I became enamored with the idea of painting on vellum while researching the history of botanical art for an essay I was assigned to write when I was about halfway through the SBA course, in 2011. I had noticed that many of the most stunning contemporary works were on vellum, but wasn’t aware of the deep roots of the practice. As I researched, I saw examples from ancient herbals and from illuminations in Medieval prayer books and Bibles that often included brilliantly colored leaves and blossoms twining in the borders. Many of the most well-known botanical artists from the Renaissance through the Age of Discovery painted on vellum.
Lilium superbum by Ehret
If you are unfamiliar with the term, vellum is basically a particular kind of parchment made from calfskin. The process involves several labor-intensive steps of dipping and soaking the skin in lime, then carefully scraping it to achieve a thin, smooth, semi-transparent surface for painting or writing. It is still made in essentially the same manner as it was in Medieval times. The beauty of it as a painting surface is that the paint floats on the surface so colors remain brilliant and the translucency of the vellum makes the image seem to glow. I find the warm color and subtle patterns in the vellum to be quite attractive and organic as well. The challenge of vellum for a water-colorist is that too much water causes it to buckle, drips of water will stain, and unless you use a very delicate touch and a relatively dry brush when layering paint, the bottom layers will turn into an unsightly clump next to a bare spot instead of the smooth gradation you were trying to achieve. I speak from experience.
Soon after graduation, I ordered some vellum from the venerable William Cowley in Great Britain. I wanted to start on Kelmscott vellum which is more robust than some other types, so better for a beginner. Unfortunately, Kelmscott vellum was not available for international customers except as whole hides so that is why I made the plunge…and had to cut it into pieces myself. It was too large to store flat in one piece plus I needed some scraps for practice and at least one small rectangle for my first painting. Taking my scissors to it was quite harrowing.
Quercus garryana WIP
After some practice and a lot of frustration, I began my first painting on vellum, a twig and acorns from a Garry Oak. Now that I am a little more comfortable with the technique of painting on vellum, there is something about the doing of it that I find quite pleasurable. It somehow reminds me of drawing with a graphite pencil, which I love to do…gently building up smooth layers of graphite to achieve depth of tone. I get lost in the process, then suddenly realize that I am feeling very happy.
Just for fun, here are some examples of artwork on vellum from the Middle Ages and Renaissance. The links will take you to short clips from a wonderful series produced by the Metropolitan Museum of Art. This one features pages from the Belles Heures, a French Medieval devotional book, and this one is about a dry point and engraving on vellum by Rembrandt.
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).
I find this story very interesting as I’m thinking about vellum. I was told that it is for artist that prefer dry brush, (this is me) but now that you have explained more exactly I have really to think on. Anyway : Brava !!!!!! and I like your first try.
ciao
Renata, If you prefer dry brush, then vellum is perfect for you! Once you get used to it, it is a joy to work on. (I almost gave up at first, but the key is to work very dry. A small brush helps because it is less tempting to use too much water.)
I love the story of your journey. This (your journey) working with specific methods and materials is so exciting and I can’t wait until the next installment!
Thanks for your interest and support, Deb! I am having fun!!
What a lovely oak study, Janene! I’m looking forward to seeing it finished!
Thank you, Shevaun! I appreciate your comment.
Janene, the oak leaves look incredibly soft on the vellum. It makes me want to reach out and touch them.
I love your line,” I get lost in the process, then suddenly realize that I am feeling very happy.” It’s always wonderful when that happens and I think that’s what keeps us working at it sometimes.
Very interesting videos, too. What a great post!
Vicky, I am glad that you enjoyed the post. Yes, those moments of joy in the process balance out the frustration I feel sometimes and help keep me going.
Your acorns and leaves look stunning!
Thanks so much, Sue!
Hi Janene, your Garry Oak is so beautiful and looks as if I could pick it right off the vellum! Doyou still purchase your vellum through William Cowley and cut it up yourself?
Constance, I purchase it from Tallas, who imports William Cowley’s Kelmscott vellum. I usually order a skin, which I then cut up as needed. Thanks for your kind comment about the painting!
Hi! I am forty-six and fresh from my very first watercolor beginner’s workshop this morning. I enjoy and have been working on my drawing skills with graphite, and your website helps me to understand why I approached my workshop the way I did this morning. I wanted to spend lots of time just layering and building. I’m also so happy to find the other info about the SBA class. I feel a lot better after reading, and your work is astounding. Thank you! Keep it up!!!
Thank you so much, Allison! I always come away from working in graphite feeling strangely refreshed. Congratulations on completing your first watercolor workshop, and best wishes for your journey in botanical art!