It Starts with....Nothing!

After a great trip to Dublin the other week I felt enthusiastic about work and was looking forward to preparing two paintings for the SBA annual exhibition, titled, 'In Pursuit of Plants'  but what to paint?
Completing any painting is never without some form of struggle. It starts with nothing.... a blank page, or skin in this case, and slowly builds. There never seems to come a point when it's an easy process, some days go well, which is the best feeling.... and others don't, which is the worst ......... it can be extremely frustrating at times, especially with a deadline looming!

I decided to complete two paintings which were prepared for and planned last year., both are of Fritillaria imperialis 'Rubra' ( below).  

Work in progress (19th Feb), Fritillaria imperialis 'Rubra'
 on Kelmscott vellum, size 72 x 47 cm

It seems like a suitable subject,  F. imperialis first arrived in Britain from Persia in the sometime after the late 1500's, it is native to Turkey and also found in Iran, Afghanistan and Pakistan, where it grows on scrub and rocky slopes.
Several cultivars of the plant are available and 'Rubra' is one of the older forms. Last year I purchased three different plants, the above plus Aurora and the yellow Lutea, all are very beautiful but smell terrible. The leaves are sprouting at the moment but unfortunately it won't flower until April so the work will have to be completed using last years reference and studies. I spent a considerable amount of time working on this 'foxy' smelling member of the Lily family last year so feel fairly comfortable with working in this way on this occasion.

The blank skin...this has to become a painting! The whole skin, Kelmscott vellum from William Cowley. It cost about £130 for this piece so I don't want it to make too many mistakes

 Both paintings are on vellum,  one is painted on a whole skin and has so far proved a very difficult painting. The skin has lots of imperfections which I rubbed it down with pumice but it still hassome flaws, nevertheless it's a very nice looking piece of vellum. The smaller piece, in contrast, is very smooth. This is just the nature of vellum, every piece is different, which is also part of the charm. Working on vellum is always time consuming, usually with plenty of error,  invariably I end up removing some parts and re-doing them. Recently I painted some small works on vellum to get back into the swing of it but these two works are considerably more challenging, largely due to the rich colours and large size. I knew that the darker green leaves would be difficult so decided to start there.

Beginnings, I always put the stem in lightly first with a tea wash, followed by the leaves, I like to make sure the stem is smooth and it's an integral part of a painting, a bad stem ruins a painting! The initial washes on the leaves are more of a yellow biased green mix, using Indanthrene blue Winsor yellow and a small amount of  Permanent rose

These tricky leaves, rotate around the stem in whorls. After the initial washes I vary the ratio of the green mix from the initial yellow bias to a more blue biased mix in the darker greens. I also used some Danial Smith Verditer blue to push the highlights forward and some paynes grey for the darkest shadows.

Painting is a very personal thing, I spend a lot of time on my own with a painting. I've been working on this one for days and not getting very far, in fact I've hardy been out of the flat for over a week and find I need this concentrated working time to 'tune in' to a larger painting. When it's not going so well I have to try to resist getting up, making endless cups of coffee, and general procrastinating, such as checking Facebook and emails every 5 minutes etc. this behaviour must to be curtailed if  I'm to complete on time but this week already I've watched 4 films, drank nearly 3 bottles of wine and chomped through a whole bag of wine gums!  I've painted and removed several leaves already. Today I had to make progress and with just a couple of days left the pressure is on! At first I can't decide on the right brush for the job and frustrating little things happen that make me want to walk away - the worst is the little bits of hair that break from the brush and weld themselves to the vellum! or the annoying little flick of paint at the edge of the brush stroke. Anyone who paints on vellum will no doubt know what I'm talking about ....but I put the headphones on and after a few hours it starts to fall into place.
I don't want to finish the leaves before putting the flowers in so move on to the flowers as soon as I establish the basics with the greens. Ideally I should have put the green crown in but for some reason I didn't.

The first wash in and adding detail. Cobalt Violet  and Verditer Blue both ( Daniel Smith). For the vivid orange, Transparent Yellow and Scarlet lake plus some Daniel Smith Transparent Pyroll Orange. This image from the second painting, which is a simpler study of just the flower head with pollinating bees.

I'd worked out most of the colours for the painting last year but decided to try a few additions from the Daniel Smith range in addition to my usual W&N pans. It's really important to work with  transparents colours if possible, particularly on vellum, because the opaques tend to be flat and heavy looking in anything other than an initial wash. This bright orange colour will require a significant amount of building up and I want to maintain that brightness and luminosity.

A messy business! I usually use Winsor & Newton pans but decided to try a few of the Daniel Smith paints. More so on the larger painting. They have some very nice colours but I have to say that I prefer the W & N pans for the dryer style of working required on vellum, I found too much gum arabic present in the Daniel Smith paints but the colours are good, albeit slightly unnecessary.

Building up the dry brush work, adding some Perylene maroon to the palette for the rich red/ orange

Adding the bees!

On the smaller work I decided to add bees. It's one of the things I'd noticed about the plant last year....the bees and flies love it! F. imperialis is also known as 'Mary's Tears', this is because of the huge nectaries, hence the appeal to pollinators! Last year I'd taken the potted plant into the house one morning to paint it ,when all of a sudden two large bumble bees emerged from the flowers and flew around the kitchen in panic before escaping through the patio doors.

'Mary's Tears' Huge nectaries appeal to potential pollinators

 Another interesting  story about this plant is that it is also pollinated in the UK by Blue Tits,  the birds can often be seen scurrying up and down the stems! This is the most northerly observation of a bird pollinated plant (ornithophily), and the only example in Europe , so is of some significance. In April I hope to be able to paint the yellow  Fritillaria ' Lutea' with a blue tit. I've never seen this portrayed in a painting before.
Here's a bit of further reading for those interested. There are a number of research journals  regarding this subject, (this is a downloadable pdf.). For more general observations on pollination  click here.

Blue Tit, Parus caeruleus. A pollinator of  Fritillaria imperialis. Image copyright WIkimedia Commons

 

A study from last year F. imperialis 'Lutea' a subject for a painting later this year

I'm afraid that writing this blog is yet another form of procrastination, so I'd better get back to the job.
Will the paintings be finished on time?....probably. Will they be acceptable...I don't know!
But are we ever really satisfied with our painting?  probably not....but that's all part of the challenge and the fun!

2014 Plans and Inspirations

My last post was a summary of work from 2013. So I'm starting 2014 with a few plans for the new year - inspired by my friend Shevaun Doherty in her recent blog post.

This is my 50th year (eek!) so it really is time to at least try to be a bit more organised. Have been a bit shy of over planning the last couple of years because life has been slightly chaotic! but I always did like to set a goal or two.

There are two...or maybe three strands of work for me- commissioned illustration, teaching and the work that I call my own.  The first take precedence and supports the latter. So sometimes with the best will in the world plans have to change because illustration work comes along unexpectedly, I estimate that the 80:20 rule applies, with the lesser being the amount of time dedicated to my own work at the moment. Most of the illustration work is natural history based and painting things that aren't necessarily my own choice and prove to be challenging are good for me!

He is my Top Ten Plan for 2014 and the inspiration behind it.....

 1. Paint or draw every day. A few years ago I heard a comment in a documentary about one of my favourite artists, Lucian Freud, which stated that he painted every day of his life! I'm not altogether sure how accurate it was but it struck a chord and stayed with me. When I went to see his 'Portraits' exhibition at the National Portrait Gallery in 2012 the incredible development of his work over the years was so clear to see and his sheer dedication was apparent- sometimes no douby at the expense of other things in his life. This exhibition, which was was shortly after his death made me think about how important it is to paint frequently, and, how much time I've wasted thinking about what to do rather than time actually doing it! So to the point! I intend to carry on as I have over the last year and will endeavour paint or draw something everyday, no matter how small. I know being an illustrator isn't quite the same as being a real 'artist'  but the dedication to do better is the same for everything. Some of my work will be illustration and some will be my own work but it's all good practice. I've started the year with another 15 marine species paintings for Macduff Marine Aquarium, it's a warm up ......here's a glimpse.

Marine species illustrations completed Jan 2014

2. Don't leave it until the last minute ....... Well that speaks for itself! I MUST improve my time management regarding the balance between the different strands of work! Oh and don't take on too many things. When I tell people I'm an artist/ illustrator they seem to think it's some relaxing easy job or part time'hobby'. Sometimes it is  relaxing but it can be pretty pressurised when clients want work yesterday! I wouldn't change it for any other job in the world even though it pays badly and means long hours.  

3. Submit work for the SBA annual exhibit at Westminster, in May. I've been exhibiting on and off with the SBA since 2000. I was elected a full member in 2012 but last year I was gutted not to exhibiti following acceptance. I figured I had an excuse given that life had turned a bit upside-down, but it's no excuse for neglecting things because of a few unsettling life events! So a good  kick in the backside is in order for missing that one, and, for feeling sorry for myself! 

It had always been a goal of mine to become an SBA member but for practical reasons I'd been inconsistent with submitting the required number of works over the years. I worked really hard at having the 5 paintings accepted in 2010, 2011 which gave me associate membership and then again in 2012. I was delighted to receive the phone call from former President Vicki Marsh, informing me that I'd been elected as a full member.... and on my birthday too! I felt I'd let myself down by not exhibiting. This year I won't be submitting 5 and I'm pretty relieved that I don't have to submit so many anymore! I'm hoping to complete a large piece on vellum for the show based on autumnal garden finds. The theme this year is the Botanical Garden, I think the autumn garden is as interesting as in summer, so this will be the focus of my work. 

Preparatory work for SBA show

 4. Prepare work for RHS London Orchid Show.  This one is a bit daunting! I've always wanted to do this show and despite the fact that I've been exhibiting with the RHS since around 2004 ( accepted by the Picture Committee in 2002 ) I've  never been offered it before. Funny really because I even wasn't going to apply this year but received an email reminding me to apply for space the day before the deadline and thought....Ok one more! so there you go.....  refer to no. 2. I'll tell you later what I'm submitting for the show

5. Paint the Jade Vine for the Sydney Royal Botanic Garden Florelegium. Really delighted to have been be  invited to become a member of the Society in a letter that arrived out of the blue from Beverly Allen last year. I was issued with the plant list and chose the Jade Vine because it's big, bold and beautiful ....that's a bit of a challenge for me!  I was too late to paint it last year but sourced the plant and it's my BIG challenge this year. Not sure yet but think I may paint it on vellum.

Jade vine flower

6. Take Part in the Nature Sketchbook Exchange  How nice to be invited to take part in this initiative, whereby a group of 15 artists all have a Stillman & Birn sketchbook. Each artist will draw or paint something every month then pass it on to the next artist.  Great idea! 

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Banner for the Nature Sketchbook Exchange project

7. If time permits another 30 Day Challenge would be good. Really enjoyed this last year because so many other artists joined in.  Not sure if I have time for it this year and perhaps somebody else will take the lead.

8. Develop my Teaching. Website resources and classes. I created a new website in 2013 for my students and to enable better access to botanical art tuition. For years I wanted to have some art tuition in botanical art and never could, for all sorts of reasons it was outside my grasp, whether it was having young children, living miles from anywhere or simply not having the funds for some of the very expensive botanical art courses, which felt a bit elitist to me. Also some courses don't cover the fundamental skills or 'building blocks' required in watercolour so I wanted to take a slightly different approach. I have some brilliant students and really look forward to developing this area of work over the coming year.  
 I'll also be running a class from the 20th to the 26th July back in Aberdeenshire, Scotland at a fantastic venue on the Moray Firth Coast, the  Creative Retreat

More additions to the teaching website, click to view

9. Blog a bit more often. I did a lot more last year than in previous years, largely due to the 30 day challenge and it's great to see so many other botanical artists blogging nowadays. Writing things down and asking myself questions is the best thing for the thought process! :)    

10.  Finally.....Enjoy it, try to be a better painter, don't get stressed and don't make excuses!  I know that's 4 things really...... but it's my list ! stress serves no purpose whatsoever, so it has no place!

That's it........Simple!

Assignment 12 Mixed Flowers

There was nothing decent left in the garden when I finally got round to assignment 12, so had to resort to cut flowers for this one. This assignment was pretty challenging, and, like assignment 11, it isn't something I'd normally do. The protea didn't have any leaves, which was a real shame and the red rose was a tough subject.  Such tight petals and a rich colour. Also the maximum size of approx A3 is a bit small for something like this, it really doesn't allow much scope and ends up a bit cramped in terms of white space but I think I got there in the end with the arrangement.  There's another mixed floral for the diploma portfolio so I'm hoping to have a bit more choice of subject.  I've just about finished the other two portfolio pieces - the vegetable or fruit study and the botanical  illustration and will post when the final piece is finished....less than one month to go now, so nearly made it!
I've been seriously neglecting the blog and need to get back on track! Sorry the picture isn't great - seems anything white or red is difficult to photograph - I'll try again later.

Mixed floral, this is an updated photo, the original wasn't good. Margaret Stevens went of the purchase this one from me for a presentaion to someone...no idea who.

I tried to work with movement, balance ( colour balance too) and used the rule of odds and rule of thirds to create an arrangement. I took lots of photographs and made sketches but actually drew all the component part separately and arranged using tracing paper.  I didn't learn those things from the course though they were things I'd picked up over the years and put into practice for this assignment.

On to the Diploma bu

Working in the Field, Assignment 10, Coastal Flowers

Assignment 10. Working in the Field.
I chose to work at a coastal site, Gardenstown, which is just a few miles from my home on the north east coast of Scotland. I had studied the site for my biology dissertation a few years ago so was pretty familiar with the habitat. Five species were required for this assignment, one had to show surrounding vegetation/ habitat and one cross section/dissection. Simon Williams is the tutor.

I chose Parnassia palustris (grass of parnassus), Succisa pratensis ( Devil's bit scabious), Prunella vulgaris(self heal)  Trifolium pratense (red clover) and Rhinanthus minor (yellow rattle), which had gone to seed.   I think I could have made the Parnassia dissection larger....oh well too late now. Loved doing  this one! but not happy with the result. I don't know why on earth I decided on this layout, probably because of the size of the paper.... I can see how it should be laid out now! I had quite a lot of domestic problems at this time but plodded on - it looks a bit rushed and unfinished to me.

Detail from the Scabacious, unfinished, needs a wash over the leaves etc.

Simon liked the work he was complementary but agreed that it needed a bit more work and general finishing including the wash on the greens,,,,,not sure why I didn't do that it was an easy option but I was rushin, he was spot on in his observations on this one. The mark was good enough, but I could have done a much better job of this. I was a bit disappointed in myself for failing to find the time. My error and a kick up the backside for me:)

I havent contacted any of the tutors yet, not sure if I should or not. I'm just kind send off the stuff and read the feedback and get on with it. Not sure if that's how it's suposed to be or not.

Botanical Illustration, SBA Assignment 9

Study pages for the Botanical Illustration, Fritillaria meleagris....then I changed my mind

Botanical Illustration Assignment 9

It's now over half way through the course and this is the assignment that I've most been looking forward to. Have been working on a couple of subjects, both native species, which is where my heart is, can't decide which one to use but think I'll go with Fritillaria meleagris - it's not too complicated and is one of my favourite flowers. The other option is the pasque flower, another favourite.
Lots of sketch book work and measurements are required for a true botanical illustration, showing all parts and a dissection. I use a magnifying glass for the reproductive parts. Here is a page from my sketch book with some of the preliminary work. My sketch book seems a bit messy and my handwriting and colour notes always look a bit rough - but I guess that's just the way I work. I recently purchased Mary Ann Scott's Botanical Sketchbook, which shows her work throughout the SBA diploma course - it's fabulous and puts mine to shame! Her book is reviewed on the 'Making a Mark' blog

Here's the update....I changed my mind and went with the Pulsatilla vulgaris below

Guess what?....I've painted it before. I think the older version was better, it's on vellum.

This assignment id worth more than the others,  15 marks, so it's an important one.

The Essay, SBA Assignment 7, Arthur Harry Church

The Essay Assignment 7
I wrote my essay on Arthur Harry Church, simply because he completed some beautiful work on the reproductive mechanisms of flowers with such skillful dissection too - something that interests me. I studied Floral Morphology in relation to reproductive success at the University of Aberdeen, so this suited my interests. It's an easy assignment compared to painting!  Here's my thesis and also the Church essay......it's ok I don't expect you to read the thesis but I figure it's ok to post the essay now its dine and dusted. margaret Steven's is my tutor again for this one.

 I illustrated my thesis work  after Church with large dissections of my study palnts.

  
If you want to find out more about Church see David Mabberley's book The Anatomy of Flowers. I think the book is fairly hard to get hold of now but there is more and more information about Church's work coming to light and he has finally received the recognition he deserves through this publication.

SBA Assignment 4, Flower Studies and SBA Exhibition surprise award!

Assignment 4, Flower studies...must take a better photo!

This assignment involved painting a library of  seven flowers, which must include a yellow or white flower.  Again lots to choose from so went for different coloured flowers and different flower shapes, trumpet, umbel etc.  I chose yellow rather than white because for me it's more challenging. Flowers are: Alcea rosa, Crocosmia 'Lucifer', Digitalis purpurea, Hydranga macrophylla, Gentiana septemfida, Trapoleum majus. Sorry I've chopped the image will post a better one later. Not too challenging. I think I'd like to do more of the same.

Detail of the Paphio

 

I spaced the flower head evenly to cover the page in a balanced way, placing the Hydrangea at the centre. It worked out ok. My tutor for this assignment is Course President Margaret Stevens.


A good mark for this, best one yet, a very slightly dodgy alignment on the hollyhock reproductive parts was the only criticism. I missed that.She particularly liked the paphio and the hydrangea. She said she would like to include this and the previous leaf assignment in the DLDC exhibit at the Westminster but I need to remind her, and send it back to her in plenty of time.


A certificate in Botanical Merit form the SBA 
This month I also exhibited with the SBA, having gone a bit mad with the extra Graphite in January, working on getting the depth of tone right.  I completed a number of studies of things I'd grown from seed the previous year and submitted them with a few other for the annual SBA show. I was lucky enough to have all 5 accepted in Feb! I visited the exhibition and was delighted to find out that I'd been awarded a Certificate in Botanical Merit for my Scots Thistle Seed head. I was also highly commended for the Joyce Cumming Award!  There's and entry about it on the excellent Making a Mark blog 

Scots Thistle seed head which was awarded a Certificate of Botanical Merit at the SBA Annual Exhibition and also highly commended for the Joyce Cumming Award. Bit of a pale photo so some details below.

Dried Artichoke drawing also exhibited at the SBA

Detail from the Scots thistle

Detail from the Scots thistle

SBA Assigment 2, Monochrome Drawing, Fritillaria pallidiflora

Could have done with a bit more variation between flower and leaf. The flowers are considerably lighter than the leaves, th eclue is in the name pallidiflora ( means pale flowers!)

A couple more pencil drawings, this time using only continuous tone for Assignment 2, Monochrome. Next up colour work.
Fritillaria pallidiflora. These seem to grow well in the garden, the bulbs came from the Cruickshank Botanic Garden at the University of Aberdeen - I was lucky enough to work for there a few months in 2005.

Fnal piece. I was quite happy withthe shapes etc but needed to push a bit further with tone

Fritillaria species are some of my favourites - they're generally pretty easy to grow and I hope to paint more in the near future .
F. pallidiflora is a native species of the mountains of central Asia, E. Siberia and N. W. China, IUCN category vulnerable.

So I need to go darker, this tonal work is new to me, but I can see the point, Julie Small said: Could be a bit deeper, yes totally agree! She said the detail was good though. Funny how you don't see things when you're working on them! So will stand back and take a good look next time....and be brave.! I've done a few other pieces since and think I've got it now!  

We also did a cylinder and a sphere ro practice using tone to create form

Still hoping to find some other students out there....