border="0" data-original-height="722" data-original-width="1000" height="231" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN_5O-t9IfFWvyVR06XBRCYiTGyhNk_Wvhzc_0UA7L_Mdzf8wiLbpcl1tDOk35wJA8TQouLF5XOGJ5OA_0ylh0bY1jRXmgTv6zFgKylSVUbhj4-XQanPZQDyywTBoVi6ygIFCuncmNjG6t/s920/blog-grafwood.jpg" title="pencil comparison" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Comparing the two brands, Caran d'Ache on the top row and Faber Castell 9000 on the bottom. I didn't compare all grades but perhaps should do at a later date, the grades tried are very similar but even though it's not obvious here the Caran d'Ache are slightly softer.</td></tr>
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I compared a few grades of Faber Castell and Caran d'Ache directly by making small swatches because I wanted to to find out if they are harder or softer. They are actually very similar but the latter are ever so slightly softer. My initial observation is that they feel very smooth and 'buttery' on the paper, this is a good indication, and possibly to do with being softer.<br />
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<b>The Rose Drawing</b><br />
Given that the pencils are slightly softer I decided on a 4H for the initial layer of graphite. I normally start with a 2 or 3H with Faber Castell. Here's a time lapse video of some of the process.<br />
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<p><a href="https://vimeo.com/220214011">Untitled</a> from <a href="https://vimeo.com/user67368175">Dianne Sutherland</a> on <a href="https://vimeo.com">Vimeo</a>.</p>
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A layer of 4H was added first, this is pretty much all over but varying the weight to give an indication of form. I use the continuous tone method (small ellipses or similar). They weight of the pencil on the paper has to be kept very light - it's almost like hovering lightly over the surface with the weight in the hand and not at the point where pencil meets paper. I work over and over it but maintaining the light touch, this 'works' the graphite into the surface of the paper to give a smooth soft appearance. Although the paper appears relatively smooth to the eye and feel, if you look under a magnifier, you will see the 'tooth'.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsJhq_Fa_wIQyKwaOapxux0Cm_meM5SbgrmMp6DatoBTpVh-q5vQV2iZ6Kc7gl9gPYd75LCdNl1jL_KveK8E6AR0oIWHs7D8S4fOTJnKsSAPCRwsbYoCyd0O481lcoDw57RgoZiJQxDBbS/s1600/blog-layer-1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="675" data-original-width="800" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsJhq_Fa_wIQyKwaOapxux0Cm_meM5SbgrmMp6DatoBTpVh-q5vQV2iZ6Kc7gl9gPYd75LCdNl1jL_KveK8E6AR0oIWHs7D8S4fOTJnKsSAPCRwsbYoCyd0O481lcoDw57RgoZiJQxDBbS/s920/blog-layer-1.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The first layer using the 4H, a soft graded covering to get feel for the shape whilst providing a light foundation </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1Q6-JhfsB7tJCbkl3Ob1Yy2A0Q1HOI4dJVaRWfQluqSCjQ9qtL8_ow-p5kBorXJ5g6ydX8SftqnaKBVnPF8XrGohXH2KmSvMgm2pFp23dj8nIHRnTXcXW4KT1qCAFZA6-fE0Kbo8MaBb3/s1600/blog-graf+section.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="image of draing showing detail of rose petal" border="0" data-original-height="981" data-original-width="777" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1Q6-JhfsB7tJCbkl3Ob1Yy2A0Q1HOI4dJVaRWfQluqSCjQ9qtL8_ow-p5kBorXJ5g6ydX8SftqnaKBVnPF8XrGohXH2KmSvMgm2pFp23dj8nIHRnTXcXW4KT1qCAFZA6-fE0Kbo8MaBb3/s820/blog-graf+section.jpg" title="detail from drawing" width="253" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">I deepen the tone in selected areas using a 2H and then start to add the fine veins using a very well sharpened HB</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjISnOeajnuYz0SwVzAiyJ65uenrkQ7csyW4lknriAtEHm4cmz8xRpo7pVxleeZwVguLYGfmk8fOiyRIFWTL07z6eE22ypQnweR950pU7bmu2XGrCqMQDhkg1U_RruM3nBdZ9OivgwzCCij/s1600/blog-graf-veins-detail.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="image of draing showing detail of rose petal" border="0" data-original-height="383" data-original-width="493" height="248" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjISnOeajnuYz0SwVzAiyJ65uenrkQ7csyW4lknriAtEHm4cmz8xRpo7pVxleeZwVguLYGfmk8fOiyRIFWTL07z6eE22ypQnweR950pU7bmu2XGrCqMQDhkg1U_RruM3nBdZ9OivgwzCCij/s820/blog-graf-veins-detail.jpg" title="rose petal drawing detail" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Adding the veins and anthers with and HB as well as drop shadow under the anthers and where the petals overlap with the same grade.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQse4EXpDbHHC2p5wn11XXSCZJvgFYRj2jAtEppMVAIW6K9mxHxTFiNRPa-UTypBN4yeRXFPVLrGAuEW7iFvQGCM57mFp2DeOazZegCE4XrsnYXp3Dy2gco-yeQL4fg69pPQp228BW1Tow/s1600/blog-graf3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="graphite drawing of Rosa gallica" border="0" data-original-height="1000" data-original-width="1000" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQse4EXpDbHHC2p5wn11XXSCZJvgFYRj2jAtEppMVAIW6K9mxHxTFiNRPa-UTypBN4yeRXFPVLrGAuEW7iFvQGCM57mFp2DeOazZegCE4XrsnYXp3Dy2gco-yeQL4fg69pPQp228BW1Tow/s1000/blog-graf3.jpg" title="drawing of Rose" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Unfinished! I continue to add more form by using softer grades, HB, B, 2B and a few very small touches with a 3B but the Canson paper proved a problem.</td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<b>Results </b><br />
I have dabbled with the pencils before but not in any depth. My experience with the Caran 'd Ache pencils was a reasonably good one and I'll definitely continue to use them, as to whether they are worth paying more than double the price, I have to say that they're not that great to warrant the cost and I still like the Faber Castell 9000. I actually stopped short of finishing the drawing as the paper was frustrating me, so wont be using use this paper again for graphite. It wasn't to do with the pencils as the result was the same with both brands, in fact it was worse with Faber Castell, basically the surface is too soft for tonal graphite work but it's OK for watercolour, which, after all is its intended purpose. My preferred papers for graphite are Arche HP and Sennelier HP. I did feel that overall the pencils are softer than the Faber Castell and my drawing was becoming too dark too soon. If I was to start again, I'd delay adding the HB by doing more work with the full range of H grades before moving to the HB.<br />
<br />
You can buy the Caran d' Ache individually for £2.30 from <a href="https://www.pullingers.com/c/71888/caran-dache-grafwood-graphite-pencils?utm_source=googlebase&utm_medium=pricecomp&utm_campaign=GoogleShopping&gclid=CIDojsONotQCFUI_GwodJq8PaQ" target="_blank">Pullingers </a><br />
Faber Castell 9000 are just £0.80 individually from <a href="https://www.pullingers.com/c/72019/faber-castell-9000-black-lead-pencils" target="_blank">Pullingers</a><br />
Dianne Sutherlandhttp://www.blogger.com/profile/00336704902577001166noreply@blogger.com11tag:blogger.com,1999:blog-6401160288631130110.post-89308516754998826272017-05-22T10:51:00.000-07:002017-05-22T12:18:01.439-07:00 Painting leaves: Colour Mixing<br />
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<span style="font-size: small;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Nothing spoils a botanical painting so much as poorly painted or inaccurate
leaves. If we think nobody will notice our errors, we're probably mistaken. It doesn't matter
how well we painted the rest of the piece - it's only ever as good
as the weakest part. But leaves can be tricky! for me the likelihood of success
increases if preparatory studies are completed. I try to work out colours and
approach before I even think about starting the painting. The idea for this
blog post occurred to me as I gathered my thoughts for a class taught last week
for <a href="http://www.fieldbreaks.co.uk/" target="_blank">Field
Breaks</a> at <a href="http://www.dianegilder.co.uk/the-art-room/" target="_blank">The Art Room in Barlow, </a>and, as
always, it was interesting to hear what problems students encounter when
painting leaves. One of the most common cited is colour mixing, so this is my
focus here - although I may cover others leaf painting problems in a future posts. </span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifCTXwDdVoEkn1QWhZYODEGXdajDNjqj570LLMImle5v27I52Xu04z23TJHbedTb4kY6oqBZ3ZV0kFeH6orZncTvbsYm0zxaCV-ACX7xkkFOO9iT-eae4ACnqiBKr3OS6aQVLPkKKT83Rg/s1600/blog-ivy-11.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="picture of ivy watercolour" border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifCTXwDdVoEkn1QWhZYODEGXdajDNjqj570LLMImle5v27I52Xu04z23TJHbedTb4kY6oqBZ3ZV0kFeH6orZncTvbsYm0zxaCV-ACX7xkkFOO9iT-eae4ACnqiBKr3OS6aQVLPkKKT83Rg/s1000/blog-ivy-11.jpg" title="Ivy painting" width="332" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ivy leaf painted as preparatory work for the class. I light the subject using a
lamp positioned upper left, to enhance the light and shade. The first
study is on paper and used to work out colours and approach, before moving on
to vellum. I laid 3 green washes with a size 6 brush, over an initial cobalt blue wash, which was painted with a size 10 brush.
I then worked with dry brush, using size 1 spotters and miniatures to
deepen colour before picking out detail with a fine pointed David Jackson brush. I also use a
Pro Arte synthetic flat brush for tidying and painting shadow under the veins</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioJTbSA4XPD1MBgywZGCvszo4Qv3An3Ew6NNamMYu4KIHEMQBtpJeyU1qmzO9QE4x-ynx3-TI8rzpOuXr5v5GpyPgMxUsJqWKhBUJdASP5o7yYh0_FLP7mMzQTwxAg9_Qpe50gteN7steZ/s1600/Ivy-process.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="Process of painting and ivy leaf on vellum in stages" border="0" height="195" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioJTbSA4XPD1MBgywZGCvszo4Qv3An3Ew6NNamMYu4KIHEMQBtpJeyU1qmzO9QE4x-ynx3-TI8rzpOuXr5v5GpyPgMxUsJqWKhBUJdASP5o7yYh0_FLP7mMzQTwxAg9_Qpe50gteN7steZ/s1000/Ivy-process.jpg" title="Painting process ivy" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Moving on to vellum: I started by lightly painting in the veins with <b>Winsor lemon</b>. Then painted a rough wash of <b>cobalt</b>
blue with a size 10 brush, this is the underlying colour and makes a
good shine on a dark leaf. I left virtually no white, because the blue will be much
less obvious once the dark green in on top, however, the blue highlights must be preserved to give the effect of shine. It really doesn't look great at this stage
but this is just a foundation, the wash is graded to give some
indication of form. I paint around the veins with the cobalt and leave
the outer edge of the leaf very soft, to enhance the form as the leaf
bends away from view. From there on, the approach differs from paper,
and the whole leaf is painted using dry brush techniques. I use a mix of
three colours for all parts, <b>Indanthrene blue, Transparent Yellow and Permanent Carmine.</b>
I came up with a system on working with the light value of the blue as
the predominant factor when deciding on the colour mix....basically a
dark green leaf needs a dark blue colour....it's that simple! (see the
chart below). Always work with transparent colours in the layers on
dark leaves. For light coloured leaves, use a high light value blues
instead, such as Cerulean or Manganese blue (transparency is slightly
less important in high light value colours). For the mid green leaves
for something like a Cobalt blue or Winsor blue. The browns are mixed
with the same three paints, simply increase the ratio of the red and
yellow to make brown.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9lUoEMyMMwAlkLEoFoe-fZofCaBzclUOIm5yKeSLvleFpWPnSziiuTSQ4tX2T_7VhaL5cQbLpd9WxiFem36QJTnLhvUN2HOyP2OOZlvEnhhIAQvH_RcSQstB61vaaAeOOcHirFTVyCbQM/s1600/blog-ivy-vellum.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="Finished painting of an ivy leaf on vellum" border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9lUoEMyMMwAlkLEoFoe-fZofCaBzclUOIm5yKeSLvleFpWPnSziiuTSQ4tX2T_7VhaL5cQbLpd9WxiFem36QJTnLhvUN2HOyP2OOZlvEnhhIAQvH_RcSQstB61vaaAeOOcHirFTVyCbQM/s900/blog-ivy-vellum.jpg" title="Ivy leaf" width="285" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The finished leaf on goatskin Kelmscott. Colours are gradually deepened
so as not to be heavy on the vellum. Soft strokes with barely any paint
at all are used to build form and colour and highlights are maintained. I
use a technique, which I refer to as 'polishing' to smooth the surface
and you will see that I preserved the blue on the highlights by
carefully blending around the highlights.</td></tr>
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I'm not going to list lots of colour mixes
here because that not very helpful when you consider how many variables
there are in the ratios. My approach is aimed at
understanding the basics of colour mixing, so that you can easily work
out yourself what to use. Here's my method, it's not intended to be a
hard and fast rule but more of a method for guidance..... There are, of
course, lots of other ways.</div>
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<b>An approach to colour mixing: </b><b>I mix all greens from primary colours, blue, yellow and usually a small amount of red. </b>A few years ago I developed a <b>simple system based on the light value of the blue as the predominant factor when deciding on the green mix</b>. </div>
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Below
is a chart for greens and browns that I made using 3 primaries of
varying light values. The blue is the colour to choose first for a green
mix because it's the dominant colour. The light value and saturation of
that blue is all important. If you start painting a very light green
leaf with a darker value blue, such as French Ultramarine, you may well
run into problems with the leaf becoming too dark. Any single colour
reaches saturation after around 4 washes, so it will become fully
saturated quite quickly, adding subsequent layers of the same mix just
makes paint thicker but not darker. So, if you bear in mind the light
value of the blue first, you can avoid this problem. It sounds obvious
but it's a surprisingly common problem, especially with beginners. Then
choose the yellow and finally most greens mixes have a small amount of
red, so choose this colour last. The same rule of light value applies
with all three colours When you mix in so much red that it turns brown
the red becomes the dominant colour instead of the blue. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJEtba8d6o2TPgLz67geAWheT5BDgGvrjB6k2T-2yuoolCEO0GgK7-TIB7xm-lUbAksrGlGet1EdJ33FyHuYnQhr7Vwq_pR-_2tQXwB0mZAJTJXvXJz54SoFUrB0TD8PXyBPu8xM_gQhIz/s1600/colour-chart-greens-and-browns.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="A green and brown colour chart with leaves" border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJEtba8d6o2TPgLz67geAWheT5BDgGvrjB6k2T-2yuoolCEO0GgK7-TIB7xm-lUbAksrGlGet1EdJ33FyHuYnQhr7Vwq_pR-_2tQXwB0mZAJTJXvXJz54SoFUrB0TD8PXyBPu8xM_gQhIz/s1000/colour-chart-greens-and-browns.jpg" title="green and brown colour chart" width="317" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: x-small;"><b>My <i>Rule of Thumb</i> Light Value Chart</b>. If you base your green mixes on the light value
(i.e. tonal value) of the leaf colour that you want to achieve by
<b>choosing the blue first</b>, you can't go too far wrong. So for a
light coloured leaf
choose a light blue such as cerulean (top row of chart) and for a mid
light value, such as cobalt blue (middle row). The ivy leaf was a dark
green, hence the choice of the darker more saturated blue, Indanthrene
(bottom row). You can see how easy it is to put the leaf on the chart to
find a close match. I mix 1:1 ratio of blue and yellow first, then 2:1
and 1:2 with the blue and the yellow, thereafter I start to add a small
amount of red and play with the ratio of the 3 colours. The red
generally mar a more natural green. </span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">My old paintbox</td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">I use a primary palette of single pigments paints with 4 yellows, 6 blues
and 5 reds. This palette allows me to mix any colour that I might need and
makes it more manageable to understand colour mixing. </span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">If you don't understand the light values or saturation of your paints, try
this exercise below, it's one Ruskin used to ask students complete. Fill the
brush with each of the blues and paint down the page observing how dark each
colour is as it progresses down the page, you will see the saturation of the
darker colours allow you to keep going much longer, whereas the light value of
cerulean has already disappeared. You can easily see the tonal difference
between the colours. </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqpUZwvAGV74QfGvZB9iT7BmuwnE7b-QKAfGdIkHRYzGcVOdwMQM0P8cDVFF5ngRAAEY81RdOFojnMJ-I1oxVIpVShj-OFicLRgJo65lSMlih1f9dgKFpQXE0SirN2cZgZwaP1m9cUGNje/s1600/Blue-grey.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="tonal value of blue paint painted" border="0" height="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqpUZwvAGV74QfGvZB9iT7BmuwnE7b-QKAfGdIkHRYzGcVOdwMQM0P8cDVFF5ngRAAEY81RdOFojnMJ-I1oxVIpVShj-OFicLRgJo65lSMlih1f9dgKFpQXE0SirN2cZgZwaP1m9cUGNje/s900/Blue-grey.jpg" title="blue tones" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Tonal
values of the blue paints, left to right: Cerulean, Cobalt, Winsor blue
green shade, French Ultramarine and Indanthrene. I've also turned the
image to black and white to highlight the tonal values difference.<br />
<br /></td></tr>
</tbody></table>
<div align="center" class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmyb3XRlvUdnwhNo4UOFL7PWb6eyDVBz7o_PGn4QErd6ha_kT7hgYFF0djHxtKWSbzXUF1j_UkSsilF2Dubre6J4xebAtf2OfKWmeg4lCox6rV0cEi8JaF9IbIVlRdmkP9f3A5VAhduSLw/s1600/Blue-grey.jpg"><span style="font-family: "times new roman" , serif; font-size: 12.0pt; text-decoration: none;"><span style="mso-ignore: vglayout;"></span></span></a><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;"></span></div>
</td>
</tr>
</tbody></table>
</div>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">For the ivy, the darkest blue in the palette is <b>indanthrene blue</b> and
this is the obvious choice, I then chose,<b> transparent yellow</b>, its a rich
yellow but most important is the transparncy, especially when painting dark
colours. Opaque yellows are not good in dark greens as the block the light and
deaden the green, thereafter, <b>permanent carmine</b> was an obvious choice
because of its richness.</span><br />
<br />
<div align="center">
<table border="0" cellpadding="0" cellspacing="0" class="MsoNormalTable" style="mso-cellspacing: 0cm; mso-padding-alt: 0cm 0cm 0cm 0cm; mso-yfti-tbllook: 1184;">
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<td style="padding: 0cm 0cm 0cm 0cm;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqS-4gBUXkKVCmuU_uG4fYCdGlOj3EYBYY84INoDRAVc7CgMaRRWMV9wizlU0sFAdQ1uPDp1fN1tkfu2vGr3GTghMV3c9oCrCC8avZ5zrLSbNN26csiixj_v1waKc7yIujw51kFqlKOil3/s1600/green-palette.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="paints chosen to mix green on ceramic palette" border="0" height="393" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqS-4gBUXkKVCmuU_uG4fYCdGlOj3EYBYY84INoDRAVc7CgMaRRWMV9wizlU0sFAdQ1uPDp1fN1tkfu2vGr3GTghMV3c9oCrCC8avZ5zrLSbNN26csiixj_v1waKc7yIujw51kFqlKOil3/s900/green-palette.jpg" title="mixing green" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="text-align: center;">
For the green mix the blue and the yellow at a 1:1 ratio and then add a small
amount or the red, I can bias the mix to a warmer (more yellow biased
green) or to a cooler ( more blue biased green) very easily by shifting
left or right with the mix out of the puddle shown below. Adding more
red reduces the brightness of the green until too much is added
and it shifts towards grey/ brown.</div>
</td></tr>
</tbody></table>
<div align="center" class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6bRAqLyYJQKAcQWx6vjOlmRcYPJnQOJ1HsAxVrVmcZlWWIVV9JYCEEp2kmPFV1mGfuMBwWFd1xTnbUMn0-UH0niSqO1sW3o3unwj4ntbAa8kWNPWTTcpLuPEv0xDQDe8y5RwIGMh6IF6N/s1600/green-palette.jpg"><span style="font-family: "times new roman" , serif; font-size: 12.0pt; text-decoration: none;"><span style="mso-ignore: vglayout;"></span></span></a><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"></span></div>
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<td style="padding: 0cm 0cm 0cm 0cm;"></td>
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<td style="padding: 0cm 0cm 0cm 0cm;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgE7NIFQFD6vfXHRweR8-yhStp-oLEP-wC9WiBhrER1yZq3pQ1MDxTu2RpIW1rigo3NuU1H3C0fgWdsvgQfztHv3RfNgbHXj-hdMEuMQ9kZ34Ouklp24ao4ktr5fiWKQYHN4mRxWIiOkvSC/s1600/brown-palette.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="mix of paints to make brown on palette" border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgE7NIFQFD6vfXHRweR8-yhStp-oLEP-wC9WiBhrER1yZq3pQ1MDxTu2RpIW1rigo3NuU1H3C0fgWdsvgQfztHv3RfNgbHXj-hdMEuMQ9kZ34Ouklp24ao4ktr5fiWKQYHN4mRxWIiOkvSC/s900/brown-palette.jpg" title="mixing brown" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The exact same colours in a different ratio make brown. Start with 1:1 of
the red and yellow and add a small amount of blue to make browns. A whole
range of lovely browns can be made by playing with the ratio of colours.
<br />
</td></tr>
</tbody></table>
</td></tr>
<tr style="mso-yfti-irow: 3; mso-yfti-lastrow: yes;"><td style="padding: 0cm 0cm 0cm 0cm;"></td></tr>
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</div>
<div align="center">
<table border="0" cellpadding="0" cellspacing="0" class="MsoNormalTable" style="mso-cellspacing: 0cm; mso-padding-alt: 0cm 0cm 0cm 0cm; mso-yfti-tbllook: 1184;">
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<tr style="mso-yfti-firstrow: yes; mso-yfti-irow: 0;">
<td style="padding: 0cm 0cm 0cm 0cm;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi99XJA-cn27GlpI6ncH-LL0tyehrOELDW03Hp6FGWs5P5VWMBo6vbyrbQp9XhaS57MIiuGR7PcBXyNKFoZRcSEuXlyGGIR8uXZRrOPcNIdEL1XvkKMYzucXMvYm2Ah2Vu5iEHVza-xKNUJ/s1600/neutral-tint.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="paints used to mix neutral tine on the palette" border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi99XJA-cn27GlpI6ncH-LL0tyehrOELDW03Hp6FGWs5P5VWMBo6vbyrbQp9XhaS57MIiuGR7PcBXyNKFoZRcSEuXlyGGIR8uXZRrOPcNIdEL1XvkKMYzucXMvYm2Ah2Vu5iEHVza-xKNUJ/s900/neutral-tint.jpg" title="mixing neutral tint" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Finally using the red and blue at 1:1 this time and adding a small
amount of yellow makes neutral tint or as near as black as is possible.
As before some lovely variations are possible by varying the ratio of
the colours to make warmer or cooler variations.</td></tr>
</tbody></table>
</td>
</tr>
<tr style="mso-yfti-irow: 1; mso-yfti-lastrow: yes;">
<td style="padding: 0cm;"></td></tr>
</tbody></table>
</div>
As you can see from this demonstration above, it's possible to
achieve pretty much everything using these 3 colours, including all the
various green tones as well as the brown parts without any need for
additional shade colours. I used a different underlying blue for the
highlights and a cooler yellow for the veins. But this will vary from
leaf to leaf. It's also incredibly important to maintain highlights and
this is easier if you use directional lighting on your subject, I often
exaggerate the lighting to make the painting more interesting.....but
that' a subject for another post.<br />
<br />
<div class="MsoNormal">
Finally, I think we all struggle with leaves and if you know
that they are a weak point for you, the best approach is to work extra
hard at improving them. If you plan to enter a painting for a juried exhibition, bear in mind that
judges are drawn to leaves like radar!...... they will notice poorly executed leaves or those treated as an afterthought.</div>
<div class="MsoNormal">
<br /></div>
<b>Quick Leaf Check list</b><br />
<br />
<ul>
<li>Observe first - look for underlying colours and key features, such as widest point, tip, base and leaf margin.</li>
</ul>
<ul>
<li>Make an accurate drawing observing key features and taking measurements </li>
</ul>
<ul>
<li>Light the subject using directional light from a lamp or window. A lamp is often better for beginners because its consistent. </li>
</ul>
<ul>
<li>Work out the palette, is it a light medium or dark leaf? If it's a
green leaf, whats the most appropriate blue to start with, test the
combinations.</li>
</ul>
<ul>
<li> Work out the approach and techniques, underlying colour, graded or blended washes and dry brush. </li>
</ul>
<br />
<br />
<b>A Few Things to Avoid!</b><br />
<ul>
<li>'Tram line' veins - check the width of your veins against the actual subject, if too wide use a synthetic short brush to 'push' them in</li>
<li><div class="MsoNormal">
Go easy with the eraser! I hear a lot of people blaming the
paper for ragged edges and yes there are a few issues with some papers but
nothing wrecks the surface like an eraser. </div>
</li>
<li>Stylised appearance– lack of detail or inaccurate venation pattern. Close observation required!</li>
<li>Over-painted edges, an absolute no no! be careful not to let washes
run over the edge. if this happens its usually because you use too much
water. Use a magnifier to help avoid this.</li>
<li>Poor lighting - results in flat lifeless leaves, interesting
paintings always have good lighting. So light from upper front left or
right and play with the light until you get it right. </li>
<li>Poor tonal values - usually caused by 1: poor lighting 2: bad colour
with lack of sufficient variation in tonal values, and/or painting
multiple layers of the same colour 3. Painting over the highlights.
Light well, start with a slightly larger highlight than needed and check
the range of tones and saturation of colour in the subject. </li>
<li>Compensatory washes over the top, using colours such as green gold.
Unless used carefully and selectively, these can often look like they've
been used to compensate for poorly painted leave and can make all of
your leaves look the same. </li>
</ul>
<div class="MsoNormal">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwp6OYo9MOxI76wp0dKf9Nt6ZvoPQLE0i68dLx8isMkGWNVPWJa4durM7zUUWBZfLjytqO8YYKkorRtBOobZbUALp9v_lrx41V3eJlq_jKv9pFDAbmZv0S3vUGL6TezreS25iaKKArJOn9/s1600/barlow.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwp6OYo9MOxI76wp0dKf9Nt6ZvoPQLE0i68dLx8isMkGWNVPWJa4durM7zUUWBZfLjytqO8YYKkorRtBOobZbUALp9v_lrx41V3eJlq_jKv9pFDAbmZv0S3vUGL6TezreS25iaKKArJOn9/s900/barlow.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">One the second day at Barlow, we painted brown leaves, will discuss browns and reds in more depth later.</td></tr>
</tbody></table>
<br /></div>
<div class="MsoNormal">
Work on Leaves, paint lots of them, paint different types – paint them over and over don't
be in a rush to finish your next piece…. <span style="mso-spacerun: yes;"> </span>have patience…. It doesn't matter if you
didn't post on social media for a while, concentrate on the job in hand and enjoy the process.<br />
<br />
<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEii2lwxEy2_XaSM1IXd-L4a-gtrD6NDCV4sFrhyqebd64CXxjGF_gds4GSR_if5pVZPpVRZeY_K_-ZqZHTD8MIwc6JZOq2QfoWImYFoQImBBj9LDSV7tlsMq_FJ2qRVYNzIHb9iEkm_Jo2G/s1600/Leaf+library.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img alt="image of four differnt paintings of leaves" border="0" height="141" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEii2lwxEy2_XaSM1IXd-L4a-gtrD6NDCV4sFrhyqebd64CXxjGF_gds4GSR_if5pVZPpVRZeY_K_-ZqZHTD8MIwc6JZOq2QfoWImYFoQImBBj9LDSV7tlsMq_FJ2qRVYNzIHb9iEkm_Jo2G/s900/Leaf+library.jpg" title="leaves in watercolour" width="400" /></a></div>
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Dianne Sutherlandhttp://www.blogger.com/profile/00336704902577001166noreply@blogger.com8tag:blogger.com,1999:blog-6401160288631130110.post-74757124356215931162017-01-22T09:48:00.001-08:002017-01-23T01:18:46.204-08:00Looking for Winter Inspiration: A ReviewI often hear people saying 'there's nothing to
paint at this time of year!' So
thought I'd write about some ideas for subject material from my previous work! Perhaps it
will help to inspire those of you who may feel stuck in a rut at this
time of year. <br />
It's not all brown and dead stuff either! Here's my
top 10 selection of painting and drawing subjects that can be found in
the depths of winter? All of these works were completed during the
winter months or from material collected out of season.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidHhyphenhyphenhRisRAbor21eJHPXS83yapYstlddQ1B6F7ZtvQnD1nb9aghb7wehpJ1oyeH_cadycmO2uJKE6nldsUWdGORyndNMX_KaROZUqiZKEo14AzzvEolZtnSWnECmIfOr1tSBM_SX0GGaE/s1600/collecting.jpg" style="margin-left: auto; margin-right: auto;"><img alt="Collection of leaves , fruit and seed pods" border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidHhyphenhyphenhRisRAbor21eJHPXS83yapYstlddQ1B6F7ZtvQnD1nb9aghb7wehpJ1oyeH_cadycmO2uJKE6nldsUWdGORyndNMX_KaROZUqiZKEo14AzzvEolZtnSWnECmIfOr1tSBM_SX0GGaE/s1000/collecting.jpg" title="Collection of leaves , fruit and seed pods" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Much
material can be collected in late October and you can keep the colour
for a while if you keep them in plastic bags in the fridge or just dry
them.....but there's much more to be found! </td></tr>
</tbody></table>
<br />
First
of all, its a good idea to <b>collect leaves, seeds and all manner of
material</b> <b>when you can</b> <b>during the rest of the year,</b>
store them in a dry place and they'll keep you
going for years! I love brown and decaying material, so make no
apologies for their inclusion. But there's lots of colour to be found
too.<br />
Of course it depends on where
you live to some extent, but there's no need to resort photographs when
there's real stuff to be found, I always try to work from live subjects,
using photos just for additional reference, it's so much easier when
you can handle the subject to get a feel for it's texture and turn it
around to understand the form, and, play with the lighting. <br />
<br />
<b>1.Dried Leaves and Leaf Skeletons</b><br />
Maybe an obvious subject but these are some of my favourites<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7eYkQoVru1Ufyjf__5dhfZB7n5GIroiZgBM62uIGq9tz1_rThjWJ2zJSQZjUM1D9mQgVC4QqvooB4Qz97MalRn8_zQPImwpzvxWJcbUT6ioQcbvl6E0XHgbUGbBXBtTh-BQIfYntrwX2p/s1600/blog-leaves.jpg" style="margin-left: auto; margin-right: auto;"><img alt="Oak leaf watercolour, front and back view" border="0" height="282" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7eYkQoVru1Ufyjf__5dhfZB7n5GIroiZgBM62uIGq9tz1_rThjWJ2zJSQZjUM1D9mQgVC4QqvooB4Qz97MalRn8_zQPImwpzvxWJcbUT6ioQcbvl6E0XHgbUGbBXBtTh-BQIfYntrwX2p/s1000/blog-leaves.jpg" title="Oak leaf watercolour, front and back view" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">I
love old oak leaves, I had these in a box for around 3 years, they're
perfect if you're learning to paint leaves and although not green there
are lots of colours to play with and you can examine the leaf structure
without fear of the leaf curling up or withering. </td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQjy2OVeVaQQFo2QtFdICSCm1cotSIQdkCsm1jVtD16z53mfS-IqsdrUusTrY_qMhI1npKyVVmvEjMeRq2LX6D8_xVUF5NDW5hf-pA1oZTvbkihdWpKnavu1E-k3por-Z6amtaSo_jlpZk/s1600/IMG_9699.JPG" style="margin-left: auto; margin-right: auto;"><img alt="Autumn leaf" border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQjy2OVeVaQQFo2QtFdICSCm1cotSIQdkCsm1jVtD16z53mfS-IqsdrUusTrY_qMhI1npKyVVmvEjMeRq2LX6D8_xVUF5NDW5hf-pA1oZTvbkihdWpKnavu1E-k3por-Z6amtaSo_jlpZk/s1020/IMG_9699.JPG" title="Autumn leaf on vellum" width="286" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Here's
a work in progress on on vellum, I managed to keep the colour by
keeping it in a bag for several weeks. Mixing the rich reds, browns and
golden colours is achieved with primary colours from a limited palette.</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPtCnoBF4jtv_oNyyrXch96fMgXx0aoTdB6XKAF4Nkzjh3JCQEyJ6PTAORAqglDmgzCihVCEfrDPu-CZTzKwlaHfxxgind7-pl4UpK-NF658lUuRdKheDqkq0eDp_W0UFWzwZxGwOwiS_I/s1600/leaf-skeleton-blog-5.jpg" style="margin-left: auto; margin-right: auto;"><img alt="Leaf skeleton painting on vellum, holly" border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPtCnoBF4jtv_oNyyrXch96fMgXx0aoTdB6XKAF4Nkzjh3JCQEyJ6PTAORAqglDmgzCihVCEfrDPu-CZTzKwlaHfxxgind7-pl4UpK-NF658lUuRdKheDqkq0eDp_W0UFWzwZxGwOwiS_I/s700/leaf-skeleton-blog-5.jpg" title="Leaf skeleton on vellum, holly" width="150" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Holly Leaf skeleton on vellum</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgR0ZZ9fVJHZA3DXtbHtnxz6EyDqPGWVtxk7c1yqonyVA-TuWCCOdRVdlCGpxDz0iKB-lEbUa2UoTrGndVE1VkMlueLjdN-qF6OXjylkeb2o600SJ4epHhA_DfJAHWOODsCP2zJGJLTuhoh/s1600/skeletons.jpg" style="margin-left: auto; margin-right: auto;"><img alt="Leaf skeletons photograph" border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgR0ZZ9fVJHZA3DXtbHtnxz6EyDqPGWVtxk7c1yqonyVA-TuWCCOdRVdlCGpxDz0iKB-lEbUa2UoTrGndVE1VkMlueLjdN-qF6OXjylkeb2o600SJ4epHhA_DfJAHWOODsCP2zJGJLTuhoh/s320/skeletons.jpg" title="Leaf skeletons" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Leaf skeletons can always be found in leaf litter</td></tr>
</tbody></table>
<br />
<b>2. Evergreens and winter garden material</b><br />
Plenty
evergreen leaves on plants and trees, holly and ivy are always nice and
usually there are some that are still hanging on in a state of semi
senescence. Also cyclamen, primulas and sweet williams are easily found
as are winter pansies. it's nearly the end of January, and my pulmonaria
and primulas are already popping up and things are starting to come to
life again already.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggaYjTywBKfU_uKnioIF_DgjCWu6XN5xLHUkbRf3AagBC3gvpseoWwfVYNLDFqcXzMRNY_SjCXowXYANwPyI8rD9TyAdOQoPrjWuPpNjhhr8LWCQjJ13XbMS61qWi4HqdB6vcSxG8d_0wK/s1600/ivy+greens.jpg" style="margin-left: auto; margin-right: auto;"><img alt="Ivy leaf study" border="0" height="234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggaYjTywBKfU_uKnioIF_DgjCWu6XN5xLHUkbRf3AagBC3gvpseoWwfVYNLDFqcXzMRNY_SjCXowXYANwPyI8rD9TyAdOQoPrjWuPpNjhhr8LWCQjJ13XbMS61qWi4HqdB6vcSxG8d_0wK/s1020/ivy+greens.jpg" title="Ivy leaf study" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Why
not work on practicing year round green leaves in your
sketchbook....there are plenty of evergreens here in the UK, holly, ivy
and laurel is everywhere, plus many more.</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqjGNS3Tv9ifsJC3Q5888lvhLOZx1VTbFYY6Cmt1wQULI9omuXheZUPB35eNgawz7rht6TnS3XI4-SmQtC4prazItRKOZzd6j-i7JBLNkPK4X26uUJJd91yjn5VfkzE2ntgN_xEaIkNMgG/s1600/Violas-5%252C10.jpg" style="margin-left: auto; margin-right: auto;"><img alt="winter pansies painted on vellum" border="0" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqjGNS3Tv9ifsJC3Q5888lvhLOZx1VTbFYY6Cmt1wQULI9omuXheZUPB35eNgawz7rht6TnS3XI4-SmQtC4prazItRKOZzd6j-i7JBLNkPK4X26uUJJd91yjn5VfkzE2ntgN_xEaIkNMgG/s900/Violas-5%252C10.jpg" title="winter pansies on vellum" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Winter pansies are easy to grow</td></tr>
</tbody></table>
<br />
<b>3. Seed pods and pine cones</b><br />
Another
absolute favourite! who could ever get tired of these. Ive got a
gorgeous Cardoon with the fluffy seeds popping out just waiting to be
painted! Throw some together for a table top composition....there's no
end of possibilities!<br />
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihTbFpEpXvRLyPzZsMoFNqy3twC87Rz4kZkX5BHwRA6bZB8A7JnzeBkLLJEzfmv5Yp5GmpSwXRzikj67b-VvLF8QERoyR7jgRpuavdNTNGGnzqQ5BlGIQ_ZDg51MNN157jnN4BHZPBOJkO/s1600/sketch.jpg" style="margin-left: auto; margin-right: auto;"><img alt="Sketchbook studies of seeds pods" border="0" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihTbFpEpXvRLyPzZsMoFNqy3twC87Rz4kZkX5BHwRA6bZB8A7JnzeBkLLJEzfmv5Yp5GmpSwXRzikj67b-VvLF8QERoyR7jgRpuavdNTNGGnzqQ5BlGIQ_ZDg51MNN157jnN4BHZPBOJkO/s1000/sketch.jpg" title="Sketchbook studies of seeds pods" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Found material, seed pods from Spain and Iris foetidissima, sketchbook studies</td></tr>
</tbody></table>
<br />
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-xLyzZgfthCF1Le7TBG1xhITWDieLCKmQ5OnJGw3ngZOPfGGNuFFlkqg8e4bdPkl_KFXwOepUXJYcWs4ebhRwcAC-OpAsswA2NkkAtn07YYz035woFe7WTAwLzy-nWzHSpLIzbPKdmDSN/s1600/blog2-seedhead.jpg" style="margin-left: auto; margin-right: auto;"><img alt="Scots thistle photograph" border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-xLyzZgfthCF1Le7TBG1xhITWDieLCKmQ5OnJGw3ngZOPfGGNuFFlkqg8e4bdPkl_KFXwOepUXJYcWs4ebhRwcAC-OpAsswA2NkkAtn07YYz035woFe7WTAwLzy-nWzHSpLIzbPKdmDSN/s1020/blog2-seedhead.jpg" title="Scots thistle photograph" width="267" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">There's beauty everywhere, even as this this Scots Thistle seed head falls apart</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghrBcxCm20hHsfbyTz0rd0Mf-tPa29Udvwk-G2NFF7RrM62As9RkSQsir69UvDzIzcTYndfaR50dLXwbQlYvxnve5GSnZE80S0IRkDoZmkTUk1M3Jf9aIUJtBQgSvVaQnev8tljoHzCQQ-/s1600/blog-1-graphite-thistle.jpg" style="margin-left: auto; margin-right: auto;"><img alt="Drawing of Scots thistle" border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghrBcxCm20hHsfbyTz0rd0Mf-tPa29Udvwk-G2NFF7RrM62As9RkSQsir69UvDzIzcTYndfaR50dLXwbQlYvxnve5GSnZE80S0IRkDoZmkTUk1M3Jf9aIUJtBQgSvVaQnev8tljoHzCQQ-/s1020/blog-1-graphite-thistle.jpg" title="Drawing of Scots thistle wip" width="314" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Why
not try a different medium. I'm rather fond of graphite work in winter.
Scaled up Scots Thistle Seedhead....before it fell apart</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuWjh7ukkOlM7SNZsApr54C202rIwjKYD8DDMEhIagRhFs9ChhyphenhyphenWBC6BtOyqIQt4LSjVwW-rNSo0Mb6rMpr85ka5vFgUouGbV8u7WMQi25ev3uRP7RlOk0sihW_qxN4h4itEHDqV6Ro_Jq/s1600/pines.jpg" style="margin-left: auto; margin-right: auto;"><img alt="Pine cone collection" border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuWjh7ukkOlM7SNZsApr54C202rIwjKYD8DDMEhIagRhFs9ChhyphenhyphenWBC6BtOyqIQt4LSjVwW-rNSo0Mb6rMpr85ka5vFgUouGbV8u7WMQi25ev3uRP7RlOk0sihW_qxN4h4itEHDqV6Ro_Jq/s1020/pines.jpg" title="Pine cone collection" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">You chance to get to grips with a real Fibonacci sequence</td></tr>
</tbody></table>
<br />
<br />
<b>4.Twigs, bark and lichens</b><br />
If you feel colour deprived, there are some beautiful subtle colours in these subjects!<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3uJY2GflW9zawrMPyB36KGMfWYGXAj5FW4BRCwo7ZiaR92FDWRmAt7Fh4VMmXEBbCRbAA3mGFivATQn1BsuemuP0fKA9kZrzK2lYXUsz2I1tWxEVhiJ6kS7XIWEletVTJbk1Lkhq0VRzy/s1600/blog-twigs-10.jpg" style="margin-left: auto; margin-right: auto;"><img alt="Twigs, bark and lichen painting" border="0" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3uJY2GflW9zawrMPyB36KGMfWYGXAj5FW4BRCwo7ZiaR92FDWRmAt7Fh4VMmXEBbCRbAA3mGFivATQn1BsuemuP0fKA9kZrzK2lYXUsz2I1tWxEVhiJ6kS7XIWEletVTJbk1Lkhq0VRzy/s1000/blog-twigs-10.jpg" title="Twigs, bark and lichen painting" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Some found twigs, bark and lichens demonstrate the variety of colours and textures to be found</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnpkP3Z88wWzMXvOYAHv_QzuJdtkFvEZHxOXphSiw79ViAsYZoQoYX9rxYRehlQZyfPDy4TXMu9-2auSxgvgKedICZNvxQFzamssh-1Tc337K3XtivBr07urtKASz-86Yr4jJlFe9N1f7F/s1600/lichen.jpg" style="margin-left: auto; margin-right: auto;"><img alt="Sketchbook study of lichens" border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnpkP3Z88wWzMXvOYAHv_QzuJdtkFvEZHxOXphSiw79ViAsYZoQoYX9rxYRehlQZyfPDy4TXMu9-2auSxgvgKedICZNvxQFzamssh-1Tc337K3XtivBr07urtKASz-86Yr4jJlFe9N1f7F/s700/lichen.jpg" title="Sketchbook lichens" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">More
sketchbook studies, the little withered hawthorn berry adds a jewel of
colour to this collection of found materials from Scotland</td></tr>
</tbody></table>
<br />
<br />
<b>5. Bulbs, corms and tubers</b><br />
You
can always find some bulbs, and if like me you forgot to plant them,
there can be colourful shoots too. There are the ones you can grow in
glass too if you want, waiting for my amaryllis to flower at the moment.<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioEhF3-m4GzdkPd5cr1C6Jx5aQ1pv7i83mjszdLrVMcqQvMYB3itHsba7VJ8x0T6RYIG_Q1BKK_knmF0Q5oICvBL0fgCfpjD6FiqiKiNmlD6LsIACNIPN1AHR1odMl-E7LlS89PJahzZGM/s1600/blogger-image-966958024.jpg" style="margin-left: auto; margin-right: auto;"><img alt="Bulbs" border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioEhF3-m4GzdkPd5cr1C6Jx5aQ1pv7i83mjszdLrVMcqQvMYB3itHsba7VJ8x0T6RYIG_Q1BKK_knmF0Q5oICvBL0fgCfpjD6FiqiKiNmlD6LsIACNIPN1AHR1odMl-E7LlS89PJahzZGM/s700/blogger-image-966958024.jpg" title="Collection of bulbs" width="156" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bulbs can be just as interesting as their flowers</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilnyfKBXvZ7KgAzmsCmhVPUdKhr5w4Qk6WJ_XClWBQH88gzyWR66Zn9NhS0m8NpiXzrtM5C8ng5ubxiA_Y6wt_BlYhAfDnC9kni0BaA8MF9KrWXa6xPOFkjU6IL45xn9mt7Y8ox6QdjYxE/s1600/Bulb.jpg" style="margin-left: auto; margin-right: auto;"><img alt="Sprekelia painting watercolour" border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilnyfKBXvZ7KgAzmsCmhVPUdKhr5w4Qk6WJ_XClWBQH88gzyWR66Zn9NhS0m8NpiXzrtM5C8ng5ubxiA_Y6wt_BlYhAfDnC9kni0BaA8MF9KrWXa6xPOFkjU6IL45xn9mt7Y8ox6QdjYxE/s1020/Bulb.jpg" title="Sprekelia painting watercolour" width="224" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sprekelia bulb, an exercise in using many glazes of colour </td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaPNiKb1fES4M-C4joyhdWzd4eV0_WsMpmI-2SNBrwYDbAIjcYl45KkWrnO8zZGdCGcTv9_6zjfYDUqGpmmVrl5aQdf1cLSlMVH_RnxFkJopDPFa7_SBvwPte1aNHH_ZPDMpCZva3eAQNs/s1600/bulbx3.jpg" style="margin-left: auto; margin-right: auto;"><img alt="Bulb painting" border="0" height="124" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaPNiKb1fES4M-C4joyhdWzd4eV0_WsMpmI-2SNBrwYDbAIjcYl45KkWrnO8zZGdCGcTv9_6zjfYDUqGpmmVrl5aQdf1cLSlMVH_RnxFkJopDPFa7_SBvwPte1aNHH_ZPDMpCZva3eAQNs/s1020/bulbx3.jpg" title="Bulb painting Sprekelia" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bulb painting process</td></tr>
</tbody></table>
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSLy90BQW3Ehr7qDbXb9wc6v4Uw0nrWj3BeN0AUybxZOEbMeliB0WA5XJR_AwjYMlaV7BDpbi_LSQpq9h8pwDNr47DflNUW4hoL038v4o-DMFIAy_rjDHbp7cjTZeAFqlzEXwg0X45FWdZ/s1600/bulbs.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSLy90BQW3Ehr7qDbXb9wc6v4Uw0nrWj3BeN0AUybxZOEbMeliB0WA5XJR_AwjYMlaV7BDpbi_LSQpq9h8pwDNr47DflNUW4hoL038v4o-DMFIAy_rjDHbp7cjTZeAFqlzEXwg0X45FWdZ/s920/bulbs.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sprouting bulbs are great subjects for learning how to draw and paint form</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhi1TaXPMp-6niy7wJFcaXw-aq3wKDhBnAbzDbZBEgKKrM3DoVXqa7FXKozw-CUnsBlmLGfiJMn7OEZqf5o2gK72z3TklOv_GQ67bSUjsMH8RHcQpJLYHMrnRQTA090BJDckT97AayjAFI_/s1600/bulbgraphite.jpg" style="margin-left: auto; margin-right: auto;"><img alt="Bulb drawing" border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhi1TaXPMp-6niy7wJFcaXw-aq3wKDhBnAbzDbZBEgKKrM3DoVXqa7FXKozw-CUnsBlmLGfiJMn7OEZqf5o2gK72z3TklOv_GQ67bSUjsMH8RHcQpJLYHMrnRQTA090BJDckT97AayjAFI_/s900/bulbgraphite.jpg" title="Bulb drawing" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Love the tangled roots most of all!</td></tr>
</tbody></table>
<br />
<b>6.Glass house</b><br />
Lots to be
found in botanic garden glass houses and some are happy to accommodate
artists ....if you ask nicely! I don't seem to have any winter studies
of my own but lots of orchids can usually be found and many other exotic
flowers and cacti<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbKc1mi2mUePQSdZgAfZ8i0xrcS6us4XpkbFfTgpdp2385Qh4u82oRLESORldqDaHDecYfn_xdwTnu-z35niEgj4aMKIh7LdlUcrhIpjloTcQotA7aDhOJyy3z7lzGRXQjj3dBhOmNttpP/s1600/orchids.jpg" style="margin-left: 1em; margin-right: 1em;"><img alt="Orchid paintings " border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbKc1mi2mUePQSdZgAfZ8i0xrcS6us4XpkbFfTgpdp2385Qh4u82oRLESORldqDaHDecYfn_xdwTnu-z35niEgj4aMKIh7LdlUcrhIpjloTcQotA7aDhOJyy3z7lzGRXQjj3dBhOmNttpP/s920/orchids.jpg" title="Orchid painting" width="320" /></a></div>
<br />
<br />
<b>7. Supermarket vegetables, flowers and fruit</b><br />
For
those feeling colour
deprived the supermarket can be a treasure trove of subjects! In the
past far less material would have been available - now it's global! from
turnips to tulips and pomegranates to pineapples. I've
painted so many things from supermarkets and painting often dominates my
shopping choices.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0WrbyxL1tIIpsogek6HRxjTL9kQ4iWRk12bRfcPe2GMLvA2NdZylRDSfB4cfxOI4YBVR4rllXyBwr_p71IGOq_sO2vzRkXZvINNHYPSCCeaekDhOuEIKpnjVTTWt4hawjB-ry1cmJJ-yA/s1600/turnip.jpg" style="margin-left: auto; margin-right: auto;"><img alt="Turnip painting" border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0WrbyxL1tIIpsogek6HRxjTL9kQ4iWRk12bRfcPe2GMLvA2NdZylRDSfB4cfxOI4YBVR4rllXyBwr_p71IGOq_sO2vzRkXZvINNHYPSCCeaekDhOuEIKpnjVTTWt4hawjB-ry1cmJJ-yA/s1000/turnip.jpg" title="Turnip " width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A
supermarket turnip, I kept it for a few weeks to allow it to sprout
leaves and it even flowered for me! You can do the same with beets and
other vegetables.</td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj2D648tdqZbkWIKUIeDRzmn3EZ5QIB-3PmQG_Z8vbTh0VPB5jJe-T8_8aOxS6eVq1gCv0jFd5fX6X4ZzoYrGE0jqozCKJ3qCyfAw1CyopJtY3mvkmZGKHv8iT7FHngfSreA_LLfZ1JK28/s1600/turnip+leaves.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj2D648tdqZbkWIKUIeDRzmn3EZ5QIB-3PmQG_Z8vbTh0VPB5jJe-T8_8aOxS6eVq1gCv0jFd5fX6X4ZzoYrGE0jqozCKJ3qCyfAw1CyopJtY3mvkmZGKHv8iT7FHngfSreA_LLfZ1JK28/s920/turnip+leaves.jpg" width="250" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">It's easy to grow new leaves on root vegetables, just sit them in water and leaves will sprout </td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXTDCuIm1NtcGe_FrGX-maUTod4-jNG07z21fq7DXruUSI2qE3YnBb_CNhZYfcuzVFIeEzCdu-gx2iRB3v57Yt_4PBl1YkT4egiZx0NOSnPikdRjSqXeHrMBtkdHOPt7errwoaDX3Yekmi/s1600/tulips.jpg" style="margin-left: auto; margin-right: auto;"><img alt="Tulips painting" border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXTDCuIm1NtcGe_FrGX-maUTod4-jNG07z21fq7DXruUSI2qE3YnBb_CNhZYfcuzVFIeEzCdu-gx2iRB3v57Yt_4PBl1YkT4egiZx0NOSnPikdRjSqXeHrMBtkdHOPt7errwoaDX3Yekmi/s1000/tulips.jpg" title="Tulip watercolour" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Tulips
in an array of colours are always available at supermarkets. Here's a
work in progress in the sketchbook. Write to the grower if you cant find
the name of the variety.</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvUIKwIs7de8GAXR6yymUj0EeB4jU577bHD0w0eQxWxgzd-2ayE9AlR08ycW0wL2aEwFl-JNXFNeBLFAAWD7WQhEfoZLTYCERmCikiOSG-MTWekzqVL-X98rWoqkdv_QRqWqQeixcokIOk/s1600/chilli-pepper-tutorial.jpg" style="margin-left: auto; margin-right: auto;"><img alt="Chili peppers" border="0" height="229" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvUIKwIs7de8GAXR6yymUj0EeB4jU577bHD0w0eQxWxgzd-2ayE9AlR08ycW0wL2aEwFl-JNXFNeBLFAAWD7WQhEfoZLTYCERmCikiOSG-MTWekzqVL-X98rWoqkdv_QRqWqQeixcokIOk/s920/chilli-pepper-tutorial.jpg" title="Chili peppers" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">No shortage of colour here in this pack of mixed chili peppers </td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
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<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1A-gvttm9xrWN0nIIuO15sBZhCj5KQSCDeX4AU2KI8Um-bp4p655ZQZOJ3meKg6McTypepDXvEmo_b4SCyFDvNGpmjDDXrd9ndEm1NK6f0_UOpadc_MSu7PGOqbh_Wx6Tapr1D2lUpxPg/s1600/colour-pineapple.jpg" style="margin-left: auto; margin-right: auto;"><img alt="Pineapple study page" border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1A-gvttm9xrWN0nIIuO15sBZhCj5KQSCDeX4AU2KI8Um-bp4p655ZQZOJ3meKg6McTypepDXvEmo_b4SCyFDvNGpmjDDXrd9ndEm1NK6f0_UOpadc_MSu7PGOqbh_Wx6Tapr1D2lUpxPg/s920/colour-pineapple.jpg" title="Pineapple study page" width="305" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Every botanical artists should paint at least one pineapple! winter could be the time as they're always available in the shops</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiV5xQWu9kzB6_3SB3brWMC-ArN22RLu6JmJomfuxVTFP09qaAIZXDcPefZd3LvBTgSUGf9pbcsMXRswtb1v1m5XZ-vuA1nwfzwNw10ILIVdXX1yY_sxL4d-RA-1AEyGI4E_QVwivOrMprl/s1600/process.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiV5xQWu9kzB6_3SB3brWMC-ArN22RLu6JmJomfuxVTFP09qaAIZXDcPefZd3LvBTgSUGf9pbcsMXRswtb1v1m5XZ-vuA1nwfzwNw10ILIVdXX1yY_sxL4d-RA-1AEyGI4E_QVwivOrMprl/s920/process.jpg" width="157" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Pineapple details</td></tr>
</tbody></table>
<br />
<br />
<b>8. Pot plants and florists</b><br />
Again, many tropical plants, orchids, calla, bromeliads and jasmine etc. <br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguqb7PfL97ZjYSZ4MjZiWdHnexcfYzE5sgdg6InoKB9o_hXcZTfYQHdXi6IGo4VaQJLsTMCsQdcP-L4Xq1r7qlUDPOgUlk3AQ6iGbKzfwUOcCQNOCbNuuwvm-M-LB1sTM2vYKA5ZC2n91k/s1600/potplant.jpg" style="margin-left: auto; margin-right: auto;"><img alt="Calla lily painting " border="0" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguqb7PfL97ZjYSZ4MjZiWdHnexcfYzE5sgdg6InoKB9o_hXcZTfYQHdXi6IGo4VaQJLsTMCsQdcP-L4Xq1r7qlUDPOgUlk3AQ6iGbKzfwUOcCQNOCbNuuwvm-M-LB1sTM2vYKA5ZC2n91k/s1000/potplant.jpg" title="Calla lilies" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">This
large painting was composed from rearranging a couple of pots of Calla
lilies into a more aesthetically pleasing arrangement </td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMNe0Rm9_PCiJZh4omhYM8mQhV7WNmI9mzxLatanEacIxR6YJ3ARt9Bp7PDKbZpccOUbpCeDfkL0-KwTU700DZCk3AWEQ-mXjZkObhcFyPi0wgLDXPVQmHUoZV4-Nv9P8Oef2Dj9MGGCU8/s1600/calla-colour.jpg" style="margin-left: auto; margin-right: auto;"><img alt="white calla lily study on paper" border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMNe0Rm9_PCiJZh4omhYM8mQhV7WNmI9mzxLatanEacIxR6YJ3ARt9Bp7PDKbZpccOUbpCeDfkL0-KwTU700DZCk3AWEQ-mXjZkObhcFyPi0wgLDXPVQmHUoZV4-Nv9P8Oef2Dj9MGGCU8/s920/calla-colour.jpg" title="calla lily study" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">And Calla's come in a wide variety of colours</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrib5JliZeCrdLf_RuQFyIy6fuANN7MW3BXRhDqH3wAyMvtYYOMHFFPhQBkj8Vbmu1uA2ATPpalebQ3zpM6T9lfbAZP7lp4CGh6cuIvM0vccqLDS_62NOrn9DZ5L1ggq5x7ShiZ-3CJbNd/s1600/freesia-wcolour.jpg" style="margin-left: auto; margin-right: auto;"><img alt="botanical study of purple freesia" border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrib5JliZeCrdLf_RuQFyIy6fuANN7MW3BXRhDqH3wAyMvtYYOMHFFPhQBkj8Vbmu1uA2ATPpalebQ3zpM6T9lfbAZP7lp4CGh6cuIvM0vccqLDS_62NOrn9DZ5L1ggq5x7ShiZ-3CJbNd/s1000/freesia-wcolour.jpg" title="Freesia study page in watercolour" width="242" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">I managed to buy freesias from the florist and some bulbs from a garden centre, so put them together as a study page</td></tr>
</tbody></table>
<br />
<b>9. Insects, feathers and shells</b><br />
Not botanical but fun to paint and great practice, and another example of why collecting is always worthwhile<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRgrb_Fh8tix1a1r3AZ2ewjfV0F2cZRix7AMDWfldO5hUWa6S92rZvJLnUFZmTug7VqWDxv-qU6uHW9Y5h4Obkh87eWUqbwAvDPoWu1NLZr1PxsXE1nhiP7saLyaFGUgzC1Oj8HP_FgCea/s1600/butterflycase.jpg" style="margin-left: auto; margin-right: auto;"><img alt="box of mounted butterflies" border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRgrb_Fh8tix1a1r3AZ2ewjfV0F2cZRix7AMDWfldO5hUWa6S92rZvJLnUFZmTug7VqWDxv-qU6uHW9Y5h4Obkh87eWUqbwAvDPoWu1NLZr1PxsXE1nhiP7saLyaFGUgzC1Oj8HP_FgCea/s1000/butterflycase.jpg" title="butterfly collection" width="355" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Collections
come in useful. Being trained in biology, I collected skulls, feathers
and insects for years but you don't have collect your own and most
natural history museums have insect collections, contact your local
museum and ask if you can come in to study them.</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv_1CJ4iE0c_cWmNWbWNw3O2oXzFY_hBFtw9D9Y8hbo-8nvqQgj710uIUVL_tdjTder691JGVLffNxsIkkGW47VCQ_KC-CqjtadKLNYagPkKW9OMzaL0W2q8rXjqgkoS8z5pnw2HEK2SOH/s1600/three-butterflies.jpg" style="margin-left: auto; margin-right: auto;"><img alt="British Butterfly painting" border="0" height="205" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv_1CJ4iE0c_cWmNWbWNw3O2oXzFY_hBFtw9D9Y8hbo-8nvqQgj710uIUVL_tdjTder691JGVLffNxsIkkGW47VCQ_KC-CqjtadKLNYagPkKW9OMzaL0W2q8rXjqgkoS8z5pnw2HEK2SOH/s1000/three-butterflies.jpg" title="British Butterfly painting" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Three British Butterflies on manuscript vellum </td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1BnJrYZtnYwGyPBPHWcYx1HqD0yTIHFpanR8slO3mT57SdvuSJRJ8c8d97ioLaIERgqWiZm9x9be0DAK89gP66ZrT6h_rKRTC6Za3inMRmi9_2Rfiy7-pYHeKm76ywoZoeGPWgx7h-q5z/s1600/three-buterflies-wip.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="126" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1BnJrYZtnYwGyPBPHWcYx1HqD0yTIHFpanR8slO3mT57SdvuSJRJ8c8d97ioLaIERgqWiZm9x9be0DAK89gP66ZrT6h_rKRTC6Za3inMRmi9_2Rfiy7-pYHeKm76ywoZoeGPWgx7h-q5z/s920/three-buterflies-wip.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The stages of painting butterflies, lots of dry brush and detail, using size 1 brushes</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF85o223sZJoc_WMib8hBsPv9Z0fWmn8XaQsjrp4Fgdnk3KWnLf9GYaAZQf8Q9dvDE4EADaLLiW6xaswIJ25nfLLLVIgfIyTz-Fqby_m8pnzDfxqX12gEX5Ah_66M7x8i-lKG6nY7wF20p/s1600/feathers.jpg" style="margin-left: auto; margin-right: auto;"><img alt="Feather painting on vellum" border="0" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF85o223sZJoc_WMib8hBsPv9Z0fWmn8XaQsjrp4Fgdnk3KWnLf9GYaAZQf8Q9dvDE4EADaLLiW6xaswIJ25nfLLLVIgfIyTz-Fqby_m8pnzDfxqX12gEX5Ah_66M7x8i-lKG6nY7wF20p/s920/feathers.jpg" title="Feather painting" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Peacock feathers on Kelmscott vellum</td></tr>
</tbody></table>
<br />
<b>10. Fungi</b><br />
Also not in the plant kingdom but lots of interesting textures and colours. <br />
<div class="separator" style="clear: both; text-align: center;">
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmilZDBvOhwFuVZIQ58GHaElxwA7Hk6Q2yvxbvfcTQyZaVGeninx2cyrNGdel9ZDTPBChB04AzwCjjRUyRSlEzPF_H9-e0yPNaav2LOTIISFE5fkrLCJ04Euym83dkukqAkm8Zv8yM0i0k/s1600/mushroom.jpg" style="margin-left: auto; margin-right: auto;"><img alt="Fungi painting subject" border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmilZDBvOhwFuVZIQ58GHaElxwA7Hk6Q2yvxbvfcTQyZaVGeninx2cyrNGdel9ZDTPBChB04AzwCjjRUyRSlEzPF_H9-e0yPNaav2LOTIISFE5fkrLCJ04Euym83dkukqAkm8Zv8yM0i0k/s700/mushroom.jpg" title="Fungi painting subject" width="180" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Lots of lovely fungi, not a subject that I often paint but always another option and they pop up everywhere around my home!</td></tr>
</tbody></table>
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<br />
<b>Oh and one more! number 11. Travel! </b>yes
you can find material elsewhere and take your sketchbook! That's what
I've been doing this last year or two, which is partly why I've
neglected my blog for nearly 6 months! I had a great 2016 travelling,
painting and meeting lots of wonderful people. I'm back home for a
while now and will catch up with all the unfinished posts<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQVT2Q49ooqEOzDzakqt1Ckju5mxn0vDaC1GhvZg3BM_ycmFa1yMn2c9MPUDkDNltWWn2qyDhe45mjBfH6dwL9gbTSxwsQvLiJhq9R3JtXB8i92x94oT_56Za09tp_ObjpBlxyABu_lJlD/s1600/IMG_7656.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQVT2Q49ooqEOzDzakqt1Ckju5mxn0vDaC1GhvZg3BM_ycmFa1yMn2c9MPUDkDNltWWn2qyDhe45mjBfH6dwL9gbTSxwsQvLiJhq9R3JtXB8i92x94oT_56Za09tp_ObjpBlxyABu_lJlD/s920/IMG_7656.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Feet up! From my train travels across the USA in October</td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz4btPp0Ymzeah647Tp7DMmv9i6Z1wGqfPCrP7uMg57boC6yLR4F1xWi-zkRMUYssBx1BCXM5lwXxn5PpWv1CVyTcocETrX0-6CUZFwfjIbNWOfcVTivpXpnyv9YptQgH-CjeX8bcr3dGM/s1600/aussie-sketch.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="335" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz4btPp0Ymzeah647Tp7DMmv9i6Z1wGqfPCrP7uMg57boC6yLR4F1xWi-zkRMUYssBx1BCXM5lwXxn5PpWv1CVyTcocETrX0-6CUZFwfjIbNWOfcVTivpXpnyv9YptQgH-CjeX8bcr3dGM/s1000/aussie-sketch.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">My sketchbook from Australia travels 2015</td></tr>
</tbody></table>
See there really are lots of subjects! what there is a lack of, is enough time to paint them all.<br />
Thank you for reading, it's also been a bit of a review for me too. Looking forward to many new works and blog posts in 2017! <br />
<br />Dianne Sutherlandhttp://www.blogger.com/profile/00336704902577001166noreply@blogger.com17tag:blogger.com,1999:blog-6401160288631130110.post-79046380885271301252016-08-20T03:04:00.002-07:002016-08-20T03:04:42.965-07:00Which Brush? Spotters and Miniatures<span style="-webkit-text-size-adjust: auto; background-color: rgba(255, 255, 255, 0);">I'm often asked about which is the best brush for botanical work but as usual there's no simple answer! I use lots of types of brushes for different jobs! So will break this into brush types, starting with a post on one type of brush; the miniature or spotter. Here's my own opinion on 5 different brushes in the range. </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju5yYLGowDB-v6UfNTMr9gRbL3vsugTuhU5lrwoWGabML_zABrhs4EJozwBNvItH98bMG1OFArnk936nLWsB2Vgr0IxQI7wbYrz_AJX1vxy3ozHmkh2llFVkbdCjgfHEGCJQzYqhpf8zOb/s640/blogger-image--25316184.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="Paintbrushes stored in pots" border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju5yYLGowDB-v6UfNTMr9gRbL3vsugTuhU5lrwoWGabML_zABrhs4EJozwBNvItH98bMG1OFArnk936nLWsB2Vgr0IxQI7wbYrz_AJX1vxy3ozHmkh2llFVkbdCjgfHEGCJQzYqhpf8zOb/s900/blogger-image--25316184.jpg" title="Paintbrushes in pots" width="353" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Paintbrushes accumulated over the years! p.s. only store this way when dry, otherwish water and paint lies in the ferrule and that's bad!<b><br /></b></td></tr>
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<b>What is a miniature or spotter?</b> Both miniature and spotter brushes are <span style="font-family: "helvetica neue light" , , "helvetica" , "arial" , sans-serif;">short haired brushes that allow <span style="font-family: "helvetica neue light" , , "helvetica" , "arial" , sans-serif;">excellent</span> control for fine detail work, this feature makes <span style="font-family: "helvetica neue light" , , "helvetica" , "arial" , sans-serif;">them</span> very useful to botanical artists who <span style="font-family: "helvetica neue light" , , "helvetica" , "arial" , sans-serif;">favour</span> dry brush and fine det<span style="font-family: "helvetica neue light" , , "helvetica" , "arial" , sans-serif;">ail</span> techniques, and is especially good for the vellum painter. A spotter is much the same as a miniature but sometimes <span style="font-family: "helvetica neue light" , , "helvetica" , "arial" , sans-serif;">has</span> a slightly fatter belly, both should have a sharp tapered point for extra fine detail. </span></div>
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<span style="font-family: "helvetica neue light" , , "helvetica" , "arial" , sans-serif;">What size of spotter is best? I don't often use anything anything smaller than a size 1 and in these brushes certainly no larger than a size 3<span style="font-family: "helvetica neue light" , , "helvetica" , "arial" , sans-serif;">, although sizes seem to vary between manufacturers<span style="font-family: "helvetica neue light" , , "helvetica" , "arial" , sans-serif;">.</span></span> </span></div>
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For washes I use round or pointed brushes which have longer hairs and size 5 or 6 plus, I also use flats for some jobs such as lifting and half riggers for long flowing lines. I'll discuss them some other time in a separate post. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnPewsIQvJKV3mMmztjrPOX6vghsYgymgMXcSi_EFS6XlH9f7wv3W_nu1MaVmrkEhrKBcWrwUtc_bDSaJwtp39nDy21gu5tjWgWvFjJN_7kzmncpQNjx-3HGQfmLh3AY5dqBTQSFToDO_6/s640/blogger-image--167513511.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img alt="five watercolour brushes " border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnPewsIQvJKV3mMmztjrPOX6vghsYgymgMXcSi_EFS6XlH9f7wv3W_nu1MaVmrkEhrKBcWrwUtc_bDSaJwtp39nDy21gu5tjWgWvFjJN_7kzmncpQNjx-3HGQfmLh3AY5dqBTQSFToDO_6/s840/blogger-image--167513511.jpg" title="five watercolour brushes " /></a></div>
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<tr><td class="tr-caption" style="text-align: center;">The five brushes left to right: Winsor & Newton Series 7 miniature, Rosemary & Co spotter, David Jackson spotter, Raphael 8048 and Pro Arte series 107 </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOu2dCit22ar8HziZTaesJGjTW1JHkbm-OB0UDnynyP-iHLyCjaCJV8ACSSgAFfCozeG7cvKCyFA9MKVi2u7UtcdgrTqRvJ21JjfNg_96VaZHHRBjvbQRKBPnKTGLNTqybJ8wg_R-1PN1D/s640/blogger-image-1644310253.jpg" style="margin-left: auto; margin-right: auto;"><img alt="Paintbrushes splayed slightly " border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOu2dCit22ar8HziZTaesJGjTW1JHkbm-OB0UDnynyP-iHLyCjaCJV8ACSSgAFfCozeG7cvKCyFA9MKVi2u7UtcdgrTqRvJ21JjfNg_96VaZHHRBjvbQRKBPnKTGLNTqybJ8wg_R-1PN1D/s940/blogger-image-1644310253.jpg" title="Paintbrushes splayed slightly " /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Pressing the 5 brushes against the paper, shows just how different they are.</td></tr>
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The 5 Brushes</b> </div>
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<b>
<a href="http://www.rosemaryandco.com/watercolour-brushes/pure-kolinsky-sable/pure-kolinsky-spotters" target="_blank">Winsor and Newton</a> Series 7 miniatures, </b>Kolinsky sable size 1 £8.25 - £12</div>
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One of the most popular brushes and one that I've used for many years, but have noticed some inconsistency in quality over the past few years with stray and bent hairs. It's a lovely looking brush though and handles well. It <span style="font-family: "helvetica neue light" , , "helvetica" , "arial" , sans-serif;">appears to be made with hairs slightly longer hairs in the middle compared to the outside, I think maybe for this reason they splay slightly sometimes. But it's generally a really good 'all rounder' and has a lovely point, which is superior to the Rosemary and Co but not as good as the David Jackson or the Raphael although probably on a par with the Pro Arte. The lines that I painted with it were fine but not as clean as others. It's good for dry brush work but it's an expensive brush to wears out if you use it for this purpose</span><span style="font-family: "helvetica neue light" , , "helvetica" , "arial" , sans-serif;">. I feel like the hairs are finer and softer than say the Raphael but not as soft as the Rosemary &Co, great for very delicate work, where little pressure is required, such as on vellum. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzqTYcYNM4E32Oz1CIdVhO9jIuzodynV8scjgoralYWNWjie1XFXO_G8YgStefzhuXtN6le9nHdJbh1przlfhgUlbIetLsVjbnmqbvart6k4u20kuFM7A_6RkEKsZKE2PdiflzWvPINX9A/s640/blogger-image-1819068746.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="Oak leaf painting using winsor and newton brush" border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzqTYcYNM4E32Oz1CIdVhO9jIuzodynV8scjgoralYWNWjie1XFXO_G8YgStefzhuXtN6le9nHdJbh1przlfhgUlbIetLsVjbnmqbvart6k4u20kuFM7A_6RkEKsZKE2PdiflzWvPINX9A/s400/blogger-image-1819068746.jpg" title="Oak leaves " width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Oak Leaves, watercolour on paper, painted all detail with W & N miniature</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgORaR3eWQxwQas8iGfum68kRntxIxUxHY7doAbv7SVddqlX1T_IMDoBEzFrvFpJ4zojFp8b-1X1pA6C0BAfuNOP2lZ55bl1b_0xM9-__hd7_UfmoXPfp0PX1AZvWYz-tSAHfeK7DnWjZlV/s640/blogger-image-497480838.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="splayed hairs on a winsor and newton paint brush" border="0" height="392" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgORaR3eWQxwQas8iGfum68kRntxIxUxHY7doAbv7SVddqlX1T_IMDoBEzFrvFpJ4zojFp8b-1X1pA6C0BAfuNOP2lZ55bl1b_0xM9-__hd7_UfmoXPfp0PX1AZvWYz-tSAHfeK7DnWjZlV/s400/blogger-image-497480838.jpg" title="splayed hairs on a brush" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Some splaying of hairs, is annoying!</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUsJ3V-8j6QDEy5wof2xTmmHYnCzCOmbuDR_CB3yjrantO6AOPLGSAmC1IT7yEcZWad56DBdcQdfidzoEHE8SACe5Iti681PrT5Leth2QwkGCGMPzTktX9KCBy5d1SG10STUrXD-38mHj4/s940/blogger-image--100865876.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img alt="worn paintbrushes from dry brush" border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUsJ3V-8j6QDEy5wof2xTmmHYnCzCOmbuDR_CB3yjrantO6AOPLGSAmC1IT7yEcZWad56DBdcQdfidzoEHE8SACe5Iti681PrT5Leth2QwkGCGMPzTktX9KCBy5d1SG10STUrXD-38mHj4/s920/blogger-image--100865876.jpg" title="worn watercolour brushes" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The effect on W & N and Rosemary and Co after much dry brush work!</td></tr>
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<b><a href="http://www.rosemaryandco.com/watercolour-brushes/pure-kolinsky-sable/pure-kolinsky-spotters" target="_blank">Rosemary & Co</a> spotter series 325</b>, size 1 £4.25 </div>
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Half the price of most sable brushes, to me this spotter is really a different type of brush. Looking at the 5 brushes together, you can immediately see that it's much fatter in the belly than the other miniatures and has more hairs which seem softer and possibly finer - I should really put this to the test under the microscope but this is just a quick post! The point seems to dull quite quickly, possibly because of the finer hair, but initially it's a good enough point and if you don't paint so much it should last a while. The biggest problem I have with Rosemary & Co brushes is the splaying of hairs, worse than W & N and which happens fairly early on in the life of the brush, and even more so with the longer haired round / pointed brushes. The point is less tapered too and this tends to result in less of a smooth fine line compared to the David Jackson and the Raphael brushes, on close analysis the fine lines are more broken up and therefore less contact is made with the paper so perhaps this is to do whith the chunky build and maybe a bit more water is needed. Having said all that, this brush comes into its own for 'modelling' dry brush work and I use it largely for this purpose. It lasts for ages and is actually better with some wear. In particular, I love it for what I call 'polishing' dry brush work on vellum, which is an approach that I use to add a very fine layer of colour over previous dry brush to give shine, it's a very dry approach using quite a bit of pressure which allows me to layer, similar to the equivalent of a final wash on a watercolour. Below is an example of using a Rosemary and Co spotter on a maple leaf to get the 'polished, look on vellum! </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8IRFpwDBu1zkpoKAZgkM_v9joSQysrMA6DRBmGsFhOYt5R487iV3QupUx6rw5zhLaG16bOoOHWh8kicV_Z1rvWqJxzL4lNmL5254_bWrrArog43W1BkPa5ICIkpMD3janTKCVhZnIRVWY/s940/blogger-image--139921760.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="Rose hip using dry brush" border="0" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8IRFpwDBu1zkpoKAZgkM_v9joSQysrMA6DRBmGsFhOYt5R487iV3QupUx6rw5zhLaG16bOoOHWh8kicV_Z1rvWqJxzL4lNmL5254_bWrrArog43W1BkPa5ICIkpMD3janTKCVhZnIRVWY/s920/blogger-image--139921760.jpg" title="Rose hip using dry brush" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Rosemary and Co spotters are great for dry brush work to achieve rich colour and depth</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik2ukkjCIbpBqjFz_ZT5tGE2mVwKQLS87yarzP3sKjQ7KbzLnVjdHv_QalDkTHFUm5mOZGA59_x2HIDqi__xV4MOVUlyuOAwWQGiRO3-VMcGl48hEcWOiyHH-N9Y61LFoR3QHpmyDxOcNh/s940/blogger-image-1520579171.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="maple leaf on vellum using posishing dry brush" border="0" height="302" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik2ukkjCIbpBqjFz_ZT5tGE2mVwKQLS87yarzP3sKjQ7KbzLnVjdHv_QalDkTHFUm5mOZGA59_x2HIDqi__xV4MOVUlyuOAwWQGiRO3-VMcGl48hEcWOiyHH-N9Y61LFoR3QHpmyDxOcNh/s920/blogger-image-1520579171.jpg" title="maple leaf on vellum using posishing dry brush" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Also 'Polishing' dry brush is easier to achieve with the Rosemary & Co spotter</td></tr>
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<b>
<a href="https://www.facebook.com/people/David-Jackson/100002946283913" target="_blank">David Jackson</a> Spotter, size 1 £? Contact The Brushman for information</b></div>
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David Jackson is a true craftsman and he made some spotter brushes for me several years ago, I think back 2012. I use them frequently and they are as good today as they were the day he very kindly put them through my door! The fine line work is by far the best, the brush holds enough water in its belly to maintain contact with the paper for a flowing fine line. This is my favourite little brush for detail working on vellum, I love to use it when painting butterflies, the fine point can give incredible detail for the most delicate dry brush work yet doesn't seem to wear at all, probably because so little pressure is required and it just glides across the surface with no friction. The hairs are quite soft though so it won't allow an lifting but that not the purpose of a brush like this. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0orhMfeyqp8Wa67p7u8-TEyNFWqo12sZtHqqPCRuV1Qf7YNsG3_HY_sgmZeHV8P3OyMtBg_24lw5OjWhL3qGrh1aXxBLVUqeEYloojWSJuUQXCFsa9FhMbPYc4WcNJV447KZCiPiODa16/s940/blogger-image-1810186501.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="butterfly winf detail made using David Jackson spotter brush" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0orhMfeyqp8Wa67p7u8-TEyNFWqo12sZtHqqPCRuV1Qf7YNsG3_HY_sgmZeHV8P3OyMtBg_24lw5OjWhL3qGrh1aXxBLVUqeEYloojWSJuUQXCFsa9FhMbPYc4WcNJV447KZCiPiODa16/s940/blogger-image-1810186501.jpg" title="Butterfly wing " /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">David Jackson's brushes are perfect for fine lines and detail, such as the fine scales of a moth wing</td></tr>
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<b>
<a href="http://www.raphael.fr/en/Kolinsky-8400_fiche_103.html" target="_blank">Raphael 8404 </a> Red Sable size 3/0</b> approx £7 -£10 </div>
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Narrower at the ferrule than series 7 and considerably narrower than the Rosemary & Co. This brush is more tapered but has enough belly to hold the right amount of water. This allows beautiful fine lines to be painted. It also seems a bit stiffer and is great for tidying edges and line work. I find the firmer brush perfect for fine tapered hairs when using body colour but also for very fine details, such as veins as well as for tidying edges. An excellent and versatile brush that rivals the Winsor & Newton miniature. <a href="https://www.jacksonsart.com/raphael-kolinsky-red-sable-brush-series-8404-size-5-0" target="_blank">Here's a link for the lowest price 8404</a>. They also make the 8400 which is Kolinsky sable and extra short round brush, which is probably even better for dry brush.....I've ordered one! Beautiful brushes that last. I've had mine in excess of 5 years.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUdPaVi6dfnTkQ5HuEaMsGLMUAst1p0ZAExDatYxKlw2mVhrCSF0Q4tj_zQX3wAdUxuD8czLRRGIhLI_vg1XxRQL4dqHYI0XBvRyCFoIArDsRLVzUdzC7teZkie1q8VC3C1s5H_8vVb1y_/s940/blogger-image-2034440198.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="Painting hairs on flowers " border="0" height="395" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUdPaVi6dfnTkQ5HuEaMsGLMUAst1p0ZAExDatYxKlw2mVhrCSF0Q4tj_zQX3wAdUxuD8czLRRGIhLI_vg1XxRQL4dqHYI0XBvRyCFoIArDsRLVzUdzC7teZkie1q8VC3C1s5H_8vVb1y_/s900/blogger-image-2034440198.jpg" title="Painting hairs on plants, pulsatilla " width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Using the Raphael for painting fine hairs with body colour and a grey fine shadow line too. This gives additional depth to the hairs</td></tr>
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<b>
<a href="http://www.proarte.co.uk/watercolourrange.html" target="_blank">Pro Arte </a>107 spotter, size 1</b> £2.60 - £3.50</div>
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A great low cost synthetic brush for lovely fine detail. I've only recently started using this one but on the downside the point goes fairly soon and you get that characteristic bent tip thet happens with many synthetic brushes but for the price, and if you don't like to use animal poducts, it's a pretty amazing little brush. Below is one I purchased a couple of weeks ago, and you can see the point has bent but if you use it for fine line work and not for dry brush it will last long. The fine lines are actually marginally better than with the W& N brush and the stiffer synthetic hair means you can tidy up edges and push the paint a little more than with a sable brush als good for hairs. So again it's a brush with a slightly different role and one I use a lot! Sold by several shops, including <a href="http://www.heatoncooper.co.uk/product.php?xProd=65" target="_blank">Heaton Cooper</a> and<a href="https://www.pullingers.com/c/72206/pro-arte-series-107-prolene-spotting-brushes?utm_source=googlebase&utm_medium=pricecomp&utm_campaign=GoogleShopping&gclid=CMG_kpnSz84CFdQ_GwodHeACLA" target="_blank"> Pullingers</a> but often in the craft / hobby range </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD9n_S6cTIkmMLbbBMpuLG6iuyT-AxNpDtTaGCD1-KIKlJW5XLvNAeXfE7Oq4wIrlbVRStK8Tx2qffj51p08vV_hwezfr_iM5RrvRD7lBTEkDOxsy4L_vn8PoiqL1NDml6meyVoL_pOHTb/s940/blogger-image-1861143939.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="Purple made using Rose petal, dry brush techniques" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD9n_S6cTIkmMLbbBMpuLG6iuyT-AxNpDtTaGCD1-KIKlJW5XLvNAeXfE7Oq4wIrlbVRStK8Tx2qffj51p08vV_hwezfr_iM5RrvRD7lBTEkDOxsy4L_vn8PoiqL1NDml6meyVoL_pOHTb/s940/blogger-image-1861143939.jpg" title="Rose petal, dry brush techniques" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Petal painted with Pro Arte spotter ( apart from the wash which was painted with a size 5 round) Its great for the veins and sharp edges and 'drawing' and 'dragging' dry brush techniques, but loses the point quickly.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV1Jnayntg7miu8aGtBGM0TRjVeCLjsBmB6nQnf0sR1_qPwgcbbGHP8LJB9jl41V8qBnyqy8NB91Rwj399DYTzx_oVUbKSQfY1qHcWrkFJGyaYrV27ZwzJcHwrdjiymhNKyHM4PzzVipPR/s940/blogger-image-1358158268.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="damaged synthetic brush point " border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV1Jnayntg7miu8aGtBGM0TRjVeCLjsBmB6nQnf0sR1_qPwgcbbGHP8LJB9jl41V8qBnyqy8NB91Rwj399DYTzx_oVUbKSQfY1qHcWrkFJGyaYrV27ZwzJcHwrdjiymhNKyHM4PzzVipPR/s940/blogger-image-1358158268.jpg" title="damaged synthetic brush" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The point start to bend and this happens a lot with synthetics but it's still a fantastic little brush</td></tr>
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<div>
<b><b>Sets of Brushes</b></b><br />
I don't bother with sets of brushes by one manufactuer<b>, </b>because you usually end up<b> </b>with one or two that you don't need and often there are good offers on some brushes, so it's a bit of a false economy. But it you have no idea regarding where to start I supose it gives a taster of whats available. <b></b><br />
<b><br /></b>
<b>Which is the Best? </b></div>
<div>
To be fair I like and use all of these brushes, I'd say the one that impresses me the most is David Jackson's brush, because of the smoothness of the line and the lack of friction between paper and brush. But I like them all for different reasons as outlined above. I tested them all out for lines the various dry brush techniques and they all have slightly different outcomes. I actually think it's worth investing in one of each of these brushes as a learner. They will all be used and small brushes are not so expensive. You can shop around and buy all of them for under £35! You may well find you have different preference but the best way to find out what suits you is to try different types, rather than blindly following somebody else's suggestions. Your brush really can make a difference and its very personal!<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhES9sE4YhKn5qwsdR_oLO7lQmcAt7DtzJNEqeaRoFExi8506AwQw_K87BAsPDTP52AB9smvIE9FBGztcjwECSLidNNcIHM4D5Mjv1bH_h7aBhVjbQQ8m-2LyL9o0zgPWPJL4qos88brM4D/s940/blogger-image-1475450123.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="Painting fine lines comparison of brushes" border="0" height="215" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhES9sE4YhKn5qwsdR_oLO7lQmcAt7DtzJNEqeaRoFExi8506AwQw_K87BAsPDTP52AB9smvIE9FBGztcjwECSLidNNcIHM4D5Mjv1bH_h7aBhVjbQQ8m-2LyL9o0zgPWPJL4qos88brM4D/s900/blogger-image-1475450123.jpg" title="Painting fine lines comparison of brushes" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Painting lines, David Jackson and Raphael were clear winners here.</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHiV2YdccRBn0p8y7Ysm6q1IljK2bzVVEurfM2M9M9XRchodqHanJ36Jr1IVgqjyTAcHzLl2YinDg80rJuWwxvcGJgy_cBZZU7ZlfQEipFVy8nYfoiWb_PUUVeurU8r7jut6XvrIairfh-/s640/blogger-image--489255970.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="Painting fine lines comparison of brushes David Jackson versus Rosemary and Co" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHiV2YdccRBn0p8y7Ysm6q1IljK2bzVVEurfM2M9M9XRchodqHanJ36Jr1IVgqjyTAcHzLl2YinDg80rJuWwxvcGJgy_cBZZU7ZlfQEipFVy8nYfoiWb_PUUVeurU8r7jut6XvrIairfh-/s940/blogger-image--489255970.jpg" title="Painting fine lines comparison of brushes" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Closer ( magnified x2) inspection shows the smoother lines from the Jackson brush but the Rosemary and Co is better suited to dry brush</td></tr>
</tbody></table>
<b></b>There's much more I could say about brushes and will<i> try</i> to write another post on other brushes at some time. This just filled the darkest of mornings when painting was near on impossible! hence the dark photographs.</div>
</div>
Dianne Sutherlandhttp://www.blogger.com/profile/00336704902577001166noreply@blogger.com6tag:blogger.com,1999:blog-6401160288631130110.post-47002504852294002652016-07-28T04:43:00.001-07:002016-07-28T07:19:56.847-07:00Painting Roses and Colour Mixing: Sheffield Florilegium WorkshopI recently ran a workshop on painting roses for The Florilegium
Society at Sheffield Botanical Garden. It's always interesting to talk
to participants and take on board what they have to say about where they
find difficulties. I offered to write this blog
post for those who attended on the day and for general interest for
anyone interested in drawing and painting roses, with a few additions on
palettes and colour mixing too which was a common topic of the day.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKVa6aQFZr7bPHr9RkGyXXPvEw8unrIbkH0g7kuTNTOoqla6_Je8-h3F2PkgXReBdbE7xKZf3NUlgHeGxqacMpR3X2F60CU7JxKNjlAIPDf0U_CCz4awXm3Ahn71ks_qYXwsTgKp5Tp1hN/s1600/Rose-blog1.jpg" style="margin-left: auto; margin-right: auto;"><img alt="Showing painting of a pink rose " border="0" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKVa6aQFZr7bPHr9RkGyXXPvEw8unrIbkH0g7kuTNTOoqla6_Je8-h3F2PkgXReBdbE7xKZf3NUlgHeGxqacMpR3X2F60CU7JxKNjlAIPDf0U_CCz4awXm3Ahn71ks_qYXwsTgKp5Tp1hN/s920/Rose-blog1.jpg" title="Pink rose watercolour" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A rose painted before the workshop, colours worked out in advance using a combination of Permanent Rose, Quinacridone
magenta and a touch of cobalt blue in the shadow colour. The use of
blue in a shadow on a pink rose gives a very fresh look, which is
important in roses and ther flowers.</td></tr>
</tbody></table>
It was a very warm welcome from quite a large group of 18, I probably
talked far too much but hopefully shared some useful information. <br />
Drawing
and painting a rose in a day is a tall order at the best of times, so I
had forwarded some preparatory information of how to approach the
drawing of a rose, but as you no doubt know, there are an enormous
variety of roses, however the basic principles for drawing and painting
are the same.<br />
<br />
<b>How to approach a Rose Painting </b><br />
If I were to paint a rose for a florilegium,
I would probably paint it over two seasons. This is the best way to
familiarise yourself with the plant. I take the approach of <b>a study page </b>initially,
which enables me to 'get to know' all of the plant parts as well as
working out the colours, approach and watercolour techniques. For the
workshop participants were to draw and paint just one aspect of the rose
but hopefully they will now be better equip to tackle roses in the
future. Here's a breakdown of the process I outlined on the day.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinhnkVFHjSu9nuRJvElq13brmQMWeZFyc7Yo2LJCavzLTP7B9Wy-XsY0U0uf1NWPdq9IFl6AN51nnSDWN5kH3bKeqjxrmSYt61S1p3LO7S5j65k0EgXSo5D1y9l0XGX0GxgiNWxz9zf5mb/s1600/study-page-william-lobb.jpg" style="margin-left: auto; margin-right: auto;"><img alt="Study page in watercolour of a mauve rose, William Lobb " border="0" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinhnkVFHjSu9nuRJvElq13brmQMWeZFyc7Yo2LJCavzLTP7B9Wy-XsY0U0uf1NWPdq9IFl6AN51nnSDWN5kH3bKeqjxrmSYt61S1p3LO7S5j65k0EgXSo5D1y9l0XGX0GxgiNWxz9zf5mb/s900/study-page-william-lobb.jpg" title="Study page, Willam Lobb" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A study page started at the Sheffield workshop. The rose is William Lobb, a Moss rose</td></tr>
</tbody></table>
<br />
<b>Line Drawing</b><br />
If the drawing
is flawed or incomplete, it certainly wont get any better as the
painting progresses and this is particularly true with a complex form,
such as a rose. Consequently an incomplete drawing can easily become
confusing and rather overwhelming.<br />
The best approach is to measure and be systematic, break down the subject into shapesand
don't be afraid of taking photographs for reference... remember roses
like to rearrange their petals when you're not looking! I always start
by taking overall dimensions, then look for noticeable angles, which I
plot, next I look for 'land marks', such as unusual shaped or
distinctive petals. I gradually plot the petals on a basic grid, which
allows me to navigate around the flower and to see the petals in
relationship to each other by position. I work on tracing paper for ease
of corrections transfer to watercolour paper this mehtod aviods wasting paper so doesn't cost much if you make a mistake.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjw_MwNh0c6RfyPQrr0U48uo1St_PcjDViUgsN_tjlO_Ax2QcNiqtsAxoKBQU4vArfiHEwttvgyECfG4T_kHznDcKpamwBrlZ4fAYQPRR8Qd8AUOUTJVrPIuEfRSOOnTiXeN_duEE8kxqgd/s1600/rose-steps-blog.jpg" style="margin-left: auto; margin-right: auto;"><img alt="Three stage drawing process for a rose" border="0" height="161" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjw_MwNh0c6RfyPQrr0U48uo1St_PcjDViUgsN_tjlO_Ax2QcNiqtsAxoKBQU4vArfiHEwttvgyECfG4T_kHznDcKpamwBrlZ4fAYQPRR8Qd8AUOUTJVrPIuEfRSOOnTiXeN_duEE8kxqgd/s900/rose-steps-blog.jpg" title="Drawing process for a rose" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Stages
of Drawing: Measure, plot angles using pencil and thumb method and find
'land-mark' petals to work your way around the flower in a systematic
way.</td></tr>
</tbody></table>
<b>Palette and Colour Mixes</b><br />
Start
with finding the basic hues for all parts. Having a piece of white card
with a hole cut in it can help you to isolate the colours in the
subject, remember that surrounding colours of an object can alter your
perception of colour, so it's important to remove other colours that may
distract you. You can take photographs for reference but never try to
match colours from a photograph - it will not be accurate, instead
always colour match from life in good natural daylight by a window.<br />
Identifying
colour mixes seemed to be a general problem for many people on the day.
My attitude is to keep it simple, work with a palette of 12-18 paints. A
good range of single pigment primary colour paints is what should be
used for florilegium
work, remember the whole point of this type of work is longevity and
documentation, and that means using the best materials available. Paints
should have ASTM I or II, Opera Rose should never be used for Florilegium
work! a few participants did use it for fun though and by way of
comparison. Some people say they have done windowsill tests but a test
of 5 - 10 years has no robustness, so best to be cautious and avoid
fugitive colours....if the manufacturer say its fugitive, I'd take their
word for it. I start with colour and technique experimentation on small
areas, such as petals.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJrAK2lugms-LEIvExs0-LguvzzO9jEHFroCi01XiMI-MJQOqraidoWVcKcnOKWRNZSI_b4_LTOkV3KogHKUtj60CSBIiKFlKXqCidCRUgBZ3LLxPxhzlkuJXO5yI4JSoBWwJXMnVHoNnp/s1600/blog-william-lobb.jpg" style="margin-left: auto; margin-right: auto;"><img alt="Painting of mauve rose patal and real petals " border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJrAK2lugms-LEIvExs0-LguvzzO9jEHFroCi01XiMI-MJQOqraidoWVcKcnOKWRNZSI_b4_LTOkV3KogHKUtj60CSBIiKFlKXqCidCRUgBZ3LLxPxhzlkuJXO5yI4JSoBWwJXMnVHoNnp/s920/blog-william-lobb.jpg" title="Rose petal William Lobb" width="256" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A simple exercise in working out colour and technique, for William Lobb, a David Austin Rose. Start with a simple petal on your study page or sketchbook. Colours used here: Quinacridone Magenta, Permanent Rose and Violet Dioxazine. Three washes and dry brush work to create the texture of the petal. </td></tr>
</tbody></table>
<br />
<br />
<b>Greens </b><br />
Greens
always seem to present problems, I have seen some of the most bizarre
colour mixes, with multiple pigment paints and even using colours with
black, such as Indigo and Sepia, this is bound to end in a flat and
dirty appearance, so again <b>keep it simple.</b><br />
Painting a green
chart is useful (see below) and mix all greens from primaries. I don't
recommend using convenience colours such as Sap Green because almost
every different brand has different combination of pigments, some have
up to 4 others have 2 and none in common with each other, the result is
unpredictable! Every time you add another pigment to it you move nearer
to mud! I'm not saying never use convenience colours but if you do use
it make sure you add no more than one additional pigment.<br />
Carefully
observe the colour to see how it is affected by light, this can make it
warmer or cooler and there may also be underlying colours.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmj7mgpPEK30TqCZ49AZbaZ4-VQrf4DWZO3nCQWlwHzEVEVMf6L3wMyLTfoRyud2iQRb5R61jj-4vA1EBaIXoabhmfaIMeMtZUo0LJyQ2ECo9p2F5KU2I6MdPZrWS54YSiSnfMKQPYKQzk/s1600/leaf-lobb2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="Dark green rose leaf for colour identification" border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmj7mgpPEK30TqCZ49AZbaZ4-VQrf4DWZO3nCQWlwHzEVEVMf6L3wMyLTfoRyud2iQRb5R61jj-4vA1EBaIXoabhmfaIMeMtZUo0LJyQ2ECo9p2F5KU2I6MdPZrWS54YSiSnfMKQPYKQzk/s320/leaf-lobb2.jpg" title="A rose leaf " width="299" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Careful
observation of greens is required! I would use and underlying cobalt
blue wash for the highlights in this leaf. Some areas are more yellow
biased ( leaf stalk and mid rib) and some more blue biased. See how the
light catches each leaflet, making one side of the leaf blade darker and
more blue than the other blade because of the effect of light.</td></tr>
</tbody></table>
<br />
It's much better to mix your own greens I start
with a 1:1 ratio of a blue and a yellow to mix a secondary colour and
usually add a small amount of red to make a more natural green. Then I
can bias the mix from cool, with more blue; to warm, with more
yellow, and also towards a more muted or appearance, with more red in
the
mix. Here's a short clip of how I work out greens ( not specific to the
rose but hopefully still useful. I can also mix all the browns and any
other colours this way and with the same three colours. <br />
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div style="text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/Ny3MeQXEN-c/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/Ny3MeQXEN-c?feature=player_embedded" width="320"></iframe></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<br />
I
usually mix greens using a blue with a light value similar to the green
that I'm trying to achieve, no-one at the workshop had ever heard of
this before! so we discussed it at the end of the day. Basically, this
means that I use a high light value blue, such as cerulean for a light
coloured leaf, a mid light value blue, such as cobalt for a mid value
green and a dark blue, such as Indanthrene,
for a dark green leaf. Below you can see the high light value greens on
the top row, the mid range in the middle row and the the darks on the bottom row. Of course you can paint them in different densities to make darker of lighter too.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUgzFFg-RD_Hn60PRGLlrAfhDtCCb0SWrTS3oa2tJs-VTz6FNCreFWg5UlykwBPniLj13DewR7Xf7RFDRdeg4_gt7dkUPveie8V0JePAB6Q1pMaEmGRSV76boDY8bRAFGIh1VfPNtZFPCI/s1600/greens.jpg" style="margin-left: auto; margin-right: auto;"><img alt="A painted chart of green mixes in watercolour" border="0" height="182" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUgzFFg-RD_Hn60PRGLlrAfhDtCCb0SWrTS3oa2tJs-VTz6FNCreFWg5UlykwBPniLj13DewR7Xf7RFDRdeg4_gt7dkUPveie8V0JePAB6Q1pMaEmGRSV76boDY8bRAFGIh1VfPNtZFPCI/s920/greens.jpg" title="Green colour chart" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Green
mixes separated by light value of the blue. Top row: High light value
blue mixes, middle row, mid range blue mixes and bottom row, dark values
blue mixes. This simple process allows you to identify the type of
green that you are looking to achieve with your leaf. </td></tr>
</tbody></table>
Always make a note of the colours and paint a swatch for future reference and as part of your working practice. <br />
<br />
Here's my suggested palette: approx 5 Reds, 5 Blues and 4 Yellows plus a few others:<br />
<ul>
<li>Reds: Permanent Rose, Permanent Alizarin Crimson or Permanent Carmine, Quinacridone Magenta, Permanent Magenta and and Scarlet lake</li>
</ul>
<ul>
<li>Blues: Cerulean blue, Cobalt blue, French Ultramarine, Winsor Blue and Indanthrene Blue I also like Prussian Blue </li>
<li>Yellows: Lemon Yellow Nickel Titanate, Winsor Lemon, Winsor Yellow and Transparent Yellow</li>
<li>Others: Cobalt Violet and Violet Dioxazine</li>
</ul>
Don't overwhelm yourself by buying too many paints, it's
important to understand the properties of the paint and to learn colour
mixing first. You can add more later but you don't really need them. <br />
<br />
<b>The Painting Preparation and Process</b><br />
<b>Paper</b>:
Always use 100% cotton archival paper. Transfer the drawing by tracing
lightly on the back of the final drawing with a B grade pencil. Use a
soft tip fine liner to trace on the front side to transfer and this will
allow you to see where you have been with the tracing and will prevent
you from applying too much pressure, which can indent the paper and ruin
it.<br />
<br />
<b>Brushes:</b> Don't use brushes that are too small, this tend to lead to an overworked appearance and makes very hard work of it. I use a Kolinsky
sable Size 5 round and pointed/ round for the initial washes and size
3, 2 and 1, miniatures or spotters for detail and dry brush (I use old
worn brushes for dry brush work), also series 107 Pro Arte spotters are
great for detail. I also find the Pro Arte synthetic Series 62 Flat shader,
size 1 excellent for repairing edges and lifting. Again I have other
brushes but this selection will do the job These last two brushes are
cheap craft brushes and cost about £1.75. There is no need to purchase
specialist brushes for this purpose. Most are simple cheap brushes that
have been re-branded.<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzdn2r3y1X8uajchOJSj7rFs0JC7jqb0p1DpLPtTNtVilLCYkzaoJu8GZxjPh0chyhwNaB9XxnaQvB1iWgK2SGguYM7yycU9cgsxRKVd0yla1bPFt3VjWq0JiMxBjmpo4vtlNu-rBRCOSW/s1600/brushes.jpg" style="margin-left: auto; margin-right: auto;"><img alt="A range of different sized paintbrushes" border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzdn2r3y1X8uajchOJSj7rFs0JC7jqb0p1DpLPtTNtVilLCYkzaoJu8GZxjPh0chyhwNaB9XxnaQvB1iWgK2SGguYM7yycU9cgsxRKVd0yla1bPFt3VjWq0JiMxBjmpo4vtlNu-rBRCOSW/s720/brushes.jpg" title="Paintbrushes" width="259" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Use appropriate sized brushes, I've seen artists using size 2 brushes for washes, this is far too small </td></tr>
</tbody></table>
<b>Watercolour Techniques</b><br />
I use a range of techniques but generally employ a staged approach as follows:<br />
1. Apply the <b>'tea' wash</b> sometimes <b>wet-in-wet</b> or <b>wet on dry </b>in smaller areas, this lays the foundations. <b>Be sure not to have pencil line under the wash</b>
and remove as much as possible first. you can also work just inside any
pencil lines on the outside edge.Then remove any remaining pencil after
the first tea wash.<br />
2.<b> Build colour with more layers of washes </b>and <b>introducing some detail</b> <b>and shadows</b>, more selected washes in the areas requiring more depth of colour. washes<br />
3. <b>Add detail and dry brush work </b>to build texture and final detail<br />
4. <b>Tidy up </b>any areas such as edges if needed.<br />
<br />
On a complex rose I find it easier to work from the outer petals and work towards the centre, as shown in the video below, I also work on alternate petals so that they are dry before moving to the next petal. <br />
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<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/WloRxmNbNS0/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/WloRxmNbNS0?feature=player_embedded" width="320"></iframe></div>
<br />
Using
a burnisher is useful between washes, as with some papers 'flocking'
occurs on the paper surface. Make sure that the washes are completely
dry before using. I use either a flat agate palm stone or my new toy
which is a gilders burnisher, which is excellent.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpvG6wL9efgZrNrXa9PkY3yJqrLpYPcbMPbb9-wwiUoFyZlDNJENvBj0hJ0c2MTZhp1K-2ICXMInIe_Y5ucmYFLJ-yJbEOBQ_LLpc82I7mEo9p9iQ8cPDVgmyRviz-Y2I9lUuDsjm-gjR2/s1600/burnisher.jpg" style="margin-left: auto; margin-right: auto;"><img alt="Painting of a pink rose with an agate burnisher " border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpvG6wL9efgZrNrXa9PkY3yJqrLpYPcbMPbb9-wwiUoFyZlDNJENvBj0hJ0c2MTZhp1K-2ICXMInIe_Y5ucmYFLJ-yJbEOBQ_LLpc82I7mEo9p9iQ8cPDVgmyRviz-Y2I9lUuDsjm-gjR2/s900/burnisher.jpg" title="Pose Painting with agate burnisher" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A
gilders agate burnisher is perfect for smoothing and flocking of the
paper surface, which can happen with certain papers. Available from <a href="https://www.goldleafsupplies.co.uk/cgi-bin/ss000034.pl?RANDOM=NETQUOTEVAR%3ARANDOM&PAGE=SEARCH&SO=1_3_4_0&SS=burnisher&TB=O&PR=-1&GB=A&ACTION=Search" target="_blank">gold leaf suppliers</a></td></tr>
</tbody></table>
<br />
Overall it was a very enjoyable day at
Sheffield. I learned about the the Society and you can find out more and
view the archive of work on their <a href="http://www.florilegiumsheffield.org.uk/background.php" target="_blank">website</a> <br />
<br />
<br />
<br />Dianne Sutherlandhttp://www.blogger.com/profile/00336704902577001166noreply@blogger.com13