Vibrant Botanical Painting E-Book

Jarnie Godwin

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

Seitenzahl: 385

Veröffentlichungsjahr: 2023

Beschreibung

This lavish book celebrates the timeless beauty of some of our most loved flowers, and explains how they can be admired and captured in vibrant watercolour. Combining practical instruction with personal insights into botanical painting, Jarnie Godwin takes us on a journey of discovery through the life of plants from emerging bud to the final flourish. Jarnie's detailed botanical content provides colourful inspiration and detailed instruction for every artist.

Leseprobe

CONTENTS

Preface

1 Drawing and Composition

2 Working with Watercolour

3 Colour

4 Painting What You See

5 Painting Buds

6 Painting Leaves and Stems

7 Painting Flowers

8 Painting Decay

9 Painting Fruits and Seed Heads

10 Finding Your Style and Moving On

Further Reading

Index

PREFACE

Painting plants for a living is both a privilege and a joy. In a world where technology and modernity rule, it may seem that nature is being gradually squeezed out. But there is always room for nature if we allow it, and nature always finds a way to exist with the ever-growing pressures we place upon it. Paying attention to a dandelion growing through a crack in a pavement is as much a note of the diversity and tenacity of plants as to the loss of habitats on a wider scale. We just have to see it. Botanical painting can help us see.

As botanical artists it is often stated that we bridge the gap between science and art, traditionally depicting exotic plants that many people may never have seen, or even heard of. Of course, images can now be recorded with the simple press of a button, but there is something almost primeval about the hand of the artist capturing a moment in time with pencil or brush. We walk in the foot-steps of the early explorers and plant hunters, where the circumnavigation of the Earth was a perilous journey of years instead of hours. The modern artist can now choose to paint that dandelion flourishing through the crack in the pavement.

At this point, I make a confession. I am neither a trained artist, nor a botanist. I am self-taught and my artistic endeavours in watercolour and drawing are informed through trial and error. My driving passion has always been the desire to paint, and to seek an emotional connection with the subject. I feel strongly that there are many ways to explore botanical painting, but it should always be driven by the passion to pick up the brush.

The need to paint has been with me since childhood. Even then, the interest was for plants, depicting the flowers from the garden, and from the woods that were near our home. In later life, when a career and the busy pressures of home became more dominant, the need to just have a few moments to paint or draw was vital. To switch off the phone, close the laptop, tune in to nature, and just look, look, look is fundamental to my well-being.

Botanical illustration, with its scientific leaning to inform the identification of plant species, is a time-honoured tradition. These paintings can be seen in archives dating back some hundreds of years, and it is these pieces that demonstrate the level of plant species we have lost. Today, in contemporary botanical art, artists find new and visually dynamic ways to present their subjects to a new audience.

Much like portrait painters, the role of the botanical artist is to present their subject in a pleasing and instructive way. And much like portrait artists, how we do it can be incredibly dynamic. Choice of subject, composition and scale can elevate the most humble of garden finds into unique and beautiful paintings. As people have unique character, mood, and presence, in my view, so do the plants. Studied closely, they offer a unique insight into their world. A ‘silent teacher’ as I call them, sharing with us their life, from emergence to decline. One of my favourite quotes is from artist Francis Bacon:

‘The job of the artist is to deepen the mystery.’

Plants are a mystery; it is up to the artist to unlock their secrets.

In this book we will explore the mystery of plants, unlock their secrets and experiment with the techniques and devices to paint them. Through some of my favourite subjects, many from my own garden, I share with you my passion for painting and the practices I use, and hope to inspire with the vibrancy of nature.

Let’s paint.

CHAPTER 1

DRAWING AND COMPOSITION

Every successful botanical painting starts with an accurate, carefully measured drawing. Even if the quality of your painting is amazing, if your drawing is wrong, everything else will be wrong. The drawing is your map, and if you have a good, accurate drawing from the outset, the painting will follow more easily.

Drawn dissection of Iris reticulata. The ability to draw and present subjects with precision and accuracy is one of the most fundamental skills of the botanical artist. No matter how good the painting is, if the drawing is wrong, the result will be wrong.

As with all artistic endeavour, being able to draw well can only come with practice. It’s the one area of botanical painting that tends to fill beginners with dread. They want to paint and create beautiful, realistic pieces, but feel they can’t draw. Many hours of practice are needed to establish and build the natural process of hand and eye coordination, which will then become part of the daily routine of creating art. Practice will never quite make perfect; there will always be an element of technique that can be improved, and there will always be something that requires an edit. With drawing it’s always a case of getting better, but always learning.

The more you draw, the more you will get better at it. Even if you are good at drawing, the first draft of a new piece will still need many adjustments and corrections, or may even be scrapped and begun afresh. In my view it’s a case of practice makes better, and you can only get better with practice. A drawing doesn’t always have to end up as a masterpiece. It can take many forms, be it doodling, sketching, rough idea thumbnails, or accurate outline preparation for a painting. All are valuable to help you become better at drawing, and a little exercise of everyday drawing will soon build skills and confidence.

Doodles and sketches introduced as part of everyday practice maintain the skills of drawing. Just fifteen minutes of warm-up sketches with a range of pencils can improve technique and precision. From simple mark making, to more precise organic outlines, all practice makes drawing easier and better.

MAKING MARKS

Before starting any measured, accurate drawing for a painting, I start with a few loose drawing exercises. This might be rough sketching, a few thumbnail compositions or even doodling. Doodling can be a great starter exercise as it can involve many of the marks that you will need for an accurate drawing. Smooth curves, circles, waves and lines are all needed for a good drawing, and I will often fill a grid with marks to warm up the hands ready for drawing.

MAKING MARKS:GETTING STARTED

1. Lines and closely drawn parallel lines mimic stems and veins.

2. Curves and waves are essential for many of the organic shapes of botanical subjects.

3. Circles should have smooth outlines. Practise these at different sizes; include some tiny dots.

4. Have fun with doodling, and continue to fill the grid with organic shapes and practice marks.

5. A range of pencils can produce different thickness of line. Keep them sharp.

Grid demonstrating a range of mark making with pencils. Botanical drawing requires a wide range of marks and drawing skills. Curves, fine lines, linear and wavy lines, ellipses, dots and circles will all be used in the natural, organic shapes.

DRAWING MATERIALS

The equipment needed for creating accurate and measured drawings doesn’t have to be complicated. A good pencil, ruler or dividers, sharpener or scalpel and an eraser are really all that is needed to get going, and these can be selected by preference to what feels comfortable for personal style. As with all equipment for drawing or painting, it’s best to trial a few pieces of drawing kit to find out which works best for you.

A selection of the basic kit used for drawing. A fine 0.3 technical pencil or a well-sharpened pencil in a HB and H grade makes fine and light marks. Sharpener; small pieces of eraser; proportional dividers; ruler; magnifier and a soft brush complete the basics.

Paper– When sketching out a new idea I generally use cartridge paper or even a cheaper, thinner layout paper. A good A4-size sketchbook with a heavyweight cartridge paper can also be perfect for the planning stage. Larger sheets of heavyweight cartridge paper can then be used for the final drawing.

Pencils– A good selection of pencils in a range of grades will help to create the marks needed in a drawing. For everyday drawing and sketching I use a middle-grade HB Faber Castell 9000. I also use a 0.3 mechanical pencil with a harder and finer H-grade lead for drawing fine detail. The Staedtler Mars-Lumograph 100 pencil in 3H grade has been an old friend for years, although now rarely used.

Sharpeners and erasers– Pencils should be sharpened frequently during the drawing process to maintain a sharp and precise point. Mechanical pencils often have a blunt end and these can be sharpened to a very fine point using a small piece of fine grade sandpaper. Wooden pencils can also be sharpened using a very sharp scalpel blade. This ‘shaving-off’ of graphite is a technique I picked up many years ago, but does take careful practice.

TIP: By using the scalpel at a gentle angle, with the blade resting against the side of the pencil point, some of the wood and graphite can be ‘shaved’ off. To continue the process, the pencil is turned gradually and the shaving process repeated. More of the graphite is revealed, and a sharp point is produced. Again, a piece of fine-grade sandpaper can be used to sharpen the point further. This process does take practice, but it can achieve a very long, sharp point.

TIP: A soft putty eraser is a great choice for removing unwanted lines and marks from an accurate drawing. This type of eraser can be warmed and softened in the hands, before being manipulated into a sharp point. To remove the marks without damaging the surface of the paper, the eraser can be dabbed, or gently rolled across the surface.

Ruler and dividers– In botanical drawing, measurements must be taken in order to draw an accurate representation of the subject. A ruler is the simplest piece of kit that can help with taking measurements from all parts of the plant, but I use a set of proportional dividers. These are a specialist piece of equipment generally used in engineering, but can take precise measurements while also providing an enlargement if needed. These are particularly good for sizing up dissections.

Brushes– It’s a good idea to use a soft brush to remove any surface dust or rubbing-out debris from the surface of your paper. Brushing the surface with your hands can embed the removed graphite into the surface of the paper and can create smudges. Keeping your paper as clean as possible is very important, and a soft goat-hair brush is ideal for this.

TIP: I have a beautifully soft, round goat-hair brush that I bought online. It’s actually meant for conservation work but is ideal for gently cleaning paper. It has proved invaluable, and can even be washed using a gentle detergent and warm water.

Tracing paper or film – I have been using this tracing paper for years. Originally used for architectural drawings, the very smooth and uniform surface is perfect for master botanical drawings. Once a complete drawing is made on cartridge paper, I transfer the outline to the film. This can then be used over a light box to transfer the image cleanly to the watercolour paper. If a mistake is made during the painting process, the master drawing can be used to transfer it again quickly.

DRAWING

Drawing should be a comfortable process. Sit upright, with the drawing board slightly elevated in front of you. Hold the pencil lightly as if holding a pen to write. A tighter grip will tighten your wrist and hand, and this in turn will restrict your movement to make flowing marks. Make sure you can move freely, with nothing in the way to restrict your flow of movement. Maintain the balance of the pencil in your hand by holding it towards its centre. Too near the end and the lines you make will be too loose and out of control, too near the point and the lines will become tight and small.

Holding a pencil lightly as if to write with a pen maintains fluidity in the marks being made. If the pencil is held too tightly, the marks and lines being made will become tight and rigid. A smooth, flowing line will allow greater accuracy to be achieved.

When learning to draw, I found it much easier to create outlines that are just visible. If the lines are very dark and firm they will be extremely difficult to remove with an eraser, and this can make the process both confusing and very frustrating. A lighter outline makes very little indentation on the paper and is much easier to remove. A lighter pencil outline is also more beneficial when it comes to the process of painting. Watercolour can easily pick up any leftover graphite from the surface of the paper, turning a once beautifully clean mix very muddy. A light, just-seen outline guides your painting without disturbing the paint mixes.

IN PRACTICE: CONSTRUCTION OF A DRAWING

1. Starting with a skeleton of lines and shapes, the general outline and placement of features such as the centre of the flower and the surrounding petals is established. This preliminary grid-like construction drawing provides the precise space in which to build the details.

2. With a general outline in place, the form and shapes of the main features can be mapped in more carefully. From the basic shapes and forms of the larger elements such as the petals and stem, finer elements can be introduced.

3. Increased levels of detail are built over the basic shapes and outline. Smaller and more careful pencil marks are used to introduce more of the accuracy and finer visual information of the flower.

Constructing the drawing of a decaying rose. Many lines and angles of geometry are included in a drawing to aid the accurate measuring, and placement of elements. These initial guidelines are then erased once the painting is started.

SHAPES IN NATURE

Nature is ruled by the law of physics and so a lot of mathematical ideas are present when we come to draw. Ovals, circles, parallel lines, triangles, spirals, diamonds and other basic shapes can be seen when all other detail of the subject is removed. Simplifying the outline of a more complicated subject takes away some of the anxiety of the daunting prospect of having to draw it. Making a start on the drawing can then be a little less hesitant.

The rules of geometry are seen throughout the natural world. The artichokes in my garden clearly demonstrate the Fibonacci spiral pattern within their overlapping surface structure. Many other plants demonstrate this pattern, including the seed heads of Echinacea.

A light preliminary drawing of the general measured geometric shapes is the starting point for many artists, and I find this the best way to get a feel for the subject. It can be difficult to make the first marks, so a looser initial drawing is a good way to develop a new piece. I generally use a sharp HB pencil for preliminary outline drawings as the softer graphite can be more easily erased without marking or denting the paper. At this stage the light, looser shapes and outlines provide a basic skeleton on which to build the more accurate detail. Once the drawing is complete, these initial lines will have been erased.

Painted section of the artichoke Fibonacci pattern. Learning to understand the geometry in plants through smaller studies unlocks the secret to portraying them accurately in larger botanical paintings.

As the drawing progresses, use the natural, free-flowing movement of the arm, wrist and fingers to create the range of lines and marks needed to convey the subject. Circles and smaller petal shapes will need finer movements of the fingers to control the pencil more tightly within a smaller range of motion. A larger range of motion, such as for a straighter, more flowing stem, will need movement from the elbow rather than the wrist alone to bring the pencil in a long, steady, sweeping line. As the drawing becomes more detailed and accurate, the looser skeleton marks can be erased.

The starting point for any accurate drawing is a loose, basic outline to establish the space. The tree peony flower had the geometric shape of ovals and ellipses. Looking much like a teacup and saucer, this shape also introduced a pleasing angle for the composition.

For getting into the finer details, I use a slightly harder H-grade pencil that provides a sharper point and greater accuracy than the HB pencil. Continue to observe and measure as you draw. A good tip picked up from the construction trade is to measure twice and cut once. In this case, measure twice and draw once; that way you will know your measurements are right. Extra lines and points of measurement on the drawing will help with the continuation and accuracy of the shape, positioning each of the elements within the space. Dividers are also useful to measure the negative space between elements, helping to maintain proportion, and the relationship between different parts of the plant.

CURVES, FOLDS AND OVERLAPPING

Curving and overlapping elements such as leaves and stems can be problematic. We cannot see through our subjects, but there must be a continuation of line to maintain the accuracy. A preliminary drawing allows us to map in the lines we cannot see which connect behind the overlapping parts. These continuation lines are just for our initial guidance. Once the painting stage gets going, these guidelines can again be erased.

Plants do not always present themselves clearly. Bends and folds in leaves and petals make it difficult to see the whole shape. The tree peony leaf is beautifully curved, but the whole leaf cannot be seen.

The drawing process for a painting can take a long time, so be prepared to dedicate a few days or even weeks to do the preparation to get it right. It’s a good idea to place the drawing out of sight for a day or two. When you come back to take another look, you may see an error or an adjustment that you missed. A good drawing for painting should provide as much information as you feel you need, and should leave no trace once the painting is complete.

SEEING THROUGH PLANTS

Folds and curls in leaves can also be treated in the same way, making it easier for us to see how the form is created.

TIP: An easy way to understand what is happening out of sight is to draw simple leaf shapes onto a clear plastic sheet. Use a permanent marker pen to outline the shape and add in any veins. Then cut the shapes out.

As the plastic is completely see-through you will be able to see the veins, outline and mid rib as you curl, fold and manipulate the shape. This allows you to continue to see the lines you cannot see on the solid leaf. And, more importantly, see what happens to them as they change direction. Once your drawing is complete, check it carefully and make any corrections.

Seeing through plants where they bend and fold is not possible with the eye. Transparent drawing that can then be manipulated to mimic a bend or fold reveals where the unseen line of sight goes.

MEASURING YOUR SUBJECTS

The specific character of botanical painting lies in its accurate portrayal of the plant. Every plant will have specific and unique features that we use to identify it against all others, and when illustrating a plant for scientific and identification purposes, it is important to get the measurements absolutely right.

A complete, measured and drawn-to-scale drawing of a tree peony seed head ready for painting. Light outlines, clearly defined pencil marks, and bending leaves complete a clear narrative for the brush to follow.

Traditionally, plant subjects in botanical paintings would have been presented life-size, with tiny details such as stamens and individual elements enlarged as separate dissections for identification. In contemporary botanical painting it is more likely that the subjects will be painted at a much larger scale. These depictions of plants are more dramatic to look at, but still need to be incredibly accurate. Proportional enlargement of the subject needs to be accurate, with the scale of enlargement noted. Much like technical drawing, an accurate scaled drawing will maintain the proportions of the plant and will still serve to identify the subject.

Sketchbook page for the painting of Iris reticulata. The process of measuring and recording the scale of a subject can be more like a technical drawing. Every part of the plant needs to be measured and carefully drawn for accuracy.

Every part of the plant needs to be measured. Overall height and width will give you the space it occupies within the paper, and then there will be the finer elements and details. A set of proportional dividers can make the job of measuring and changing the scale of drawings a lot quicker and simpler. These not only give the accurate measurements, they can also provide the scaled enlargement needed.

Drawing of a simple leaf. The mid rib is established first and is used as the anchor for all other points of measurement. The outline shape can then be drawn, followed by the finer details. Veins are always drawn with a double line.

Distortion is the enemy of accuracy, and it is really easy to get the measurements wrong. Rulers and proportional dividers help us to get the measurements, but if we use them in the wrong way, the proportions and accuracy of our drawing can be sent wildly off course.

When using proportional dividers, it is important to remember that both ends should be at the same distance from your view. This should create an invisible triangle between the viewing eye and the points at the end of the dividers. Maintaining a level plane of view in this way prevents the measurements from being distorted, and therefore an inaccurate drawing. The same can be said when using a ruler.

Using a set of proportional dividers will give accurate measurements of all parts of a plant. A simple leaf will need several points of measurement to draw from. Length, width, vein size and the distance between them will all be recorded for a precise reproduction.

Once the first measurement is made and the first anchor points added to the drawing, all the subsequent measurements need to be taken in exactly the same way. The distance at which these measurements are taken should also be the same. When measuring leaves, I start with the length of the mid rib and draw this first.

The widest part of each side is then marked, followed by a few extra width markers to establish the curve, before these dots are joined to create the leaf outline. The first vein is then measured and drawn. The space between each vein also needs to be measured before these are added into the drawing. As with the idea of plotting a skeleton drawing with basic geometric shapes, the shape of a leaf can be broken into its component parts and tackled individually, making the task of drawing a little simpler.

Flowers can be treated in much the same way. Starting with the height, width and centre point, the centre will be the first point to establish, with the petals radiating from there. Petals often have a visible central vein which can be measured much like the mid rib on a leaf. By mapping in this vein first, both sides of the petal can then be added, creating the accurate outline. Any other details can then be drawn in lightly as before.

FORESHORTENING OF FLOWERS AND LEAVES

Petals nearer to the front of the flower which may be angled will also appear shorter. Their full length cannot be fully seen by the viewing eye, and so they have been foreshortened. This foreshortening is important to note as this will create the realistic perspective and sense of shape and form to the drawing.

As with all botanical drawing, accurate measurements will maintain a correct portrayal of how much foreshortening is going on, and as several elements of the plant may be affected by this optical illusion, continual measurements will need to be taken throughout the drawing process.

The view of a leaf will not always be straight on. Perspective can foreshorten or lengthen a leaf depending on how it is viewed. Careful measuring will ensure the angle of perspective remains accurate.

As with leaves, flowers are often viewed at an angle. Petals can appear shorter or longer depending on how the viewing eye sees it. With many petals, daisy-like blooms need careful measuring to establish the correct length and position. A bit like numbers on a clock.

COMPOSITION, PERSPECTIVE AND SCALE

The composition of a painting gives the viewer the whole story of the piece. Good composition will provide a balanced and cohesive expression of the elements of the piece, drawing the viewing eye smoothly into the painting. How these elements relate to each other within the space, and how they are placed or arranged, combine to bring harmony, interest and flow. This is often connected to the ‘Golden Ratio’, also called the divine section. The mathematical number has a value roughly of 1.618 and is seen in nature, geometry, architecture and art.

The Golden Ratio or divine proportion. This pattern of mathematical perfection is seen everywhere in nature. From design and architecture to sculpture and painting, artists through the ages have used the golden ratio to achieve beauty, balance, and harmony.

In art, the focal point within the ratio is generally placed about one-third across the horizontal axis of the painting, and intersects with a further point one-third along the vertical axis. This gives a rough starting point on which to place the most dominant element. Everything else in the composition can then be built around that point.

When considering a composition, it’s important to look for balance, proportion, a sense of movement, contrast and focus. The structure and habit of the subject matter can be more accurately depicted if the composition provides a sense of its character. Consider the colour and temperature of the tones in the subject along with the contrast of the texture and surface pattern, as well as the form. Vines painted in an entwined or tangled composition with multiple stems will immediately provide an accurate sense of its habit. While structural and elegant, depicting single-stemmed flowers individually will focus on their dominance and strong sense of presence.

NEGATIVE SPACE

How we use the space on the paper and how we place our subject within it are also important factors for a good composition. Being able to read the story and narrative of our painting lends a great deal to how much we put into it but also, and sometimes more importantly, how much to leave out. Negative space, and how much ‘breathing space’ we give to our subjects affects the visual impact of the composition.

Often referred to as ‘air space’, negative space is the space between and around compositional elements. Where two elements touch, shapes and spaces are made between them. There should be enough ‘air space’ between them to allow their individual forms to breathe.

Simply put, ‘negative space’ is the area around and between elements of the painting. This could be the background space, or the space between elements such as between stems and leaves, between petals, or even between colour or shape transitions. These areas of space help us to see and recognise the different shapes as we look at the painting. There should be a balance of active space and negative space to maintain visual interest and intrigue. Without this, a painting can overwhelm or appear dull.

IN PRACTICE: PROPORTION IN COMPOSITION

•The golden ratio is used in the painting of a wild rose. The focus of the painting begins at the centre of the rose, which is placed off-centre in the composition. From here the viewing eye is drawn to the contrast between the flower and deep green of the leaves. The flow of the painting then follows the curving line between these elements.

•The Fibonacci spiral pattern is also seen within the overlapping elements which form the surface artichoke. The Fibonacci sequence is also closely related to the golden ratio and is another mathematical formula frequently seen in nature.

•Rule of thirds. This is where the painting can be divided into thirds both horizontally and vertically, with interest in each section. Looking at just the rose, the top third is occupied by the flowers and buds. This is where the main focal point is also located. The centre third contains the leaves, and the lower third draws the viewer down the stem.

The golden ratio within the composition The Wild Rose. The aesthetic of the golden ratio used within compositions can form the most pleasing visual result.

The golden ratio can be used in many directions. The sweeping line of the artichoke also finds itself fitting in with the form. The surface of artichokes also demonstrates the Fibonacci sequence or spiral, a mathematical pattern related to the golden ratio.

Compositions can also be influenced by the rule of thirds. Here the space is divided horizontally and vertically into three equal sections, to make nine areas of interest. A balanced and harmonious painting places important compositional elements along these lines, or at their intersections.

RUBIN’S VASE

One of the best ways to understand negative space is with the ‘Rubin’s Vase’. In this optical illusion two faces are depicted looking at each other. Like a mirror image. Between the two faces there is the outline of a vase. While the negative space itself has no defining details, the hard edges of the vase and the contrast between the rest of the image activate the area, allowing the brain to fill in the blanks.

By reversing the space, the brain can reverse the active area to change which shapes within the image are more dominant.

‘Rubin’s Vase’, the optical illusion of negative space.

1. The first image shows a simple outline of a vase.

2. The second image gives dominance to the vase. You may also see two faces looking at each other.

3. The final image gives dominance to the space around the vase. The two faces now appear more prominent.

DESIGN IN PRACTICE

Including these elements of design in a botanical painting is often aided by the subject itself. The placement of stems, leaves, buds and flowers may already be exactly how we want to portray them in a painting. And that is nature’s great strength. Although the idea of the golden ratio, which already exists in nature, will often already be present in our chosen subject, there are other points of composition we can manipulate to enhance the result.

• Focal points within a composition are created to guide the viewer around the painting. This helps them to read the story of the subject, and how we want them to see it. An awkward composition can prevent the viewer from reading the painting. By opening the painting up, we help them to see more.

• Outward-facing elements such as tilting flowers, or leaves which reach out open up the centre of the painting with more negative space, giving the composition room to breathe. Too many inward-facing elements force the viewer into one area of the painting, where the focus generally stays. By placing focal points slightly away from the centre, and outwards, the composition becomes more dynamic.

The painting of Rosa ‘Fighting Temeraire’ combines many design and compositional ideas. Outward facing elements; odd numbers; the golden ratio, and off-centre focal points all drive the active space with dynamism, drawing in the viewing eye.

• An odd number of main features is more pleasing to the viewing eye than even numbers. By forming a triangular view which links the elements together, the viewer can move smoothly between them and around the painting.

THUMBNAIL PLANNING

Thumbnail sketches started early in the design process will give an idea of size, angles and the visual weight of the plant. Observe the subject in its habitat if possible. This provides information on how it grows naturally within the environment. As observations are made, think about which elements or angles are most wanted as the focus of the painting. Drawing the elements separately then gives more opportunity to experiment with composition. By moving the separate drawings around, it is possible to observe and adjust the sense of space and balance before settling on a final design.

Simple, quickly formed thumbnail sketches inform a new composition. A series of works should flow and relate with a similar sense of style. Working through many ideas and compositions can instruct and direct before commitment.

AERIAL PERSPECTIVE

The realism we seek in our paintings relies on the sense of depth of field we can introduce. The illusion of distance and recession is important when considering the space in which the plant is situated. There will be elements further away, and located behind others, while a sense of shape, focus and form is continued with those elements coming forward. Getting this right in a painting will capture the sense of movement and life much more effectively.

Demonstrating distance in painting is needed to convey a sense of realism, depth and perspective. Cooler, paler elements with hazy detail ‘pushes back’, while those which are stronger and warmer in colour with more defined details appear closer.

Aerial perspective, also called atmospheric perspective in a painting or drawing, can be modelled by varying colour and line. This illusion indicates that as an object recedes into the distance relative to the viewing eye, we see that object with reduced clarity, value and colour saturation. In addition, objects in the distance appear to have a relatively cool colour temperature. This is why we tend to see distant mountains as lighter, hazy and more blue in colour than the sharper, darker and more detailed landscape features located closer to us.

In a pencil drawing, aerial perspective can be communicated through the varying use of line. As with colour, darker, heavier and more defined pencil lines will bring an element forwards, while lighter, finer lines will push back. The level of detail and size will also be affected by the perspective. Distant objects appear smaller, so any elements of the subject in recession will need to be drawn smaller. They will also have less defined detail, with only a suggestion often being enough to demonstrate the sense of distance.

ANGLES OF FLOWERS AND LEAVES

Painting a single leaf or flower face-on can make for a very pleasing and contemporary composition. However, most often we will want to convey a subject in a more natural way. This will include leaves, buds, open and semi-open blooms and crossing stems all at different angles. These elements will also position themselves at different angles, with very few positioned face-on to us. Even a simple, single flower is more often viewed from an angle.

Flowers rarely present themselves ‘face-on’. Working with angles introduces perspective, foreshortening and many other challenges. Angles can also inform a composition. By manipulating the subject, it will lead the artist to find its best side.

Many plant families and species will have a specific habit of growth. Leaves in particular tend to form themselves in a specific arrangement around the stem. Opposite leaves are formed as a pair on either side of the stem, while alternate leaves grow singly on alternate sides of the stem. Meanwhile, flowers tend to change their angle to follow the sun. As the day progresses, the flower will follow the sun to capture as much daylight as possible.

The upright, stately and structural form of Echinacea purpurea ‘Magnus’. The flowers of this variety are generally viewed in perspective and this habit was manipulated within the composition to emphasise its height and form.

As the viewer, we may see these different elements of the plant from the side, from beneath, from above or tilted at an angle. In technical drawing terms this would be called an elevation view. Being able to include flowers and leaves in side, front or back elevation views within a painting will provide much more information about the plant’s actual habit and character.

SCALE

From here you can make other decisions such as the scale of your painting. More recently, the popularity in botanical painting is to produce works at a much larger scale. Presenting flowers and leaves at larger-than-life-size then moves the botanical subject from the traditional boundaries of the genre into an almost abstract form. This is an exciting and contemporary area of the art form, which is of particular interest for exploration, and my own works have moved to larger-scale pieces. These pieces might contain a single element, but the scale will be several times that of actual size.

Roses have a more informal habit of growth with bending, folding and overlapping leaves. A decaying rose is partnered with somewhat tired, drooping leaves. Leaves in this state are viewed in perspective with a very narrow surface area.

Sizing up can inject a new dynamic into a painting. Many botanical subjects can be quite small. Tiny flowers or leaves painted at actual size can appear quite delicate, but they can also get lost within a composition. Sizing up the scale of tiny details as dissections can also be particularly useful for identification purposes. The inside parts, or the finer details of a flower can be extremely small. Only by using a scale of magnification can these parts be fully viewed and appreciated. By enlarging the scale, the focal point can also be changed, and the composition can have more impact to the viewing eye.

A scaled-up drawing of an acorn. Depicting small subjects at larger-than-life-size can give them much more visual impact. It is also a good way to emphasise details that would normally be difficult to appreciate at life-size.

KEEPING A SKETCHBOOK

Drawing practice and the everyday sketching of ideas can be completed in a sketchbook. These are a great tool for everyday ‘messy’ practice and are valuable to document technical information about the plants you want to paint. Used much like a diary, in a sketchbook you can map progress, register ideas, sketch out new subjects, practise your drawing and plan compositions.

At over twice life-size, the painting of the acorn brings this tiny subject to life. Acorns are abundant in autumn, and their beautiful character makes them an enticing subject for the artist. With a little emphasis on lighting, contrast and size, the composition takes on a new level of dynamic appeal.

The fine hairs on the sepals of this Rosa ‘Fighting Temeraire’ rose bud aren’t clearly visible at lifesize. Painting the bud at twice life-size magnifies the finest details into clear view. The angle of the composition, along with careful lighting of the subject, emphasised these features even further.

It may be that you have discovered a new subject to paint and are not sure where to start. A couple of pages dedicated to this new discovery will help you gain all the information you need. Drawings and sketches from several angles will provide the technical information on shape and form, while a few carefully presented dissections of finer elements will remind you of these specific details. Along with the measurements, colour notes, and perhaps some written information of the plant, your sketchbook pages will give you everything you need to work up a complete painting.

Sketchbooks can be a private place of thought, and discovery. These places aren’t always intended to be shared and can be full of ideas, notes, colours, sketches and the everyday journey of the artist’s creative path.

I have often been envious of those artists who are extremely neat in their sketchbooks, producing pages of beautifully finished compositions in miniature. A sketchbook turned into the artwork itself is to be treasured, but I have never been so disciplined as to use my sketchbooks in this way. My sketchbooks are never perfect. They are messy and productive, with colour notes, measured drawings complete with technical information, thumbnail compositions, inspiration and ideas, and photographs. Quite often, pages will often just be me trying to work out an idea, with flow diagrams, lines of poetry, titles of books or songs and bits and pieces glued in as a reminder of the narrative I want to create within a composition.

A sketchbook page for the illustration of Iris reticulata. A more challenging subject may need more thoughtful preparation. Measured dissections, colour notes, sketches and even a couple of pressed petals were included in the preparatory sketchbook pages.

I often call my sketchbooks my ‘brain on paper’, figuring out where to go with a subject, along with everything I need to know about it. These are never going to be shared or displayed in public, and so I feel free to go where I like with it, and be as chaotic as I want. As long as I get what I’m trying to say in a painting, and feel comfortable with it by my side, I’m happy. The sketchbook is an ever-evolving friend, helping to continually figure out the world of botanical painting.

The ‘brain on paper’. An early mixed composition of an onion and leek was fleshed out in a sketchbook first. Thumbnails, colour notes, and a postcard of an earlier painting with a similar feel was included to inform and direct the narrative.

The final composition titled Alternative Alliums. The sketchbook became a vital tool in the completion of the painting. At this stage the discovery and exploration of style was still very much emerging.

SIZING UP A LEAF

To increase the size of a subject for painting, the drawing will also need to be enlarged. For this I use a set of proportional dividers. The dividers have an ‘actual size’ set of points at one end, with the other end being set to the enlarged size required. Placing the actual size points against the plant immediately gives you the enlarged measurement at the other end.

TIP: Measure the leaf in sections, starting with the length and width as if taking measurements for an actual-size piece. Take lots of accurate measurements. With each measurement, the points at the other end of the dividers will widen proportionally, and this can then be used to mark the points of the drawing.

A leaf at twice life-size. As with all botanical drawing, careful and accurate measurements are taken from all parts of the subject. Each measurement can then be multiplied and used to enlarge the subject. A traditional grid method of enlarged drawing can be used or a set of proportional dividers.

LIGHTING THE SUBJECT

How you choose to light your subject will also change the dynamic and narrative of a painting. An interesting composition can be made even more eye-catching with strong contrasts created by the creative use of the lighting.

Botanical paintings produced for scientific identification are generally lit more naturally and evenly to depict the subject as accurately as possible. Being a right-handed artist, this would mean all my subjects are best lit from the left. For a left-handed artist, the light source would be from the right. In these cases, the lighting is quite even to keep the focus as natural as possible for the subject.

In more contemporary botanical paintings, the lighting of the subject has become a more dominant element of the composition. Stronger lighting creates stronger contrasts between the highlights and shadows. The saturation of colour into the shadows is generally increased, and paintings are injected with a higher sense of realism.

Natural daylight lighting a peony bud. A soft, even, natural light provides clarity of detail and form. Natural shadows are created, following its form. This also gives the subject more contrast and focus.

The same subject, this time lit with a stronger light source. The shadows are increased, and the colour appears brighter and more saturated. Eliminating all background colour focuses the colour of the subject and increases the contrast.

To inject some dynamism into a painting it can be fun to play around with the lighting on the subject. Use a daylight lamp directly on or above the subject to pinpoint the highlights and features. This will place the opposite side from the light source into shadow. Another unique way to light your subject would be to place the light behind it. This is particularly effective on delicate, translucent flowers, giving them an inner glow. With effective lighting, the contrast can also be increased by enclosing the subject on three sides. I use a piece of white card that has been folded to create a box. Directing the light into the box and onto the subject casts more dynamic shadows, saturating the light into one area of the subject. If there were rules on how to depict botanical subjects in paintings, these have been superseded by creativity, imagination and dynamic realism. As with many other genres of painting, anything goes. As long as it’s accurate!

CHOOSING YOUR SUBJECTS

Once you have an idea of how you want to paint, and the story you want to evoke, it’s time to select the subjects that best suit your style.

Some artists will devote a lifetime with a focus on just a handful of plants, returning to them again and again. Depicting every mood and moment in paintings spanning a whole season and beyond allows the artist to develop a unique relationship with their subject. It also opens new challenges to focus the mind on finding a new and as yet unseen character of the subject.

Beginners to botanical painting often tell me that they struggle to find something to paint. My advice is always to choose something that makes your heart sing. I’m not drawn to the perfect or the typical example of a given plant. These are defined as those best used for accurate scientific identification, and are often perfect examples of leaves or flowers. Interest and intrigue can often be found more in the characterful, the decaying, and the imperfect. These are the subjects that hold the most interest for me as they tell a unique story. If I see something that immediately catches my eye or makes my heart skip a beat, I have to paint it.

You don’t even have to paint the whole plant. Choose one element of it, or a single stage of development, and really focus on the detail. A single leaf, bud or flower at any stage of its growth can be a great introduction to a new subject. Building a relationship with the feel, mood and structure of the subject can often lead to a lifetime of discovery. And many depictions of the same plant or variety may come next.