Botanical Illustration E-Book

Leigh Ann Gale

• Herausgeber: Crowood
• Kategorie: Geisteswissenschaft
• Sprache: Englisch

Veröffentlichungsjahr: 2018

Beschreibung

Botanical Illustration - the complete guide explains the processes and methods behind this beautiful art genre. It highlights the importance of the requisite skills of close observation, accurate drawing and attention to detail. Leigh Ann Gale is a leading botanical artist and tutor, and she generously demonstrates her approach in this book. Her worked example of fuchsia magellanica clearly shows the varied stages of an illustration. Along with step-by-step instructions to a range of subjects, this book is beautifully illustrated with over 350 images, diagrams and paintings of her and her students' work. This book is a source of inspiration as well as a definitive guide, and the contents include: introduction to botany and a comprehensive botanical glossary; a case study demonstrating each stage of a worked example, including the selection and preparation of a subject, observational drawings, composition skills and painting processes; step-by-step instruction covering many subjects, from creating shine on leaves and berries, to painting white flowers and depicting hairs on leaves and stems; a guide to colour theory and how to mix colours accurately to match your specimens and make the most of your watercolour palette; and ideas on how to continue, and develop your own style of botanical illustration. This book will be of great interest to all botanical artists, natural history artists, watercolourists, gardeners and natural historians and is lavishly illustrated with 391 colour images.

Leseprobe

Botanical Illustration

THE COMPLETE GUIDE

LEIGH ANN GALE

THE CROWOOD PRESS

First published in 2018 by

The Crowood Press Ltd

Ramsbury, Marlborough

Wiltshire SN8 2HR

www.crowood.com

This e-book first published in 2018

© Leigh Ann Gale 2018

All rights reserved. This e-book is copyright material and must not be copied, reproduced, transferred, distributed, leased, licensed or publicly performed or used in any way except as specifically permitted in writing by the publishers, as allowed under the terms and conditions under which it was purchased or as strictly permitted by applicable copyright law. Any unauthorised distribution or use of thistext may be a direct infringement of the author’s and publisher’s rights, and those responsible may be liable in law accordingly.

British Library Cataloguing-in-Publication Data

A catalogue record for this book is available from the British Library.

ISBN 978 1 78500 428 5

Frontispiece: Camellia x williamsii ‘Bow Bells’ (Leigh Ann Gale)

DEDICATION

This book is dedicated to my mother Janet Hewitt-Winch for launching my botanical illustration career after giving me a newspaper article featuring the English Gardening School’s Botanical Painting Diploma course. I also dedicate this book to my grandfather Walter Winch, an exquisite draughtsman, whose precise and detailed drawing skills I was so fortunate to inherit.

Contents

Preface

Introduction

CHAPTER 1 Materials and Equipment

CHAPTER 2 Choosing and Preparing a Subject

CHAPTER 3 The Drawing Process

CHAPTER 4 Composition

CHAPTER 5 All About Colour

CHAPTER 6 Preparing to Paint

CHAPTER 7 Developing a Painting

CHAPTER 8 Completing a Painting

CHAPTER 9 Specific Painting Techniques

CHAPTER 10 Alternative Media

CHAPTER 11 Mounting and Framing Work

CHAPTER 12 Further Learning, Continued Practice and Individual Style

Appendix: An Introduction to Botanical Terms

List of Contributors

Acknowledgements

Suppliers

Index

Preface

When I am teaching, a common question I am asked is how did I start in botanical illustration? I begin answering by giving my students a brief explanation of my inherent obsession and desire to see detail in art, which is something I have always strived to achieve in my own artwork. As a child, I remember feeling mesmerized as I watched my grandfather meticulously render technical drawings of complex water supply components, with exceptional skill and absolute precision, and I was never satisfied until any drawing I made contained as much detail as I could practically manage, whether I was aged six or sixteen. I studied art at school, completed a diploma in technical illustration and studied graphic design at art college, before pursuing a career as a graphic designer. Throughout each stage of my artistic career, my focus has always been about achieving a high level of detail in everything I have created. Even when I attempted my hand at a ‘looser’ approach to art at an evening course in flower painting, I found I still had an irresistible urge to add detail into my paintings. I eventually found the perfect opportunity to combine this obsession with my love of plants and flowers, and embarked upon the diploma in botanical painting at The English Gardening School based at the Chelsea Physic Garden.

Morus nigra, Mulberries. LEIGH ANN GALE

It is the exacting requirements of precision and attention to detail which are necessary for true, scientific botanical illustration, when traditionally, the emphasis is on the accurate depiction of a species through the observed study and accurate drawing of its structures and components – often with the addition of magnifications and dissections to help explain botanical information in greater detail. Because botanical illustrations are intended to educate and convey information, they need to be clearly and logically devised to enable the viewer to be transported around them methodically, but illustrators may also produce such works which are aesthetically beautiful as well. Sometimes, botanical illustration and botanical art are considered the same thing; however, in botanical art, the artist may demonstrate a more levelled persuasion to both art and science or, in some cases, predominantly art; the work is still scientifically accurate but may have emphasized artistic attributes to it at the same time.

The purpose of this book is to provide a means by which botanical illustration can be approached methodically by students, to accomplish a good, competent standard. However, it is hoped that it may also serve as a useful reference to those artists who have already gained some experience in the subject as well. It highlights the importance of the requisite skills of close observation, accurate drawing, and attention to detail, and at the same time explains and demonstrates my own personal approach to the subject which I have developed over the years. I hope this book provides you with inspiration, and proves to be a valuable resource alongside your quest to draw and paint your own botanical illustrations.

Introduction

After many years of teaching botanical illustration, it has become apparent to me that students learn significantly better through demonstration. I often sit down with a student or group of students to show them my approach, which they may in turn try for themselves or adapt to suit their own hand. In my experience, it seems that most visually aware students prefer this method of teaching, rather than any verbal descriptions of how techniques are perfected, and processes are followed. It is this realization of students’ needs that this book has evolved. During discussions with many students, the overarching request for inclusion in an instruction book is that of demonstration. Therefore, I have endeavoured to include a case study; a real, worked example of a painting which demonstrates and puts into practice each of the varied stages of botanical illustration, including selection and preparation of a subject; observational drawing, composition skills, and painting processes. Using a visual step-by-step format, I have also included a chapter that deals with specific painting techniques of some of the most popular topics on which students often ponder. These are techniques that I personally have adopted over the years, which may differ from those of other artist tutors, but nevertheless offer solutions for effectively solving specific painting challenges.

Yellow Flag Iris and seeds. LEIGH ANN GALE

To achieve competency in botanical art and illustration it is without question that a good level of understanding of botany is required. It is not necessary to obtain an abounding knowledge of the subject as a botanical artist, but you should be familiar with the basic components and features of plants and flowers, to enable you to observe and draw them accurately. Certainly, a higher level of knowledge is invaluable to produce pure scientific botanical illustrations, that may for example include finely detailed drawings of the internal workings of a species, but for this, separate texts and publications about botany are available. For the purposes of this book, it is not practical to include such in-depth information, so I have provided a section on basic botany in Chapter 3 that should be sufficient to aid most students. A botanical glossary is also included to support this, and appears at the end of the book.

In addition to the fundamental skills-based processes, I have included a comprehensive materials and equipment list for drawing and painting, and recommendations for equipment of other media such as coloured pencils and ink. Information about mounting and framing botanical paintings is given in Chapter 11. I have devoted a chapter to colour which for many, presents notable challenges, and can often prove to be a stumbling block at the painting stage. Basic colour theory is addressed, as well as guidance given on mixing colours accurately to match specimens, and how to build up and make the most of your own palette of watercolours.

Chapter 12 provides information about continuing the art of botanical illustration, including suggestions and recommendations for further learning and continued practice; exhibiting and marketing your work, and how one’s own style can evolve and develop. I have included examples of my own students’ work, which it is hoped will give insight into what can be achieved through committed learning and regular practice. Some of the examples represent the achievements of students who set out as complete beginners and are now establishing themselves as accomplished artists and illustrators. A list of their contributions is included at the end of the book.

The book is set out in a progressive stage-by-stage format, which for most readers will be the logical way to access the information to achieve a completed painting. However, it is also intended that the book can be dipped into; chapters can be read in isolation of others which may be of benefit to those who already have some experience of botanical illustration, and who wish to hone their skills in specific areas of the subject.

Papaver somniferum, Opium Poppy. LEIGH ANN GALE

CHAPTER 1

Materials AND Equipment

The hand is the tool of tools.

– ARISTOTLE

The materials and equipment you invest in at the outset will without doubt become your trusted tools for successful botanical illustration. If you are equipping yourself for the first time then buying and building up a good selection of quality materials is by far the best option, as you will certainly achieve better results in your work right from the start. For example, selecting quality sable brushes instead of synthetic alternatives, and artist’s quality watercolours instead of student colours – whilst a little more expensive – will prove their worth time and time again.

Tulip ‘Rococo’. KATE TILBURY

Besides pencils, brushes and paints, there are a number of other useful pieces of equipment you will find helpful. Some of these can be purchased, but cheaper, homemade alternatives can work just as well.

You will also need to consider whereabouts you will be setting up your studio or allocated workspace and how you will store your work. If you are likely to be travelling, you will need to find effective ways of carrying and storing your work to prevent it from becoming damaged.

This chapter explores a range of materials and equipment suitable for botanical illustration, and of course, you will probably come across some of your own to add as you go along.

It is important to remember that botanical illustration is not only about the practicalities of drawing and painting but how best to support your endeavours by selecting appropriate materials and equipment conducive to the task in hand.

DRAWING MATERIALS AND EQUIPMENT

During the initial stage of the botanical illustration process, it will be necessary to make observational drawings of your subject matter. The conventional way to do this is by means of graphite pencil onto good quality cartridge paper.

PENCILS

Drawing pencils are available in varying degrees of hardness. The hardness of a pencil is determined by the ratio of graphite to clay powder content resulting in a range of soft (B) grade and hard (H) grade pencils. A pencil which is considered medium grade is known as an HB pencil, and this is the standard for most drawing activities. For botanical illustration purposes it is advisable to use a pencil from the ‘H’ range, since a finer and lighter line can be accomplished which will give greater accuracy and precision in your drawing. ‘H’ range pencils start at H and go up to 9H. It is not necessary to use the hardest ‘9H’ option, which could potentially damage your paper. Instead, a pointed H, 2H or 3H will suffice and will produce quite a satisfactory result. It is important that during the drawing process you keep the point of your pencil sharp, by regularly using a pencil sharpener or craft knife.

Pencils range from 9B soft to 9H hard.

Drawn lines show the difference in hardness of lead: H, 2H and 3H.

A ‘mechanical’ or ‘propelling’ pencil with individual leads.

You may want to consider using a ‘mechanical’ pencil (sometimes referred to as a ‘propelling’ pencil), especially if you intend doing a large amount of drawing. The advantage of this type of pencil is that the point remains permanently sharp, therefore doing away with the interruptions of sharpening all the time. The lead itself is simply propelled by an internal mechanism, which is activated by the user depressing a button on the end of the pencil. These pencils are readily available, and the different grades of lead in different widths are bought separately. As with a standard drawing pencil, choosing an H, 2H or 3H grade in a 0.3mm or 0.5mm width will be adequate for your purposes.

DRAWING PAPER

The use of good quality cartridge paper is recommended for botanical drawing, but it is up to you whether you choose to use loose sheets or work in a sketchbook. Cartridge paper should be smooth textured and around 70lbs/150gsm in weight. Cheaper, thinner cartridge papers are available; however, they tend to be slightly rougher in texture and prone to scuffing when rubbing out and pencil indentation when using the necessary H grade pencil.

A3 and A4 cartridge paper in loose sheets and spiral- and case-bound sketchbooks.

It is worth investing in both A3 and A4 sizes so that you can select the size suitable for the drawings you are making. Pads or books of cartridge paper are available in either case-bound or spiral-bound formats. It is fine to use either format for drawing; spiral-bound pads have the advantage of being able to turn the pages completely back on themselves.

Keeping a botanical sketchbook for all of your drawings, research, and colour notes is a very useful exercise and even the sketchbook itself can become a charming work of art in its own right. Choosing a good quality sketchbook will allow you to draw, paint, and use ink and coloured pencils, and if the paper is defined as acid free, then the longevity of your work will also be preserved. You could also use a sketchbook rather like a scrapbook, a place to keep all related findings such as pressed and dried specimens, photographs and other useful information, to help you in your quest to learn about the species you are illustrating.

ERASERS

Whilst you are drawing it is probable that from time to time you will need to correct any mistakes you make. It is arguable that any errors should be corrected at all, since leaving them in place is a good way of learning from your mistakes and will actually remind you of the mistake you made, thus avoiding the same error again. Although leaving errors in situ does have its merits, continual re-drawing can become confusing, especially when drawing fairly complex structures. If you need to erase mistakes, the best option is to do so by using a putty rubber. This is a pliable material resembling normal window putty, designed to absorb particles of graphite from the paper surface. Additionally, unlike some standard erasers, a putty rubber does not leave behind any evidence of rubbing out, which makes it ideal for keeping your drawings clean. Putty rubbers can be kneaded into any shape, for example a fine point or chisel to eradicate unwanted lines in a small space. Putty rubbers over time can become prone to hardening, or becoming soft and oily to the touch. Such rubbers can no longer be used effectively and you may find it necessary to replace them fairly regularly, however they are relatively inexpensive to buy.

A selection of erasers: putty, good quality plastic and propelling varieties.

Whilst a putty rubber makes the ideal eraser, a standard plastic eraser is also a good alternative. Plastic erasers are excellent for rubbing out larger areas and also have the advantage of completely eradicating pencil work. They are also neat and clean to use. Another useful type of eraser is a propelling one, rather like a propelling pencil. These are very handy for rubbing out single lines and areas of graphite from a confined space; are easy to hold and refills are readily available and inexpensive to purchase.

DIVIDERS AND PROPORTIONAL DIVIDERS

A useful aid for helping you draw accurately and to size is a pair of dividers. Looking similar to a mathematical compass, but with points on each side, you can make precise measurements of your subject matter, transfer, and mark distances onto your drawing paper.

Dividers are used to take accurate measurements of a specimen when drawing at life size.

Use proportional dividers to make scaled measurements of your specimen.

Equally useful are a pair of proportional dividers designed especially for the purposes of enlarging or reducing drawings. By simply adjusting the central pivot to the required graduation hole, scaled drawings can quickly be made.

PAINTING MATERIALS AND EQUIPMENT

As you progress from drawing to the painting stage you will need a variety of equipment to help you get underway. The essential materials will consist of brushes, watercolour paper and watercolour paints and you should endeavour to use the best quality you can afford. However, other items of equipment will be helpful which you can either purchase or source suitable alternatives from home to keep costs down.

Painting materials: brushes, hot-pressed watercolour paper, watercolours, rag, palette, and water container.

BRUSHES

The finest quality kolinsky sable brushes are recommended for botanical illustration. The bristles are a natural product of the kolinsky, the Siberian weasel native to northern Asia. The tail hair is naturally collected, but as the animal is rare, kolinsky brushes tend to be expensive to buy. Their suitability for this type of painting, however, is evident in that they have the ability to naturally ‘snap’ back into position after repeated use. They also maintain a sharp point and hold paint well.

The bristles of a good quality sable brush should form a point.

The make and size of a brush is indicated on the handle.

The range of brushes you will need does not need to be extensive. If you are purchasing brushes for the first time a size 2 and 0, or 3 and 1 will suffice. You can then add more to your collection over time if you need them. There is a myth that in order to paint very finely, an extremely small brush such as a 000 should be used. However, you will be able to paint such details so long as the point of your brush forms and maintains a sharp point.

Tips for buying kolinsky brushes

When you are buying brushes, consider getting them from an art shop rather than online. Although art shops are something of a rarity these days, finding a good one where you can check the quality of a kolinsky brush before you buy it is highly recommended. You should never buy a brush with ‘splayed’ bristles. Splayed bristles are a sign that the brush has been damaged, and you will not be able to paint well with it. Any good art shop will be happy to help you with purchases, so it is always worth asking for a small pot of water to check how well the brush comes to a point. Carefully remove the brush from the protective straw, dip it into some water and then rotate the bristles on the back of your hand. The point should be pin-sharp. If it is blunt or if any bristles are stray, you should not buy the brush. Look for a good alternative instead and repeat the process until you find a suitable one.

WATERCOLOUR PAPER

Selecting the correct type of watercolour paper for botanical illustration can at first appear to be quite a confusing process. There are many textures, weights and sizes to choose from so an understanding of the differences will make your job easier.

Hot-pressed watercolour paper left is smoother than cold-pressed watercolour paper.

Hot-pressed watercolour paper is available in spiral pads and loose sheets.

Sheets of gummed hot-pressed watercolour paper should be lifted carefully with a knife from the corner of the pad.

There are three categories of paper texture: hot-pressed (often referred to as ‘smooth’), cold-pressed, and rough. Both cold-pressed and rough papers have a noticeable texture (known as a ‘tooth’) and whilst these papers are generally cheaper to purchase and good for complete beginners, their texture renders them inappropriate for achieving very fine and detailed botanical work. You will therefore need to familiarize yourself with the hot-pressed texture, which is extremely smooth by contrast, and is therefore the most suitable surface for obtaining fine painted details.

Next you will need to consider the weight of paper you need. The most common weight is 140lb/300gsm which is perfectly adequate for most botanical work. Lighter weight paper (90lb/200gsm) has a tendency to be too light and may cause problems such as buckling. Heavier weight paper (300lb/620gsm) will only be necessary if you intend applying lots of washes in your illustration. It can occasionally be necessary to stretch paper beforehand, but this would only need to be done if you are using loose sheet mid-weight paper.

Acid-free, hot-pressed paper can be bought in pads, blocks or loose sheets. If you are likely to be working at larger than 18in × 24in then you will have to purchase paper as loose sheets anyway, otherwise blocks and pads are available in sizes upwards from A5 (210 × 148mm). It is entirely up to you in which format you buy paper. If you are new to using hot-pressed paper, then it may be advantageous to buy loose sheets to begin with allowing yourself the chance to try out papers produced by different manufacturers. You will notice a slight, quite subtle, colour variation between papers, from bright white, off-white/ivory and almost pale yellow. For example, Arches is more off-white than Fabriano, but Fabriano is offered as ‘Classico’ or ‘Artistico’ which also vary slightly in colour. It will come down to personal choice which one you prefer. The absorbency of paper also varies between manufacturers, which depends on the size that has been applied to the surface. Arches is known for its very absorbent surface, making it an ideal paper to use for building up several layers of wash. It can be quite difficult to move the paint around of this type of surface. By contrast, the fairly new Zeta paper by Stillman & Birn is much less absorbent, allowing the artist to easily move paint around the surface and to lift paint with relative ease.

Some manufacturers offer their hot-pressed paper in block form as well as sheets and pads. Buying a block of paper is a cost-effective way to buy en masse and because the paper is glued on all four sides, makes it ideal for applying numerous washes without the need to be stretched. However, it is worth bearing in mind that transferring your drawing from your sketchbook to block paper will only be possible by using the tracing method (seeChapter 4), so you will need to take this into account before committing to buying twenty to twenty-five in a block. Once you have completed a painting using block paper you will then have to separate the sheet from the rest of the block. This is easily done by locating the corner which is unglued, and then carefully sliding a craft knife along the edges.

How to stretch watercolour paper

It is generally recommended that you use hot-pressed paper of at least 140lb (300gsm) weight for botanical illustration, which is regarded as the standard by most botanical painters. You will therefore not need to stretch watercolour paper all that often unless you regularly use a lot of washes or need to paint large, flat areas in your illustration.

Stretching paper is a straightforward process, but you must take care to ensure each stage of the process is followed, and it may take two or three attempts to achieve a perfect result.

You will need:

• A clean bath filled with 6in lukewarm water;

• Your watercolour paper;

• Sealed ply board (or similar);

• Lengths of brown gummed tape;

• Sponge.

Process:

1. Fill a clean bathtub with about 6in lukewarm water.

2. Gently submerge your paper, following the contours of the bath, and leave to soak for five to ten minutes.

3. Carefully lift the paper out of the water by one corner, supporting it as you go, and allowing the excess water to drip off.

4. Gently lay the paper onto a clean board (sealed ply or similar) and remove excess water with a clean sponge. Do this from the centre outwards to the edges, ensuring no air bubbles remain.

5. When the paper is completely flat, and all the air bubbles are dispersed, apply lengths of 2in water-soluble brown adhesive tape along the edges. You will need to wet the tape as well, so run it through the water in the bath and then hold upright so that the surplus water can drain off. (Ensure you don’t hold the tape in the water for too long otherwise the gum will soak off.)

6. Carefully stick a length of tape over each edge of the paper. Make sure that the tape adheres entirely to the paper, so check for any air pockets or wrinkles.

7. Lightly use a sponge to remove excess water from the edges, taking care not to disturb the gummed tape.

8. Lay the board flat allowing the paper and tape to dry.

9. As the board dries, check for air pockets, wrinkles and lifting tape. If tape is lifting you can fix by laying an additional length of tape over the top.

Use hot-pressed watercolour paper, sealed ply, gummed tape, scissors, and a sponge to stretch your own paper.

WATERCOLOURS

Watercolour by definition is a pure pigment held in a water-based suspension, and is the traditional medium used by botanical artists and illustrators. The renowned German Renaissance artist Albrecht Dürer (1471–1528) painted many botanical works of art and is generally considered among the first advocates of watercolour. It has the ability to define the clarity and precision of scientific specimens in full colour making it the favoured medium even today.

Different brands of watercolours are available in tubes and pans.

Nowadays, watercolours are available in two formats; pans and tubes. The fundamental difference between them is that tubes are malleable whilst pans are dry. Whichever you choose is entirely down to your own preference; there are certain advantages and disadvantages to both.

TUBES

Tubes of watercolour are available in 5ml and 14ml weights, although for botanical illustration it is seldom necessary to buy the larger size. You will generally be using very small quantities of paint at any one time, so you will find that a 5ml tube will last a good while.

Use tube paints squeezed into empty pans to make your own palette.

Tube paints contain more binder (gum Arabic) in them than pans, making them easy to squeeze onto your palette and are useful if you have large areas to cover. You will also notice that by picking up even the smallest amount of paint on your brush, the colour is immediately vibrant and intense. This is especially helpful when mixing colours together as it enables you to achieve the richness or intensity of colour quite rapidly without necessarily having to build up layer upon layer of wash.

It is quite common practice to squeeze tube paints into empty pans to make up a palette of colours. If you do this you will be able to repeatedly re-wet the colours quite easily once they have dried, although you may notice that some paints used in this way remain soft or sticky because the binder does not fully dry out. This is not a problem, and is not to the detriment of the effectiveness of the paint.

Over time, some tubes of paint can deteriorate by becoming solid. This occurs if air has been allowed to creep inside, either because there is a small puncture in the tube casing, or if the lid has not been sufficiently tightened. If this happens, it is still possible to use the paint inside like a pan, but if the paint does not adhere well to the paper, it may have dried out too much, in which case it is best to discard the tube and buy a fresh one.

PANS

The advantage of pans is that you can purchase them in a set or individually to add to your own palette. Available in both half pans and full pans, you really only need to consider buying half pans. Rather like purchasing the smallest size tube, half pans are usually more than sufficient for the needs of any botanical painter. As you unwrap each pan you will have immediate access to the colour, as there is no need to squeeze paint onto a palette.

Travel sets of watercolour pans are ideal for travelling with.

Using pans can require some extra effort when mixing colours to the required consistency or quantity of colour. It is sensible to consider using an old brush to do this, as persistent use/scrubbing with a good quality brush will ruin it and its perfect point over time.

Pans are ideal for those who enjoy applying washes and are nice and portable, ideal for use when travelling or painting in a non-studio environment.

WATERCOLOUR BRANDS

There are numerous brands of watercolours on the market, but it is the artist or professional quality ranges that will offer the best results for botanical painting. Of the most popular, Winsor & Newton, Schminke, Sennelier, Daniel Smith, White Nights and Rembrandt all use the purest of pigments to ensure maximum colour intensity, brilliance and transparency. If you are new to botanical painting, it is worth experimenting with the different brands until you find one that suits you.

CHOOSING A PALETTE

If you opt for using tubes of watercolour, choosing a good palette for mixing should be a relatively straightforward process, but if you are using pans in a set then you will most likely be provided with an attached palette. Plastic and ceramic palettes are readily available to purchase in a multitude of shapes and sizes from art shops or online, but it will be a ceramic palette that will give you more success when mixing watercolours.

Ceramic palettes are available in different sizes and styles.

A ceramic white plate or white bathroom tile makes a cheaper alternative to commercially available palettes.

Plastic palettes, whilst relatively inexpensive, tend to stain and repel paint from the surface, rendering them hard or virtually impossible to use. It is possible that with perseverance, the plastic surface may become more accepting of paint over time. Plastic palettes are however light and durable, often making them popular choices for travelling artists.

Ceramic palettes, although heavier and more expensive to handle and carry around, provide a much better surface for colour mixing. It is possible to use a white plate or ceramic tile instead as a good alternative to a commercially available palette.

Whatever your choice of palette, ensure it provides sufficient space for holding and mixing your colours.

Whilst using your palette, it is not always necessary to clean it out after each use. Any colour remaining after you have finished painting can simply be re-wetted and used again. In fact, some artists prefer to work this way and deliberately keep their palette ‘dirty’, as invariably the mixes of colour left behind are so variable that they can often be used in a painting as shadow colours. However, every now and then it is a good idea to clean out your palette completely, so that you don’t run out of mixing space, or contaminate and dull down individual colours.

WATER CONTAINER

The simple solution for equipping yourself with a water container is to use any clean, clear or white plastic or glass pot you have at home. Some artists prefer to buy containers which are commercially available, such as a plastic collapsible design, ideal for ease of storage or if you are travelling; a non-spill paint pot complete with a useful brush rest across the lid, and divided water pits, enabling you to permanently keep one half filled with clean water, ideal if you are using the wet-into-wet painting technique.

Water pots are available in different materials, or a clean, clear glass jar works equally as well.

During painting, you should replenish your water supply regularly to avoid microorganisms from growing in it. Keeping the water clean also helps ensure your painting remains clean too. It is fine to use normal tap water. However, some artists prefer to use filtered or distilled water. This is because in some hard water areas there are significant mineral deposits or additives in the water supply such as calcium or chlorine, which can react with your paints.

When you have finished painting never leave your brush in the water. This is a bad habit that will cause the bristles of a perfectly good quality brush to become bent in a very short space of time. If you accidentally do this however, it is sometimes possible to restore the brush by suspending the bristles momentarily in boiling water.

RAGS

As you paint you will need to take excess water and paint off your brush frequently. To do this a rag is an essential piece of equipment. It doesn’t have to be anything elaborate as long as it is lint free so that you avoid transferring fibres to and from your painting. You should avoid using paper kitchen towel or tissues, as these start to disintegrate once they become wet and again, fibres can easily be transferred to your painting or picked up on your brush during rinsing.

OTHER USEFUL EQUIPMENT

Besides the obvious drawing and painting materials, there are several other items of equipment you will find useful for botanical illustration. You may even discover some items along the way that are not included in the following list. It is not uncommon for artists to be inventive and use even the most mundane of household objects to help them with their work. Items such as an upturned saucepan to stand a vase on, or a peg to clamp a specimen in place are not unheard of.

The following list of useful equipment is not conclusive, but will give you a clear indication of other items that might be useful.

ANGLEPOISE LAMP

An Anglepoise lamp is probably the most useful additional piece of equipment to invest in. It will not only help you to see your subject matter more clearly but will also provide a directional light source onto it. During the painting process on overcast or gloomy winter days, an Anglepoise lamp will be a godsend, allowing much-needed light onto your work.

Anglepoise lamps are available in different designs, but always use a daylight simulation bulb for botanical illustration.

As with much equipment, there is a good selection of Anglepoise lamps available to choose from. A standard Anglepoise lamp provides quite simply light from either a screw or bayonet light bulb fitment, but more extravagant versions may incorporate a magnifying lens. Most lamps are designed to sit on your desk, but floor-standing lamps are also available.

It is vital that with any lamp, you choose a daylight bulb fitting. This will simulate daylight and therefore enable you to see the true colours of your specimen when painting.

TRACING PAPER

Good quality semi-transparent tracing paper can be used during several stages of the botanical illustration process. As part of the drawing stage, a sheet of tracing paper is useful to check the accuracy of your drawing. If you can’t quite see why part of your drawing looks ambiguous, re-draw the problem area directly over the top on tracing paper rather than continually rubbing out your line work. Not until you have corrected the mistake on tracing paper will you need to correct your drawing, therefore allowing you as many attempts as necessary to get it right. Remember that neatness and cleanliness are all part of creating an accurate drawing. You will only create a mess by continuing to rub out in the same area repeatedly and you also run the risk of damaging your paper.

Useful tracing paper is available as loose sheets or pads.

Tracing paper can also play an important role at the composition stage (seeChapter 4). You can use it to assemble a master template of your drawings into a final composition, and then use either a lightbox to transfer the drawing to painting paper, or apply graphite on the reverse before tracing the image through onto painting paper.

RULER

You can use a ruler purely for making measurements at the drawing stage. Use either centimetres or inches of a plastic or metal ruler to do so. A ruler can be a useful alternative to dividers, and will give you a precise measurement to help you make accurate drawings.

Use a plastic or metal ruler to make precise measurements.

You may be tempted to use the ruler for drawing the seemingly straight sides of flower stems – especially if they are long – however, this is discouraged for various reasons. Surprisingly, lines drawn with a ruler can sometimes look unnatural, or the artist may inadvertently draw a completely parallel pair of lines of a flower stem with a ruler, without observing the subtle tapering and flaring which could occur in such an example. It is good practice for botanical artists and illustrators to perfect the art of drawing straight lines, and is a very useful skill to have.

DRAWING BOARD/SLOPE

Many artists prefer to work at a drawing board or slope for both drawing and painting. When drawing your specimen, the drawing on the paper in front of you will appear less distorted than if you work on a flat surface. In other words, the view of your drawing is much more correct, therefore maximizing the accuracy of your drawing.

Using a drawing board can help reduce distortion when drawing your subjects and will support your paper whilst painting.

Due to the lengthy process of drawing and painting you will also find it more comfortable to use a drawing board as you will not need to bend your neck right over your work, but instead maintain a much more upright posture reducing stress and tiredness in your muscles.

Make your own drawing slope with a length of 2in × 2in wood and a sheet of ½in thick plywood.

If you choose to invest in a drawing board, a table-top variety should suffice. There are many types available, from fairly inexpensive options through to professional alternatives. You could also improvise and make your own drawing board or slope to work on. A piece of half-inch thick ply resting on a length of 2in × 2in wood is equally efficient as its shop-bought counterpart.

If you are travelling with your work there are now some very useful portable, lightweight drawing boards available, some featuring easy-carry handles.

LOW ADHESIVE TAPE/MASKING TAPE

Whilst you are drawing and painting it is a good idea to secure your paper to your drawing surface. You can easily do this by using low adhesive or masking tape. Masking tape that is pH neutral is easily removed from your paper without damaging it or leaving a residue. Similarly, clear, low adhesive tape allows you to easily peel it away after use, and can also be used to stick together drawings you have transferred onto tracing paper when compiling a composition master template (seeChapter 4). Being clear, it does not detract from the composition elements, can easily be lifted and repositioned, and can even be drawn on with a pencil.

Use low-adhesive tape or masking tape to secure paper to your drawing surface.

MICROSCOPE

As a botanical illustrator it is essential to observe and draw your subject matter accurately. In the case of very small features, using a microscope or hand lens will help you see and understand some structures much more clearly. You will not need to magnify anything to the extent of being able to observe the minutiae of detail such as cell structures, but you may for example need to describe and explain specifically the structure of an anther on a stamen or perhaps the small seeds contained in a seed capsule. A microscope providing a minimum magnification of around ×20 should be sufficient for the needs of most botanical illustrators.

Use a microscope to make close, accurate observations of your specimens.

Basic models of microscope are reasonably priced, however if you require greater magnification models up to ×120 power are also available. Some basic models come with additional eyepieces that can be easily attached, and some, a little more expensive, have the added benefit of inbuilt illumination systems, which can be useful.

HAND LENS

A hand lens (such as those used by jewellers) is very helpful due to their portability, especially when observing specimens out ‘in the field’. Hand lenses are available in ×8, ×10, ×15 and ×20 magnifications.

A hand lens is a convenient way to observe specimens closely, especially ‘in the field’.

MAGNIFYING GLASS

Conventional hand-held magnifying lenses are considered as essential kit for the majority of botanical artists and illustrators. A typical magnifying glass will provide a very handy magnification of ×2 with an inbuilt additional magnification lens of ×4. Greater magnifications can also be sought, typically up to ×10 power. Available in different formats such as traditional hand-held pocket size, chest and stand (hands free), and even spectacle format, there is plenty of choice. Nowadays, many magnifying glasses also have inbuilt LED illumination.

Magnifying lenses are useful for observing specimens, and are available as traditional and LED illumination options.

CRAFT KNIFE AND CUTTING MAT

If you are likely to be dissecting components of your specimens, it will be necessary to use some form of blade to cut with on a cutting mat. Botanists usually use a ‘double-edged razor blade’ which gives a wonderfully clean, sharp cut, or you could use a craft knife or scalpel (with a size 10A blade) which both have a handle making them easier to hold. Whichever you choose, you should make sure that the blade is sharp so that you make clean cuts through your specimen. Try to avoid using blunt blades as these will cause snagging and tearing and always replace a blunt blade as soon as possible. Always take care when using any form of knife or blade and put them away safely when not in use. An effective way of storing a scalpel is to embed the blade in a cork. Artist’s craft knives contain retractable blades, and razor blades can be stored safely in a sealable box.

A craft knife or scalpel used on a cutting mat is a good alternative to a botanist’s razor blade for cutting small specimens.

To prevent your work surface from becoming cut, it is advisable to use a cutting mat or perhaps a piece of wood or thick cardboard. Artists’ rubber cutting mats are particularly good as they are non-slip and reusable.

OFFCUTS OF WATERCOLOUR PAPER

It is well worth saving lots of offcuts of watercolour paper. These can be used to practise painting techniques and experiment with colour mixes. Painting a small swatch of your mixed colour off the edge of a scrap of paper, or around a punched hole, can when dry be held directly onto the specimen to check for likeness. If the colours of both the specimen and paint swatch merge together, you have achieved a good match.