Drawing and Painting Leaves E-Book

Leigh Ann Gale

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

Seitenzahl: 219

Veröffentlichungsjahr: 2025

Beschreibung

Many artists struggle to stop leaves looking flat in their illustrations or find it challenging to mix shades of green accurately to reflect a true likeness to foliage. This book addresses these problems and many more to help you draw and paint leaves successfully and confidently. Written by a leading botanical artist and tutor, it explains key practical techniques and approaches with clear instructions and step-by-step tutorials. It also examines the fascinating world of foliage to reveal the important role that leaves play in the plant kingdom, including modified and adapted forms, so that your artwork accurately reflects the science. Packed with over 300 illustrations, this beautiful book is an essential read for all artists who want to understand the role of leaves and to depict them accurately.

Leseprobe

CONTENTS

Introduction

1 The Botany of Leaves

2 Drawing Leaves

3 Painting Leaves

4 Seasonal Leaves: Spring

5 Seasonal Leaves: Summer

6 Seasonal Leaves: Autumn

7 Seasonal Leaves: Winter

8 Drawing and Painting Modified and Adapted Leaves

Glossary of Botanical Terms

Contributors

Art Suppliers

Index

Acknowledgements

INTRODUCTION

Having been a professional botanical artist for two decades, I have painted many species that produce a variety of leaf forms, and have discovered the complexities of observing, drawing and painting such a variety and learning why each is unique. Botanical art requires accurate observation of foliage (as well as other components of a plant) to help in the correct identification of a species. Detailed drawings, colour matching and painting skills are also an important part of this process.

Brunnera macrophylla (Siberian bugloss).

I have taught a considerable number of botanical art students of varying abilities for most of my painting career, and it is apparent that for many, the processes of drawing leaves and the painting of green foliage especially are some of the most challenging aspects of the subject. This book aims to address many of these challenges and is intended as a guide for all who wish to draw and paint leaves accurately. It aims to provide useful information to support your understanding and study of many different leaf forms and introduce you to some practical methods that I have developed over the years.

The early chapters of the book depict a natural sequence for the study, drawing and painting of foliage. Chapter 1 looks at the botany and anatomy of a variety of the more common leaf species in the monocot and dicot clades, helping you to become familiar with the diverse features and characteristics of leaves. An understanding of the botany of foliage is fundamental to the preparation of accurately drawn studies in graphite pencil. In Chapter 2 basic drawing and shading techniques and strategies are suggested, and I introduce many of my own techniques for establishing technical accuracy and detail. Also included are discussions about the movement of leaves and how this may affect your drawings, dealing with twisting and bending leaves, and how to cope with the minutiae of detail associated with complex leaf venation and serrated leaf margins.

Roughly one-third of our planet is made up of green leafy flora, meaning that the number of green hues possible is almost incomprehensible. It is not surprising therefore that many artists struggle with selecting appropriate colours to mix to achieve correct colour matches to specimens. In Chapter 3, I show you some generic painting techniques and processes and introduce you to some of my own preferred techniques. Along with matching and mixing colour, many additional aspects of painting leaves are covered, such as painting highlights and shadows, and coping with aerial perspective. Suggestions for painting veins, sharp serrated leaf margins and translucency are given, and methods are described for painting unique features such as hairy leaves and bloom, and marks, spots and blemishes. Further chapters highlight the differences between the colour of foliage throughout the seasons, with recommendations for seasonal colour palettes and project ideas in the form of step-by-step tutorials.

There are many types of modified and adapted leaves which have evolved in the plant kingdom, and which enable plants to survive in the habitats they grow in. The final chapter focusses on drawing and painting a variety of the more popular forms, such as bracts, spathes and tendrils and the more especially adapted forms such as the spines of succulents and cacti, reproductive leaves and carnivorous leaves. Throughout the book you will find useful tips and advice, plus additional information on the featured topics.

Whether you are just starting out or are an experienced botanical artist, I hope you will find this book to be a useful reference for dealing with the many challenges of drawing and painting leaves.

CHAPTER 1

THE BOTANY OF LEAVES

The main function of botanical art and illustration is to inform and educate the viewer about different species in the plant kingdom. Traditionally this was necessary when plants and herbs were used therapeutically, and it was important that accurate depictions of species for such purposes were available in pharmacopoeia and herbals. Prior to illustrations being present, descriptions alone were relied upon for the administration of herbs and plants for ailments. This commonly resulted in fatal or near fatal consequences due to a lack of information detailing precisely which components of plants could safely be used.

Skeletal leaf of magnolia species.

In modern botanical art and illustration, we still use scientific precision and accuracy in drawings and paintings to describe every aspect of our subjects, and this includes studying the botany. As well as carefully describing the anatomy of the flowers, fruits, seeds and so on, the leaves of species are often a major group of structures we need to deal with and which we often find to be amongst the most challenging. Not only are leaves often perceived as being ‘flat’, but their structures can also present even the most accomplished artists with potential challenges. Venation, texture and serrated margins for example all require careful observation and meticulous rendering, and so the artist will require sufficient botanical knowledge and familiarity of their characteristics to draw and paint them with accuracy. This knowledge will be better understood with a sound comprehension of the anatomy of the leaves and their primary function for the plant. Why is the leaf thick and fleshy? Why is it hairy? Why is it smooth or waxy? Such questions should arise as the artist sets to work.

In this chapter we will focus on leaves as botanical structures, their necessity and function for the success of a plant to thrive, and at a fundamental level, their botanical characteristics.

Accurate observational drawings need to include attention to detail of leaf shapes (including the apices, bases and margins), the venation (arrangement of veins) as well as the arrangement of growth patterns and attachments to plants.

Finally, a brief look at the botany of several other types of modified and adapted foliage such as tendrils, spines and needles will be introduced.

THE FUNCTION OF LEAVES

Most species in the plant kingdom include some form of foliage. We are very familiar with the leaves we see in our gardens, parks and woodland but other types of leaves such as modified or adapted ones also exist.

What is the function of leaves?

The primary function of leaves is to sustain the plant to help it thrive and reproduce. The process of photosynthesis is enabled for this. The leaves possess the necessary structures and internal systems to convert water, ultraviolet light and carbon dioxide into glucose, which feeds the plant and keeps it healthy during its lifetime. However, leaves have other important functions such as providing protection from extreme weather conditions, providing a defence mechanism for the plant or acting as a storage facility for water and nutrients. In these cases, the leaves may be modified or adapted so that they can withstand different growing conditions.

Types of leaves and their characteristics

There are numerous leaves in the plant kingdom, including specifically modified and adapted leaf forms. The characteristics of each are unique to each species with every aspect of their shape, form and structure completely deliberate. This is so that each species can maximise its chances of survival and reproducing.

Aside of the more unusual adapted and modified leaf forms, most leaves fall into one of two categories; those belonging to plant species either in the monocotyledon group or the dicotyledon group of flowering plants. As a botanical artist it is important that you become familiar with the overarching characteristics of leaves in both groups.

Monocotyledons

Plants in the monocot group are produced from seeds which consist of a single cotyledon. Typically, these are found in members of the Poaceae (grass) family such as cereal crops including wheat, barley and maize, and grasses including ornamentals such as bamboo and pampas grass. They are also seen as strappy leaves on plants such as daffodils, crocuses and tulips.

Bamboo is amongst the many members of the monocotyledons which are produced from seeds consisting of a single cotyledon.

Dicotyledons

Plants from the larger dicot group are produced from seeds which bear two cotyledons. Each cotyledon produces a fleshy leaf and further leaves consist of a strong midrib and a surrounding arrangement of smaller veins.

Dicotyledon leaves typically consist of a strong, central midrib surrounded by a network of smaller veins.

Leaf venation examples

One of the main characteristics of leaves is the arrangement of the veins. This is known as ‘venation’. The long, parallel veins of the monocots make identifying plants within this group relatively simple, but in the much larger dicot group, there are many different arrangements of smaller multiple veins, such as reticulate (composed of a network pattern of veins), pinnate (having separate veins at an angle alongside the midrib) and anastomosing (having branched veins which sometimes meet near to or only at the leaf margin).

The arrangement of veins on leaves is known as venation.

LEAF SHAPES

As you study and draw a variety of leaves you will notice the numerous leaf shapes of different species. There are many, and they tend to be divided into smaller groups depending on their complexity.

Simple leaves

One of the largest groups of leaf shapes are known as ‘simple’ leaves, which are entire single leaves. The group is further subdivided into two smaller groups. The first sub-group consists of leaves with a smooth margin. Leaves in the monocot group include leaf shapes that resemble blades, typically of grass (known as acicular) and in the dicot group, leaves are generally rounder, such as beech (known as ovate) and lime (known as cordate).

The shapes of ‘simple’ leaves have characteristic smooth margins.

The second sub-group are slightly more complex in their visual appearance. They are still single, entire leaves, but often take on more distinctive individual shapes such as ivy (known as hastate – spear-shaped), gingko (known as flabellate – fan-shaped), and geranium (known as reniform – kidney-shaped), for example.

Leaves may take on many different forms, such as spear, fan and kidney shapes.

Simple leaf shapes with lobes, indentations and ‘fingers’ present make up the rest of the second sub-group. Examples include dandelion (known as runcinate – consisting of a saw-like margin with the divisions sharply cut pointing backwards and towards the back of the leaf), sycamore (known as palmatifid – virtually hand-shaped) and some species of oak (known as pinnatifid – pinnately lobed).

Some leaf shapes produce lobes, indentations and ‘fingers’ along their margins.

Compound leaves

Leaf ‘shapes’ are not only classified as single, entire leaves, but sometimes as ‘compound’ leaves. A compound leaf is typically characterised by several ‘leaflets’ joined to a stem. In its simplest form this can be seen as one stem with either an odd number of attached leaflets – known as imparipinnate (odd-pinnate) – or an even number of attached leaflets known as paripinnate (even-pinnate). In both instances the leaflets do not have their own petioles. Many shrubs produce compound leaves.

Compound leaves are characterised by their leaflets joined to the stems.

Further complex compound leaf forms can be found in plants whereby the pinnate leaf is subdivided into further pinnate leaflets such as in Acacia species (known as bipinnate) and subdivided into three parts when each part is further subdivided into three as in Aquilegia species (known as biternate). Palmate leaf forms (known as digitate) are also compound leaves whereby several narrow leaflets exist as in Aesculus species.

Complex compound leaves produce pinnate leaves which are subdivided into further pinnate leaflets, whilst digitate compound leaves produce several narrow leaflets.

LEAF MARGINS, APICES AND BASES

All leaves (and leaflets of compound leaves) have a margin (the outside edge of the leaf or leaflet), an apex (the shape of the top of the leaf) and a base (the shape of the bottom of the leaf, sometimes including its attachment to the stem), but how they look varies enormously from species to species.

Leaf margins

So far, we have identified that some leaves have margins which appear smooth or lobed. Many leaves also have a serration along their margin and specific terms are given to the type of serration present. The type of serration depends on the degree and complexity of the toothing. Examples include spinose with sharp points (typically in holly); incised (as in false nettles) and a much more rounded tooth known as a crenate margin (as in ground ivy).

Sometimes the ‘serration’ appears more lobe shaped rather than toothed, with each lobe usually being curved in nature (as in oak). This is known as a sinuate margin.

There are many types of serrated leaf margin.

Some serrated margins may take on a more lobed appearance.

Leaf apices

The tip of a leaf is known as the apex and these vary considerably in shape, from sharp and pointed to smooth and rounded. Many different names are given to the variety evident in different species. A few examples of sharp, pointed apices include those with a gradual tapering towards a tip (acuminate), those ending abruptly to a sharp point (cuspidate) and those ending with a tail-like appendage (caudate). Several smoother and sometimes lobed apices include examples such as those having a virtually semi-circular tip (rounded), those with a slightly notched apex (retuse) and those which are distinctly notched at the leaf tip (emarginate).

The tip of a leaf is known as the apex, which may take one of several different appearances.

Leaf bases

Leaf bases occur when a leaf petiole is either present or absent and may be angled or rounded. In some cases, the leaf base may be wrapped partially or entirely around or overlapping a petiole.

Some of the more familiar forms include sharply pointed bases (acute), arrow-head shaped bases (sagittate) and overlapping basal lobes (imbricate).

There are many different shaped leaf bases.

LEAF ARRANGEMENTS AND ATTACHMENTS

So that a plant can grow successfully and evenly (assuming perfect growing conditions), the attachments of the leaves onto the stems (known as phyllotaxy) and their pattern of distribution on the plant is important. You will become familiar with the way in which leaves are arranged and attached on stems as you study them, and this practice will become fundamental to your drawing and painting to ensure botanical accuracy.

Leaf arrangements

One of the main functions of the foliage is to provide sustenance to the plant through the process of photosynthesis and it is therefore critical that the leaves are arranged in a way that maximises their exposure to sunlight, to convert it into energy for the plant.

Two common arrangements of foliage around a stem include alternate and opposite arrangements. This is a relatively comprehensive concept although variations do occur. In their simplest form, these arrangements consist of a simple leaf positioned either side of the stem arranged in two vertical rows and occurring either alternately or opposite each other on a level plain. This is known as an alternate or opposite leaf arrangement.

A variation on this is called an opposite or decussate arrangement, where the leaves occur opposite each other but alternately around the stem at 90 degrees.

A spiralling arrangement of leaves around a stem is a very effective and efficient way for the plant to maximise the exposure of each leaf to sunlight and rainfall equally. You may observe this arrangement of foliage on trees and shrubs, especially if viewed downwards from the growing tip to the base of a branch. A spiral is formed by leaves occurring alternately around the stem at specifically 137.5 degrees. This is known as the ‘golden angle’, which is identified in the Fibonacci sequence.

Two of the most common arrangements of leaves on a stem are alternate and opposite.

A decussate leaf arrangement occurs alternately around the leaf stem every 180 degrees.

The Fibonacci sequence is evident in a spiral arrangement of leaves around a stem.

THE FIBONACCI SEQUENCE

The Fibonacci sequence is well known in nature and not least in the plant kingdom where it can be easily identified in the growing patterns of flowers, seedheads, cones and leaves. The sequence was devised by the Italian mathematician Leonardo Fibonacci, when he discovered that the sum of the two previous numbers in a number line (0, 1, 1, 2, 3, 5, 8, 13, 21, and so on), when shown diagrammatically, form a spiral. Also known as the golden angle, or the golden ratio, the sequence is well known in art where it can be used to maximise the benefit of including a focal point and increase the harmony and balance in a painting.

In addition to the spiralling nature of some leaves around stems, the effect can be seen very effectively in succulents and fern fronds (croziers) as well.

The Fibonacci sequence occurs prolifically in the plant kingdom.

Succulents clearly display the arrangement of the Fibonacci sequence.

The spiralling nature of the Fibonacci sequence is clear on fern fronds when they are known as croziers.

Other leaf arrangements that you may come across from time to time include whorls, clusters and rosettes.

A whorled leaf arrangement consists of a minimum of three leaves originating from around the stem in a circular fashion.

A collection of leaves forming a group is known as a clustered leaf arrangement, often found alternately positioned around the stem.

A rosette of leaves known as a rosulate leaf arrangement is formed of a cluster of several leaves at the base of a stem. Some succulents produce their leaves arranged in this formation.

Other types of leaf arrangements include whorled, clustered and rosulate.

Points of attachment

Each leaf must be connected to the plant, and this connection for many leaves is at the node on a stem. Nodes are the joints along the stem that are often quite visible. Leaves joined at nodes may or may not have a petiole (leaf stem). The point of attachment via a leaf petiole is known as petiolate. When a petiole is absent however the midrib appears to emerge directly from the node instead, and this attachment is known as sessile.

Petiolate and sessile points of attachment emerge from the leaf node.

In some cases, leaves appear to wrap around a stem either partially or fully such as an amplexicaul (clasping) attachment or a perfoliate attachment (where the stem appears to pass through the leaf). Sheathing attachments are also possible – especially in monocots – whereby the attachment forms a tube-like structure around the stem (as in tulips). Sometimes, leaves attached in this way overlap from the base of the plant (as in irises).

The sheathing attachment of leaves on a tulip form a tube-like structure.

Overlapping sheathed leaves are evident at the base and upwards on irises.

Other types of leaf attachment occur if stipules are present at the node. A pair of stipules may form together and fuse around the stem to make a tube-like structure which resembles a modified petiole of a leaf. This is known as an ochreate attachment. A variation of this is a stipulate attachment, whereby the stipules are only partially fused together, and a partial leaf petiole is present (as in roses).

Ochreate and stipulate points of attachment occur when stipules are present, either fused or partially fused.

MODIFIED AND ADAPTED LEAVES

You may sometimes draw and paint plants that produce leaves less familiar to you such as those species which feature tendrils, spines, needles, bracts, spathes, stipules and bud scales for example. Essentially, each of these are either modified or adapted leaves that have evolved to have these features over thousands of years.

Plants remain static and must therefore find the best way to survive in their environment, whether it is a cold coniferous forest at high altitude, a hot desert or harsh tundra. Their leaves are either modified or adapted in some way so that they may survive extreme weather conditions, store water in drought conditions or climb or scramble through dense woodland to reach the light for example. Some plants have adapted their leaves even more significantly, such as those that belong to the carnivorous group of plants, when it is necessary to obtain vital nutrients from prey when the soil is lacking.

The groups of modified and adapted leaves will be explored more thoroughly in Chapter 8.

Pine needles are modified leaves that conserve moisture.

The spines of a cactus are modified leaf forms which help to protect the plant.

CHAPTER 2

DRAWING LEAVES

Of the many different botanical structures of a plant, the leaves can quite often be one of the most challenging to draw; making them look realistic and accurate can be very hard work. We often have the preconception that leaves are largely flat, so making what appears to be a relatively two-dimensional shape look three dimensional can become a stumbling block.

Leaf pencil studies of Decaisnea fargesii (blue sausage shrub). (Leigh Ann Gale)

Drawing leaves accurately requires the artist to look carefully at their shapes, thicknesses and vein patterns (venation) closely. We have learned in Chapter 1 that leaves present in many different ways and their botany is variable. For leaves to be observed and drawn accurately for botanical purposes, several fundamental considerations need to be addressed, even down to selecting the appropriate materials and equipment to make the job easier.

In this chapter we will discuss these basics, including the importance and relevance of identification, recording and selection of healthy specimens and strategies for drawing a variety of different leaves successfully.

MATERIALS

At the very minimum you will require a good-quality graphite pencil and some paper to draw on. Additional useful equipment such as a magnifying glass, a putty rubber and a pair of dividers can be added to your kit at the beginning of your endeavours or over a period of time.

Graphite pencils

As for drawing all other botanical structures, a good-quality conventional pencil is advisable for drawing leaves. An H or 2H grade is sufficient. You may prefer to use a technical/ propelling pencil instead. Such pencils retain a fine point, saving the need for sharpening conventional pencils. They require leads to be inserted, such as a 0.3 or 0.5mm thickness, in your chosen grade.

A technical/propelling pencil is a suitable alternative to a conventional pencil.

Drawing paper

There is a variety of good-quality drawing paper available to purchase. Cartridge paper is the conventional type and comes in sheets, pads and sketchbooks of various metric and imperial sizes. A4 is a reasonable size for small-scale work and compact enough for travelling purposes. For larger projects, an A3 size is recommended. It is advantageous to opt for a smooth, acid-free surface of not less than 165gsm (110lb) in weight. A heavier duty weight is recommended if you wish to add watercolour to your sketches.

Sketch paper comes in a variety of sizes and in sheets, pads and sketchbooks.

Other useful equipment

You will find a putty rubber and/or a good-quality plastic eraser for rubbing out small errors, a magnifying glass or hand lens for observing small, fine details and a pair of dividers or proportional dividers for taking accurate measurements and making scaled drawings are all valuable additions to your kit.

A hand lens is a valuable piece of equipment allowing you to observe fine details in specimens.

THE FUNDAMENTALS FOR DRAWING LEAVES

Having some prior botanical knowledge about leaves is extremely helpful before you begin to draw them. Being able to recognise the differences between monocot and dicot leaves, and identifying the differences between the midrib, lateral and secondary veins for example and the leaf venation is especially important. These studies may even help in the identification of a particular species when subtle differences between these characteristics can distinguish one species from another.

It is always beneficial to choose the best, healthiest specimens that you can (unless you are illustrating the effects of disease, nutrient deficiency or insect infestation for a specific purpose). Accessing good, healthy material may involve you having to seek permission to harvest such specimens from a reliable supplier, reputable grower or owner of a collection or land, or provide instruction to a supplier to provide you with suitable material for your specific project.

DRAWING SINGLE LEAVES

Recording drawings onto your cartridge paper or into your sketchbook is ideal and you can make as many drawings as you like. Your studies might include individual leaves, single or groups of leaves attached to stems, the backs and fronts of leaves, leaves of different sizes and ages on the plant and their appearance through the seasons, for example. By making several drawings you will soon ‘learn’ the characteristics of the foliage you are studying and how it exists and changes over time.

Starting to draw leaves for the first time can be a daunting experience but it is a good idea to start by drawing individual leaves. Adopting a simple strategy of using line drawing only to begin with (as you would with other structural components of the plant) will help you keep things manageable from the outset.

Although your plant may consist of numerous leaves, perhaps around a stem for example, it would be advantageous to make drawings of just one or two of them and study them from different angles and positions to start with. However, if you are new to botanical drawing, it would be advisable to familiarise yourself with drawing the characteristics of a leaf as if viewed from above or ‘face on’ first (completely flat), before you attempt to draw them from different angles.

Your first drawings of leaves can be made in outline only to begin with.

Keeping it simple – line drawings

Line drawing in pencil allows you to focus entirely on the structure and detail of a leaf without getting distracted by any light, shadow, tone or colour. You can study the leaf form including its shape and outer margin and whether it has lobes or serrations for example, study its apex and base, and plot the veins accurately in accordance with the venation pattern.