I find it helpful, even essential, to make a road map of where I am going with a botanical painting. This is where I try out my composition ideas and do a tonal study. Here I can freely erase and rearrange without the fear of damaging the delicate surface of my watercolor paper. Once I am happy with the composition, I use my light box to transfer the main lines of the drawing to my watercolor paper. I refer back to my ‘road map’ drawing often as I paint the forms and shadows of my botanical painting.
I used to think of plants as being quite inert and stationary, but as I have studied specimens closely over time while doing my drawings, I realize that they are constantly in motion. The leaves and flowers continually make small adjustments according to the light and moisture in the environment, and as they develop and fade. At first I was confused and wondered how I could continually get my drawing so wrong, but it slowly dawned on me that the plant was moving so I needed to choose a spot for a given leaf and leave it there in the drawing even if the plant had moved on to a new position!
I find myself doing a lot of primping and even propping of my ‘live model’ to keep her happy and healthy for as long as possible, and roughly in position. She goes on breaks outside when she is not posing for me, and when she is posing, she gets spritzed and watered regularly. For this drawing I used a cut branch and affixed a florists vial filled with water to the end to keep it moisturized. I can understand why some botanical artists give their specimens nicknames–they become like well-known actors on a stage, even prima donnas, to be carefully tended to get the optimum performance. I have also found that reference photos are indispensable for when my model has passed her prime and is nearing retirement!
This drawing is of Cornus capitata for Assignment 7 in the SBA course I am taking. We are to depict a fruit. I wanted to include the twig and leaves not only because they say so much about the fruit but because the forms and colors complement one another so well. I’ll give you an update on my progress before too long.
This blog is about my journey as a botanical artist--what I am learning, what inspires me and what I am currently drawing or painting. My desire is to continually hone my skills to better express my wonder and gratitude for the beauty of the creation around me in the Pacific Northwest (USA).
Fantastic post, Janene! I love seeing your ‘road map’ – I thought I recognized a dogwood species! The one watercolor painting I did in a course I took almost 7 years ago was of a cornus kousa – I still love what we called our ‘light and shade’ study!
http://www.ccreechstudio.com/3/image.asp?ImageID=335072&full=1&apid=1&gpid=1&ipid=1&AKey=CETWD4P8
It really does help to have those details worked out. I need to remember to do that even before a colored pencil final version. Look forward to seeing how your final turns out!
Carol
Carol, Thanks for the link to your Kousa Dogwood tonal study–I love it! You did a great job with the shading and the composition is quite graceful. For some reason, I find tonal studies to be deeply satisfying. Maybe it’s because graphite was my first love, artistically speaking of course! 🙂
Thanks, Janene! Yes, I totally agree – the tonal studies are indeed deeply satisfying. I like mine much better than the final watercolor I did! I tend to like pencil as a medium (more control, I guess) and haven’t worked much with paint of any kind. I am amazed at the beautiful paintings that you and other botanical artists create with paint!
Well, for me the painting relies on the tonal study. It occurs to me that this approach may work for other genre as well, like landscape painting, though I haven’t tried it yet. I have heard it said that in technique, botanical artists use the paintbrush as a pencil, and I think there is some accuracy to that observation. Much of the work is “dry brush” technique.
Janene, besides appreciating your drawing, I really enjoyed your post about your collaboration with ‘your model.’ I look forward to seeing the watercolor, too.
Thanks Vicky–Great to hear from you! I am still hoping to join you at a sketching event before long.
Looks like a wonderful study Janene I’m sure the finished artwork will be very successful.
Thanks, Vicki. I am enjoying sharing the journey with you.
It was so interesting to read about your ‘models’ and how you work. I hope you’ll post the finished product!
Cathy, Thank you for your interest. The finished product should be posted within the next couple of weeks.
How interesting! I never realised how difficult these models could be.
Yes, but the ravishing beauty of my model makes it easy to indulge in her moodiness! 😉
Your ‘road map’ is a great idea, I wish I could be more methodical with my tonal preparations. I tend to be a bit more strict with my ‘models’, if they get limp and moody, I shove them in the fridge until they are willing to behave.Cruel but kind:)
Oh yes, my family is used to sorting through the specimens to get to the food in the fridge. But in winter, the outdoors is my refrigerator for plants.
Lovely post Alena! It’s a nightmare how much plants move sometimes! I always stay away from fresh bunches of cut flowers becuase they move the most. Especially Lilies (I learnt that in Assignment 5). Do you ever use a camera with extremely perisable items?
Well, my name is Janene, but your observation of cut fresh flowers is interesting. For assignment one I did some emerging trillium in a pot, and boy did they move fast! Yes, I do rely on my camera to document the specimen. It’s great for zooming in on details.
Janene, this is completely inspiring.
Thanks, my friend!