Time for Some Colour!

Spring is upon us so it's time for some colour! Here's a watercolour tutorial showing how I approach painting my favourite  British spring flower, Fritillaria meleagris L. Liliaceae. Commonly known as the Snake's Head Fritillary.
F. meleagris was once a common sight in British meadows but the intensification of farming after WWII destroyed their habitat, and, when combined with and the practise of picking and selling vast quantities of the flowers in markets - the population was left severely depleted. Today the status of Fritillaria in Britain is Nationally Scarce ( non IUCN data 2007) and the remaining population is largely concentrated in Oxfordshire.

I know in my last blog post I said I was going to do leaves... but that's coming up later! Also if leaves are your nemesis, the monocots with their thin strappy leaves, like this Fritillaria, make life a little easier, so that's a good excuse for me to postpone a leaf tutorial!   

The Subject
Fritillarias last a few weeks so you have a good bit of time and each flower lasts a few days.
Always consider the longevity of the subject if you are slow at working and take photographs for back up reference.

NOTE: Beware of colour and morphological changes due to environmental influences e.g. heat, light, nutrients etc. which can occur when you take a plant indoors or take a cutting. Put it back outdoors at night or in a cool place if it's a cut stem.

The Preparation
Before putting pencil to paper take time to observe the subject and find the best position by turning it around....take a good look and think it through. I lit the plant from the right hand side using an angle poise lamp ( right handers light from the other side). I used a pot of Frits containing 5 plants, purchased from the garden centre. The Fritillaria is a kind subject, in this one I like the way the two leaves at the top curl around, so this is a good feature for a painting. Look for attractive and curves and shapes and avoid awkward overlaps or foreshortening which make it difficult for the viewer to see what's actually going on.  Make a few rough sketches before deciding on the best position. Put them aside for at least an hour before deciding which one is the best.You can do some colour testing in this time.


Drawing
Once you have decided on the best position start be making an line drawing of your subject as described in previous post on drawing. Keep it very light and never press on so hard that the pencil indents the paper. I use an H or HB pencil.
I'm working on Langton Extra Smooth Hot Pressed 140lb paper.

Once I have made the initial drawing I use a putty rubber to lighten it so there is as little as possible pencil on the paper but just enough to be able to see the outline.

Identify the Colours
Identify which colours you are going to use before starting. I usually take a leaf and petal from the plant ( if possible) and lay them on a separate sheets of white paper to isolate them from surrounding colours, which influence your perception of the colour. if you have made colour charts these can be very useful, particularly with green mixes, however I'm lazy and too disorganised!... so I don't bother with colour charts and mix colours on a 'need' basis....I never seem to want to spend time doing charts but if you can they are worth the effort. 

• For the shadows I used a Botanical Grey Mix: There are lots of different mixes for a botanical grey comprising equal parts of  blue + red + yellow. I'm using Cobalt blue, Perm Magenta an Winsor Yellow.

• Petals: There is an underlying brighter red colour for this I used Perylene Maroon +Permanent Magenta. For the darker purple I add Winsor Violet Dioxide and add Neutral Tint for the darker shades. The leaf tip is lemon yellow. 

• Leaves: The leaves have a blue/grey green colour. I used Cerulean Blue + Transparent Yellow with a little Magenta to kill the brightness. The ratio of the colours determines the colour balance. Also check the colour of the newer leaves compared to the older leaves, usually older leaves are more yellow.

• The Stem: The underlying colour is green with a red/purple/ brown marking. I use the same green mix as the leaves with the red/purple mix on top. I always try to use the same colours throughout to create transition and continuity and always try to use a few colours as possible.

• The Anthers:Winsor yellow for closed anthers with the green mix on top. Dehisced anthers are more of a Cad yellow.
• Neutral Tint mix 4:1 ratio of French Ultra to Perm Azil Crimson with a tiny amount of Cad Yellow. mixed to make a black.

 Painting 

I always try to work on a painting up as a whole rather than concentrating on any one part. So I lay in all the washes first, I think it makes for a better all round ' balanced' painting  For example, it can be tempting to focus on the most visually appealing part of a plant such as the flower and neglect the leaves until last, I don't like to work in this way because I'm left with the parts I either don't fancy doing or find difficult, and this, for me, is how a painting remains in an unfinished state....it's also quite a stressful experience if you make a good job of the flower and leave the tricky bits until last!     

To start with I lay down  a tea wash of the green. A tea wash is simply a very dilute mix of paint with lots water.....like tea! Leave out only the strongest highlights when painting a tea wash. I paint this was very quickly and used a flat W & N 3mm/1/8"  One Stroke brush. I like this brush for stems and curved strappy leaves because it can be angled to allow more paint to be deposited on the shaded sides but it also tapers well at leaf tips.  

The underlying colour of the flower is basically light/white with a heavy chequered pattern on top, so once the first leaf wash is complete I paint in the shadows on the flower using the botanical grey mix. Again this is added quickly and left to dry completely before starting on the first colour wash ( which you can see I have just started in the image below). Also be careful to leave the anthers clear of paint as a sharp edge will be needed around these. You can use masking fluid but I find it more trouble than it's worth.
I then apply a second wash of the green mix to the leaves, using a more concentrate green to define the leaf blades and shadows. Remember my light is from the right hand side. I used the same flat brush but a size 3 round brush will also work well

When the botanical grey wash on the flower is completely dry I start to add the brighter red mix  ( perylene maroon and perm magenta) as a chequered pattern. It doesn't need to be very neat and organised because the colour bleeds into the petals. It you paint it in too regimented a fashion it will look unnatural. I used a Rosemary and Co. size 2 spotter brush but again any size 2 brush will do, the shorter haired miniature brushes work well for this type of pattern because you have more control over them.
 I also add the same red mix to the stem, which has a reddish brown colour in places. The effect of painting red over green creates this brown colour.  I always try to use the same colour in the stem or leaves as that used in the flower, where there is such colouration, this creates continuity in a painting and 'binds' it together. 

Following the first wash of the red pattern I start to add the purple mix working in the same way but being careful not to completely cover the underlying red. I use a slightly more concentrate mix of paint for this purpose.
I also darkened the shadows a little on the petals as I felt they were too light and add a little more detail to the leaves to balance the leaves with the flower.

I add the yellow mix to the anthers.  Only closed anthers are showing here and the stigma is largely obscured. The anthers dehisce in stages to increase the chances of pollination, and in this flower they  open to release pollen 3 at a time, thus extending the period of time available to pollinators. I only show the 3 closed anthers here and the tip of the stigma. Once they are all dehisced the stigma is clearly seen. So always pay particularly close attention to the reproductive parts as they change rapidly I also add a the same yellow in a very dilute mix to the petal tips.  I add a little of the green mix to define the anthers down the centre.      

From here on it's really just a case of building up the colour. Where darker shades are required, such as down the central petal rib I add a small amount of neutral tint, this darkens the colour without changing it, I find that sometimes complementary colours change the colours because we are not dealing with true primaries with the watercolours ( if that makes sense?). I prefer use my own mix of neutral tint rather than a ready prepared one ( see colours above) but it's up to you. 

Be careful not to overpaint or lose the highlights.  Finally I also add a little cobalt blue to the highlights at the top of the flower to brighten them. I probably should have done this earlier but things change as a painting develops and tweaks are required!

 Finish off by adding some definition by using the dry brush technique define the petal veins, rib and pattern using a size 1 miniature or spotter brush. Dry drush should alsways be applied last and is really just a more concentrate mix of paint applied with a 'damp' rather than wet brush. Mix the paint, load the brush until is swells ony slightly and then dab any excess waster on kitchen paper. If you havenet tried it befor it takes a bit of practise. I'll write more on it later as there are a few variations in the technique. 
That's about it! it's just the way I do it....it's not the only way.  

Monochrome, Ink Wash Tonal Painting of a Calla lily

Following the previous tutorial on graphite I think it's time to introduce wet media in the form of another monochrome  - this time black ink.  I use ink for quite a lot of illustrations and it's a great for getting to grips with tone and form without the added confusion of colour, and, it's a bit quicker than graphite!

 I think ink wash painting originated in China. Traditionally artists used a black inkstick which is ground over an inkstone, these materials are still readily available, although today ready prepared Chinese inks are available and that's what I use. The part of the Chinese ink painting that appeals to me is the philosophy behind it, that is the importance of capturing the essence or spirit of the subject. Chinese ink wash painting varies from very detailed work to the minimalistic brush stroke approach. I'm sticking with the detailed approach suited to botanical work but like to think I can at least try to create a more personalised approach that captures the character and movement of the plant.

 Ink is not used straight out of the jar and should be diluted with water to produce a watercolour like feel which creates some lovely subtle greys through the layering of ink washes, in much the same way as in traditional watercolour technique.  A word of warning though, ink can be quite unforgiving because unlike most watercolour paints , it cannot be lifted from the paper once applied. 

For this tutorial I've chosen a single dark coloured calla lily because it's a fairly simple subject for beginners and is usually available from the florist or supermarket.

Setting up and a bit about lighting
Before starting always take time to set up your subject and make sure you are happy with the lighting and position of the subject.  I use a science lab retort stand and clamp to secure the flower. If you don't have a retort stand just place the flower in a tall thin necked bottle of water but be careful because it will wilt quite quickly. I then place a piece of A1 size stiff white card bent in the middle, like a giant greeting card, behind the flower and retort stand. I position a lamp at the side of the flower to light the subject because I'm left handed so mine is on the right,  right handed artists should position the lamp on the left hand side. This avoids working in your own light. The white  card behind the subject allows the light to bounce back onto the shaded side of the subject and enhances the 3 dimensional look by shifting the shaded area away from the edge. This is called reflected light ( see below)  Play about with the distance of the lamp from the flower to get the lighting right; too close and the subject it will lack midtones and if too far away the subject appears to lack form with no definition between light and shade.

The effect of reflected light on a simple form. On the left , the shape has light reflecting back off another surface ( our white card) so the shadow is shifted away from the far left edge because the light bounces back off the white card. On the right, the shape with no reflected light shows the shadow hard against the edge of the object. Note: Although reflected light is lighter than the shadow it is never as light as the highlight. 

Complete rough sketches to decide on the composition

First of all complete a number of rough sketches using thew same principle of identifying the key shapes as outlined in the first drawing tutorial, this will help you to decide on the best composition for the flower. Try to make sure you have captured the overall characteristics of the flower - quite often there is something very specific about the architecture of a plant, so take time to observe the typical features and always make sure that you have a typical specimen.


The Outline Drawing
When you are happy with your composition transfer your drawing to the watercolour paper. I used Fabriano Artistico HP 140lb but any good quality HP paper will do. I usually draw straight onto the paper copying my initial sketch but if the subject is complex I trace my rough sketch and transfer it. If tracing from my original sketch I use Tracedown or Saral graphite transfer paper, this keeps lines to a minimum.

Outline drawing on HP watercolour paper.

Starting to paint

For this painting I used Winsor & Newton black ink, but there are a variety of Indian inks available, Sennelier is also a very good ink. You can use the more traditional ink stick and inkstone but for starters I recommend the ready to use inks. A white ceramic shallow dish or tile is used and add a the ink. The ink has to be very dilute for the initial wash but the brush should not be dripping but loaded with sufficient water to swell the brush. I use a size 5 Kolinsky sable Rosemary and Co. spotter brush for the initial wash. Ink dries fairly quickly on the tile so only use a small amount. Remember it can't be lifted, so getting the amount of ink right in each wash is important. Always test on a spare piece of kitchen or blotting paper kept next to your work. Ink needs to be applied swiftly because of the fast absorption and drying into the paper. The outside of the lily is paler than the inside so this is achieved by having a more dilute wash of ink.

First wash applied and second underway. Note the light on the stem, with the highlight on the right and reflected light on the left, which gives the stem it's rounded appearance. A more dilute wash of in was used on the outside of the flower because it is lighter then the inside of the flower, also the inside is partly in shade. 

Applying Further Layers
I usually try to keep washes to a maximum of 3 - 4 layers to build up the tone, with possible addition of some fairly dry brush work if necessary. This comprises of 2 main washes to give the shape and the 3rd of ink applied to more focused areas to give detail. I add the shadows last. The flower is dark, more so on the inside than the outside and the stem is light.

Finishing touches
Once all of the washes are applied and the correct depth of tone achieved, I add fine detail such as veins using a W & N size 0 brush and use ink very sparingly.

NEXT TIME......Leaves....maybe even in colour! 

A New Year....same painting! Calla lilies

Last post of the year! sorry still not posted my ink tutorial! It's still in draft form and will follow shortly....promise! Have been busy finishing off a few pieces and also have a new commission... painting seahorses...a very nice job!
Here's my most recent finished painting of a Calla, with a similar reverse image painting beneath it...... I couldn't decide whether it should lean left or right as a composition so trying both. I get very hung up on left and right preferences for images, probably because I'm left handed, and, ever since an RHS judge made a big deal about it! I figured there has to be more to it this left right thing than the obvious lighting issues. I  always tend to lean compositions in the the same direction and think people maybe have a preference for what 'looks comfortable' based on thir handedness? well that's my theory... so I've started painting works a few times over angling the subject in different directions to see what looks best..... maybe I should get out more!  The second image is still a work in progress, it's also on different paper too...so there are  probably 101 reasons to repaint the same work over and over and still never be satisfied. Look at poor old Giorgio Morandi, not that I compare myself in any way of course! but that guy spent a lifetime painting the same objects over in slightly different arrangements!

Reverse composition of same painting ( bottom image unfinished) but which one looks right?

 Lots up ahead at this time of year, hope to get my head into some serious work in the New Year without any dramas to interrupt! Aiming to submit something for Society of Botanical Artists annual show, which is titled, The Language of Flowers, at Westminster  Halls 12-21 April. Seems fitting to do something revisiting the reproductive mechanisms in flowers for that one.... yes more repetition.... but still undecided. I did a series of works on reproductive mechanisms before for RHS inspired by Arthur Harry Church.

Reproductive mechanism in Digitalis purpurea  ( on vellum) exhibited at 2006 RHS exhibition, NEC Birmingham

  Will also be exhibiting again with the RHS at Malvern Spring Gardening Show  May 9-12.  Also focusing on reproductive mechanisms for this one, on vellum this time.

....better get on with it... more next year!


   

More on Drawing - Graphite tonal drawing of a red rose

Final tonal drawing of a decaying rose

In the last post I discussed my initial approach to creating a line drawing of a rose by observing the structure of the flower. This time I'm going to create a tonal drawing of the same rose. The rose has changed a good bit and is dying but this makes a more interesting drawing because the veins and creases are more pronounced. As the rose changes with age, the petals open out and the colours start to fade from reds to purples and blues. This is something that happens in many red and pink flowers and is due to the presence of anthocyanins, which are pigments present in cell vacuoles which cause the colour to change with differing pH levels. But enough about that because we're not dealing with colour here! Colour comes later and it's important to master tone before even attempting colour....So I'll start from the line drawing stage.

Quick photo of the rose for reference. Take plenty of photos from different angles to keep as reference but work predominantly from life.

The first stage is to make a preparatory drawings in the same way as detailed in the previous post. Once you are happy with the layout and preparatory drawings, transfer your outline drawing onto your paper for the final piece. I use an H grade pencil ( Faber Castell 9000 series) for this type of line drawing. The paper I'm using is Langton extra smooth HP 140lbs as I prefer HP watercolour paper for my drawing, but any good quality smooth paper will do. The line should be very clean and preferably drawn without hesitation, i.e. drawn with continuous line technique, that means without repeatedly lifting the pencil from the paper when drawing each individual petal outline. This will reduce any fuzzy /ragged edges and the need to erase. If it's easier to do so, because maybe you don't feel so confident about drawing continuous lines, you can trace your preparatory drawing onto the final paper. See figure 1 below.

Figure 1. (left) Initial line drawing, difficult to photograph this because it' very light!  Figure 2. (right)  Introducing tone. Tone is added to the entire drawing using an H grade pencil, taking careful note of the light direction, which in this case comes from the right hand side. Only the brightest areas are left white. I then start to introduce softer grades and you can see on the left side of the drawing I have started to introduce a darker tone using and F grade pencil.                                 

 Once the line drawing is complete I start to introduce tone, which is simply the effect of light and shade on the subject. One of the most common errors in tonal drawing occurs when too much white of the paper is left showing. If you look at your subject and hold it against the white of your paper you will see just how dark the subject is, if fact in a subject like this there is virtually no white left showing, other than the very brightest highlights and a couple of white markings. It is worth lighting the subject with a lamp to ensure that the light direction is clear and constant, sometimes working in daylight creates too much variation in light as it changes by the hour etc.  I work with a lamp on the right hand side of my subject because I'm left handed. This avoids working in my own light. 

I start by using an H pencil for my initial layer and pretty much cover the entire flower ( see figure 2 )
 I gradually build up tone by using increasingly softer pencils,  usually up to a 6 to 8B for a dark subject like this one. I use the continuous tone method for shading in all tonal drawings. Continuous tone is simple a method of creating a smooth even finish and it is generally used in botanical graphite work. Work in small elliptical movements or contour lines with the pencil as but do not apply any pressure from the wrist - the movement should come from arm. To go darker move to softer grades of pencil rather than applying pressure. Sometimes the softer grains of pencil create a look that is too 'grainy' you can smooth this by lightly going over the subject with a harder pencil, such as an HB grade.

To gauge how dark to go, you will find it useful to create a tonal strip with your chosen pencils, this will help you to decide on which pencils to use. When creating a tonal strip always use the same brand of pencils as grades vary between brands. Draw a series of small squares approx  1.5  x 1. 5cm for each pencil to be used and fill each square using the continuous tone method of shading.

An example of a tonal strip, showing the difference in grades of pencil from the left 2H, H, F, HB, B, 2B, 3B and 4B

For most drawings I generally use pencils starting at 2H ( the hardest) and up to 8B ( the softest). Fill each square by using the continuous tone technique an create a smooth even square. This exercise will show you the tone that can be achieved with each grade of  pencil and you can use it as reference for future drawings. remember if you need to go darker don't try to apply more pressure with the same pencil but instead move to a softer grade. This way you will avoid 'digging ' into the paper or creating a 'shiny' appearance from overworking.

Remember that most subjects that you draw can be broken down into simple shapes ( as discussed in the previous post)  so you will also find it useful to draw simple shapes such as spheres, cylinders, funnels and disc/ bowl shapes, then shade them with pencil to give a 2 dimensional object a 3 dimensional look by observing how the light falls on the pbject. The way the light falls on the object determines the various tones, for example, the sphere below:

Where light falls on a spherical subject from the top right hand side, a highlight is present, the object blocks the light as we move to the left, and so the left side of the sphere is in the shade. The midtones are present where the transition takes place between light and shadow. Also where a subject sits on or near a bright surface it is also possible that there will be some reflected light on the shade side ( see bottom left). This is a simplification of how light falls on a subject and it's worth spending time experimenting with lighting and observing the subtle differences that occur in light and shade. reflected light can be complex on a subject with many petals and twists and turns so always keep in mind that we're talking about basic principles in the broadest sense when looking at simple shapes.

 Note: Although it's not generally accepted in botanical art to include cast shadow there would also be a cast shadow beneath the sphere on the left hand side, if the sphere was sitting on a flat surface. 

Getting back to the rose, it's really just a case of building up the tone from now on, but always keep in mind the shape and effect of light and shade, for example the centre of the rose is fairly spherical and so the same principles of light and shade used in the sphere broadly apply to the rose. The intensity of the highlight also depends on the surface in question, for example a waxy type of flower, such as an orchid may have a very shiny surface therefore the highlights are more pronounced, whereas the rose has a more matte, velvety surface so highlights are more subtle.

Various stages showing the build up of tone using increasingly softer grades of pencil. 

The final drawing is not significantly different from the last one but I've added a bit more definition to emphasize the creases and veins in the petals and intensified the shadow and cast shadows. If you find the softer grades of pencil too grainy, you can go over the drawing again with a harder pencil - this will smooth out the grainy look. I could probably do a little more but I usually put work away for a week or so and then take a fresh look at it to decide if anymore work is required. 

     
 Finally a few of my tips:

Practise regular drawing! and don't spend too much of your time reading 'how to'  because only by 'doing it' will you improve your skills of observation and therefore your drawing skills and technique.

Always try to work from live specimens rather than photographs, photographs can be used to supplement your work but it's most important to work from life because you will not be able to understand form from a photograph.


Finish it, don't keep skipping from one thing to another, persevere and learn! the best learning comes from mistakes.

Develop your own style and approach and don't too get bogged down by looking at the work of others.  While researching the work of others is good and experimenting with different styles is important -  it's easy to be distracted by too many different styles. So try to find your own style and be comfortable with it, rather than wishing that your work was like someone elses. 
Don't take instruction to literally - there are lots of books and blogs ( like mine ). Each will have slightly different approaches, while some aspects, such as perspective and colour theory are essentials and standard, others are open to interpretation and personal preferences...so don't take it too literally!


NEXT TIME: A tonal study in ink. Same principle as the graphite but painted using black ink.

A Bit About Drawing 1.

I originally started this blog as a record of my progress whilst studying for a Diploma in Botanical Art with the SBA. I've been wondering where to take it and have decided that it's probably a good time to start introducing some simple instructional type posts to supplement my teaching.... and learning.

So here's a start  -
A Bit About Drawing. No 1  

Drawing from direct observation of an object, also known as objective drawing, is a core skill for any botanical artist, it underpins an accurate representation of any plant and should be practised regularly.
The way that we choose to represent an object through drawing can differ enormously between individuals, so the same object can be represented in a number of different ways. For example If you place an  object on a table and ask a group of people to draw the same object, each drawing produced will be quite different..... in the position of the object, weight of line, tone, shading technique etc. I'm giving you a glimpse into my method but it's important to find what is right for you, however some basic rules will be common to most people. 

To be able to represent a 3 dimensional object by line alone is the most basic type of drawing yet it is often most challenging and lays bare any technical errors. Being able to draw an object well requires good observation and technical ability but making a aesthetically pleasing drawing requires a greater knowledge. There are no shortcuts or magic formula's when it comes to drawing...it's hard work at times! Basic observational line drawings can be stand alone works or used as preparation or the first stage of a more detailed tonal drawings or paintings ( see beetroot drawing below)  or even used as starting point for more creative works.

Leaf detail from the drawing below

Beetroot from 2010

My own finished botanical drawings might be seen as very precise and technical, most are detailed tonal drawings and I will discuss the techniques that I use at various stages, from the planning, sketches, line drawing and shading techniques to develop a 3 dimensional form. I'm a firm believer that it necessary to develop a very clean technique with continuous lines in order to create accurate clean botanical drawings. Having said that it does no harm to draw in a more loose style in preparatory work and I would always recommend that botanical artist try other approaches and subjects to prevent stagnation and too rigid a style in their work.

A centaurea flower study x 2.5. Drawing is all about order and process. It requires a bit of discipline. Observation, clean lines and the corract range of tones from light to dark.

I always start by taking some time to observe the subject by moving it around to examine from different viewpoints and to understand the shape.
Most importantly you have to learn to draw what your eye can actually see and ignore what you brain tries to tell you about what you 'know' about an object  or 'think' you can see, you brain will try to fool you into making assumptions!
Some people are better than others at breaking things down visually and see a clearer picture from the outset, whereas others have to work harder to get there. Drawing what you actually see is hard and it takes practise to over-ride the assumptions made by the brain!

I find the best way forward is to adopt a systematic approach and start by breaking the subject down by size and shape; first by measuring and then by identifying the most simple of shapes within the subject - into squares, circles, ovals or triangles etc. My initial sketches tend to be fairly rough and I try to determine the shape or form of the object by making rough sketches - this allows me to see the 'whole' rather than the detail, which is an important starting point in any drawing, and, in creating the composition (which I will discuss at a later date). I like to think of these initial drawings as the skeleton on which to build the work. If the skeleton isn't right the drawing wont work.

Sometimes it's tempting to just start drawing, this works for some people, however without measurement and planning it is likely that you will build basic errors into the work, these errors will be amplified as the complexity of the work increases.

This is how I like to teach the process, not to spoon feed the student though, that's no use. The idea isn't to show a person how to draw a cherry so they can only draw cherries! the idea here is to 'take away' the 'process' - so that you can work out how to do it for yourself.

Materials, Measuring and positioning 
Basic Kit
Paper
 I use HP watercolour paper for my drawings, usually Fabriano Artistico or Arches because I like the surface but any good quality drawing paper with a smooth surface will do, try to work on paper with a weight of around 140lb.  For sketches use any good quality sketch paper, such as Daler Rowney Heavyweight Paper 135lb.
Pencils  
Faber Castell 9000 series, range from 2H to 6B. Again any good quality drawing pencils.
Eraser 
Putty rubber.
Ruler   
A long ruler, approx 60cm.
Sharpener
Craft knife and fine sandpaper block.
 

Measuring and Positioning

Botanical subjects are usually drawn life size, so first of all I measure the total height and width of the plant specimen using a ruler.  I also measure all the relevant parts e.g. stem length and width, distance between leaf shoots, leaf length and width,  flower head width and height etc. take notes of these measurements in your sketch book.

1. Measure overall size height and width, and, all parts.

 
I then plot the outer boundary of the drawing. Measuring the outer boundary will help you to position the drawing evenly on the paper. For finished drawings I always try to leave a margin of at least 2.5 inches of white paper completely clear, to give the drawing space and to allow for mounting. White space is very important - a cramped drawing will not look good so planning is important. You can always cut down the final image but you can't add - so leave plenty of room.

For sketches it is also wise to work on decent sized paper to allow for notes and additional sketches.

If your subject is very tall you may want to cut the plant and rearrange to fit your paper. If you are unclear how to do this take a look at my painting of a foxglove. There are lots of examples if you look at old botanical works and herbals, field guides etc.

2. Mark the outer boundary of the preparatory drawing, I have positioned the rose at an angle and measured the height width of the rose at this angle to lightly mark the outermost boundary for positioning on the paper.

I want to position the rose at a slightly more forward facing angle and observe the overall shape of the flowerhead. Try to look for patterns and shapes within the flower and the arrangement of petals. The petals form a Fibonacchi spiral arrangement ( more about this later). 

3.  A rough drawing of the basic structure and shapes is made by drawing the basic shape of the rose head in a rectangle, using the width and height measurements of the flower head. I start to draw some the basic shape of the flower which comprises a series of petals that form 'cup' shapes inside each other and which decrease in size towards the centre of the bloom. There are 5 visable layers of these cups at this angle.  I also plot a centre line to ensure the centre of the flower remains in line with the stem. It's easy to get confused with a flower like a rose so breaking it down in this way helps you to keep contol of the petal arrangement. I use an H or HB pencil for this type of sketch but keep the lines very light so that they can easily be erased.

4. Adding the detail to the structure.  Petals are easily added to the structural sketch. Try to keep lines continuous so that they are smooth, This is achieved by keeping contact between pencil and paper on flowing lines such as those on the stem. Lifting the pencil creates a jerky line so try to avoid this approach. I now have a a basic drawing and in this case have drawn over it using a fine liner so that there is no confusion over which lines I want to keep ( Also so you can see it! ). When I have completed the remaining leaves I will trace the drawing onto my paper for the final piece, making small adjustments if I feel they are necessary. I usually work by tracing my sketches onto the final paper in this way because it keeps the final drawing very clean. However sometimes I keep working on the sketch and use it as a final piece by erasing all of my working lines. 

That's it for now -  a pretty rough and ready drawing! 
NEXT UP I'll transfer the image to complete a line drawing and start to add some tone.  

   

Society of Staffordshire Artists and the Pottery Industry

On October 9th I submitted 5 paintings to the Society of Staffordshire Artists adjudication panel for consideration for full membership and was delighted to receive a letter last week informing me that I had been successful.

Freesia watercolour. One of the paintings submitted to SSA for membership.

The SSA has been established for 80 years and has had some notable members and exhibitors since that time, including many that were also employees in the pottery industry. For me this is of interest because that's where I started out.  Past members include Minton's designer Reginald George Haggar RI,   Gordon Mitchell Forsyth RI , Leslie Gilbert RI and Arnold Machin RA, who is best known as the man who sculpted the relief portrait of the Queen used of the first decimal coins and on stamps, the portrait is said to be the most reproduced image ever printed! So I'm pretty pleased to be included.

I've seen many paintings of industrial scenes of the Potteries over the years but oddly enough I appear to be the only current flower painter in the Society and I don't see many in galleries either, which came as a surprise given the tradition of floral painting within the pottery industry. Both my mother and grandmother had worked as paintresses, and I worked as a design technician in the Royal Albert division of Royal Doulton in the 1980's. Having that background in the family meant that painting was always considered a completely 'normal' activity at home. I can recall my grandmother showing me how to paint the freehand floral designs of a Hollyhock pattern that she had painted at work when she was a young woman who worked at at E Brains China.

Sadly the Staffordshire Pottery industry has declined significantly in recent years,  largely due to the changing market, small producers were consumed by larger companies and much of the production was then outsourced to the middle east in the 1990's. It was no real surprise that the appeal of the product and emphasis on local skills was lost and along with it jobs.
Fortunately today there seems to be a glimmer of hope for the craftsmanship and bringing production back to the Potteries.
Funny how things come around as you get older,  I'd never really had much of an interest in the history of the pottery industry, in fact I couldn't wait to get away from Stoke and thought it the most grim of places when I left.

What to Paint?

It feels like an age since I studied the SBA diploma but during my studies I recall frequently complaining that there was nothing suitable to paint ...... of course that's absolute rubbish because there is always something to paint! For me it was just a mechanism to distract from getting on with the job in hand....and I'm still doing it!

With the exception of native plants which can pose numerous problems we really are very lucky with an abundance of available subjects to be found at the florists, garden centre, botanic gardens or even the supermarket and of course there are plenty of leaves, seeds, lichens and twigs to keep an artist going all winter.  Also being organised with work over the summer pays off in the long term because by collating good quality photographs and creating comprehensive sketch book studies enables works to be successfully finished off over winter.....well that's what I try to tell myself and what I try to do.

In an ideal world this all sounds very sensible and organised but in reality it's not quite so simple because it's not so much that there's a lack of things to paint but a lack of finding something inspiring to paint.  Added to this is the problem of ' what should I be painting' Sometimes I feel like I must paint the species and native plants to be a 'real' botanical artist but actually there's merit in painting just about anything you can get your hands on if it inspires you....you don't need to feel guilty about it either (maybe that's just me!)

It's easy to become slightly bored with subject material and the technical challenges that botanical work poses can result in stagnation. I've had a bit of a shift in my work recently, although it's probably only noticable to me, and I have become more focused with movement, composition and the subtleties of warm and cool colours where light and shade is concerned. It's just another phase of the never ending learning curve and no doubt has a purpose that will all piece together in the long term. 

So with this in mind I'm painting some big 'blousy' flowers and pot plants ....just because I like them! ........ The most important thing is to keep painting and drawing.... it's the only way to learn!

Calla lily pot plants courtesey of the local supermarket. Note the odd double flower second from the left.

I painted this Calla lily on 300 lb Saunders Waterford HP paper. What an ordeal it was painting on a surface of something that can only be described as similar to the texture of sandpaper! won't be using that again. I was waiting for a delivery of  Fabriano Artistico, which is what I normally work on but decided to take a trip to the art shop and purchased a range of different papers to try, very interesting exercise with so much variation in colour and surface. Will post more later on my favourites and least favourites.

A Fresh Start! first painting underway.

Relocating takes time and definitely distracts from getting on with painting! A couple of months ago I  moved after 23 years living in Aberdeenshire..... a painting is long overdue! Always in need of a bit of a goal to motivate,  I tracked down the Society of Staffordshire Artists and will be submitting 5 paintings to be considered for membership in October this year. This has given me the incentive I need to get painting again and is a great opportunity being originally from the area. The Society has been established for around 80 years and holds several exhibitions each year.....they have no botanical artists as members!   

Looking for inspiration I decided to raid mum's garden because I no longer have one, and, have reverted to working on the kitchen table.... no studio anymore either! It's easy to use the absence of these things as an excuse not to paint but having worked for years without such luxuries it's really not a valid reason to abstain. I don't have the lamps or the magnifiers and to be honest although these things help they are not particularly good for the eyes or essential. It will be interesting to see how the new work turns out under different conditions... but it's got to be good to be able to adapt to a different working environment because running demonstrations can prove difficult if you get too picky about your working conditions.

I found some lovely honeysuckle with beautiful bronze coloured leaves weaving it's way through the garden,  it seems like a good candidate to start with, so many colours in the flowers, leaves and fruit it's a bit of a gift to the botanical painter. I actually can't remember the last time I produced a 'proper' painting and seem to have been been producing small studies for around a year now. ....so here we go with the first study page towards the new painting.

 

I have included as many different parts of the plant as possible, flower, bud, dissection, woody stem, fruit at different stages of development, I may add a few more bits and will probably complete a second study page but think it's time to start thinking about the composition. I don't make a lot of colour notes because I seem to find colour to be pretty instinctive and there are often several different ways of getting to the same place with colour mixing....although I could be way off the mark!  The light and shade is more tricky with warm and cool colours but I'll write more about this later because it deserves a separate post.  More difficult for me is the composition. I usually start with some rough sketches on tracing paper using just the basic shapes. I want to get the movement and 'feel' for the plants growth habit, these are the elements that have become increasingly important to me....too often botanical studies can look quite rigid and for plant like honeysuckle it's anything but rigid!  
  

SBA Membership and RHS Malvern Paintings

It's been a busy few weeks! Exhibited at the Society of Botanical Artist annual exhibition at Westminster Halls 20-29th April. It was a succesful exhibition and sales were up considerably this year, so great news for the Society. Also collected my very large SBA membership diploma certificate at Westminster Halls on 2nd May - see the shocked expression at the thought of having to carry it around London for the day! fortunately they agreed to post it and I had a great afternoon indulging in the Lucian Freud Portraits at the National Portrait Gallery and at the National Gallery, where I took  the opportunity to scrutinise the select number of Dutch botanicals by Jan van Huysum and Rachel Ruysch. Also great to Titian's Flight into Egypt.

I'm currently exhibiting the leaf paintings at the Malvern Gardening Show as part of the RHS botanical Art display until Sunday 13th May, photos to follow. Was awarded an RHS silver medal for the leaves. Feels like I've been away for months! Next up: BISCOT, Botanical Images Scotia at the Gardening Scotland Show and Royal Botanic Garden Edinburgh at the beginning of June...phew!

Collecting my SBA membership in London at the AGM. I think I already posted this .....but I'm still excited about it!

 

Below the 6 leaf paintings exhited at Malvern RHS, 2012 All on vellum. Awarded silver, not a strong enough theme apparently....oh well try again

Decaying lime 1

decaying lime 2

Cappadocia

Red maple

Cherry

Horse chestnut