An Introduction to Botanical Art by Gaynor Dickeson

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An Introduction to Botanical Art by Gaynor Dickeson. AN INTRODUCTION TO,BOTANICAL ART,MALUS GORGEOUS CRAB APPLE GROUP. By Gaynor Dickeson, Botanical art depicts plants in a fairly tight manner It is pleasing. to the eye and would grace the walls of any home, Its very nature is time consuming but enjoyable and the effort. spent on it is worthwhile, The use of coloured pencil rather than watercolour in botanical art. is a newer phenomenon but becoming increasingly popular. This guide accompanies the ArtTutor video course,Click here to get the video series.
But at the bottom of page 12 there is a link to the first video as a taster for you. to try out,www ArtTutor com 2, An Introduction to Botanical Art by Gaynor Dickeson. A Word from Gaynor,I have been interested in botanical art. since 2005 It is surprisingly addictive for,someone who likes to paint in detail I. hope to get you equally addicted but the,most important thing is to enjoy yourself. This guide is suitable for people of all,levels of expertise from the experienced.
to those who have not used coloured,pencil or painted plants before The main. thing is to be interested and want to use,coloured pencils in botanical art. I will lead you through the materials you,need and show you how to use them I. will go through the intricate details in the picture I have painted If you follow. my guidance with practice you will be able to paint similar pictures or your. own composition, The picture is of Malus Gorgeous a variety of crab apple with juicy red fruit I. have chosen to paint different stages from a year in the life of the plant and. included a dissected apple, You may not want to paint botanically you may prefer to just paint plants or.
other forms from nature The techniques that I will show you are not specific. to botanical art but can be used in all detailed colour pencil painting. www ArtTutor com 3, An Introduction to Botanical Art by Gaynor Dickeson. An Introduction to Botanical Art, I am often asked about the difference between botanical. art botanical illustration and flower painting, Botanical art is an artistic representation of plants The. aim is to create an aesthetically pleasing picture of a. specific plant and although it can be recognised in detail. it may not stand up to scientific scrutiny, Botanical illustration on the other hand is a scientifically. accurate representation of plants making it possible to. identify the plant in question Its purpose is to help the. identification of individual plant species, Botanical art and illustration can cross over into each.
other so that the results of both can be portrayed in an. aesthetically pleasing manner, Flower painting is a more general artistic representation. of flowers Its results can be looser in form and produce. purely beautiful pictures, Such is the extent of precision required in botanical art and. illustration the judges scrutinise the paintings with. magnifying glasses Now that s nerve wracking for the. I love botanical art Yes it s very time consuming but. although I have very little patience I will happily work on. my paintings for hours at a time so if I can do it so can. One of the most important things in botanical art is the. ability to observe To produce an accurate painting you. must spend time looking at your subject You need to see. how leaves and flowers arise from a stem how the various. parts are attached to each other and how the light falls. and reflects from various parts of the plant Also think. how colours are put together in particular the green in. leaves or the colour changes that occur as a plant or part. of it gets old and dies Note highlights and blemishes. everything that gives that particular plant character or. attracts you to it,www ArtTutor com 4, An Introduction to Botanical Art by Gaynor Dickeson. You can probably understand why it can take me, months to complete some of my studies and pictures. Many of my students have told me that having learnt to. observe in my classes they have transferred this, newfound ability to their everyday living They now see.
the world and nature in ways they had not done before. Traditionally botanical artists almost always used. watercolour But now as coloured pencil quality has. improved they are gradually making their mark as a. popular and convenient contender, Sketchbook studies of your chosen subject in the field. is where coloured pencil obviously comes into its own. as you do away with the necessity for finding water. But coloured pencils are also well suited to final. studio based botanical art studies due to their ability to. capture quite fine details But for this you will need. them sharpened to a very fine point, Mistakenly people think that using coloured pencils is. easier than using watercolour It is not easier only. different With coloured pencil one lays colour very. gently and in small sections at a time The risks are not. the same as with laying larger watercolour washes, Either watercolour or coloured pencil pigment on your. paper can stain it and is difficult to remove entirely. If like me you have got it into your head that you want to paint with coloured. pencil you will do so without wondering if it is easier or more difficult you ll. just get on with it It gives me a thrill each time I paint a picture with coloured. www ArtTutor com 5, An Introduction to Botanical Art by Gaynor Dickeson. Coloured pencils are translucent and it is this translucency that enables you to. layer and blend colours on your paper to achieve the final colour you want. For botanical art in general I use the dry variety of pencil and a basic set of 22. carefully chosen colours Some people manage with fewer than this and others. use more I have given the names of the pencils I used in the picture Each. picture you paint will help you to extend your collection of colours I ve built. up my coloured pencil collection over time and have a whole host of different. colours and brands to choose from,Faber Castell Polychromos.
FC101 white FC139 light violet limited availability. FC103 ivory FC138 violet,FC102 cream FC170 may green. FC184 dark naples FC168 earth green yellowish,FC118 scarlet red FC172 earth green. FC142 madder FC173 olive green,FFC133 magenta FC174 chrome green opaque. FC193 burnt carmine FC278 chrome green oxide,FC225 dark red FC179 bistre. FC123 fuchsia FC178 nougat,FC134 crimson FC175 dark sepia.
Over time you might want to build up a collection to rival mine. www ArtTutor com 6, An Introduction to Botanical Art by Gaynor Dickeson. I expect that you will be aware of the danger of dropped pencils The pigment. through the centre of the pencil can break and then it is useless as you will be. unable to get a long stable point for fine details. I work on hot pressed Fabriano Classico 5 paper I cover the area I m not. working on with more paper to protect it from loose pigment and dropped. pencils yes dropped Skin oils in particular even from well washed hands. can change the surface of the paper acting as a resist for the coloured pencils. For this reason I also wear a cotton glove on my right hand with the fingertips. Other Materials, In addition to the pencils I would recommend in order of importance. Rotary pencil sharpener,Grey putty eraser,White plastic eraser. Eraser shield for taking out,small mistakes without. disturbing your work,Embossing tools used for,indenting the paper prior to.
painting as in narrow veins,very fine hairs or tiny. Soft brush or feather for,dusting away loose pigment. Colourless wax blender Used on the final stage of work in areas of the. painting that might benefit from this i e shiny surfaces edges of. highlights etc Some textures will not benefit from blending the colours. as in the rough branch in this picture,www ArtTutor com 7. An Introduction to Botanical Art by Gaynor Dickeson. Wherever you decide to work make sure you re sitting comfortably You need a. chair that supports your back well as the nature of botanical art is such that. you are likely to sit for long periods of time, Make sure that the light is on the opposite side to your working hand so that. you don t cast a shadow over your work Keep your pencils and tools within. easy reach so that you don t have to keep on stretching to get them. Take regular and frequent breaks away from your work during the day Be. aware of your working position as even something as basic as crossing and. uncrossing your legs can affect the angle and pressure of your pencil on the. I prefer to work on a slanted board or table easel I keep my reference material. close to my work area so I can glance between the two easily If practical keep. your reference material straight in front of you This cuts the amount of head. turning you will need and thus the strain on your neck. Working position is all important,www ArtTutor com 8.
An Introduction to Botanical Art by Gaynor Dickeson. Reference Material,Above all your botanical art will be better. if you work from life This allows you to,really see your subject at all times. throughout the development of your,A magnifying glass helps to see the detail. on the plant and also to check the neatness,of your edges in the painting. When you re setting up your subject it s,best to have natural light that comes in.
naturally from the opposite side to your,working hand if you re left handed light. from the right and vice versa At times you,might want to use a lamp in which case. daylight bulbs shining from the same side,as the natural light source won t change the. colour of your specimen too much nor your,As I have said working from life is the ideal. in botanical art but if you re working on,something for months like I do you can.
imagine how much your living subject will,change and eventually wilt. For this reason I take photographs and,make sketches of my initial set up so that I. can work on the painting for a long time,changing leaves or flowers as they die In. some instances I have had to wait until the,next season to get fresh spare parts. As an example I painted a picture of a,savoy cabbage in watercolour As the.
cabbage began to smell I got a new one I,used three in all You all know what rotting. cabbage smells like don t you Painting a,beautiful picture is not always beautiful in. the painting of it,www ArtTutor com 9, An Introduction to Botanical Art by Gaynor Dickeson. Techniques, There are many techniques in coloured pencil and each artist develops their. own As a person s style of work begins to develop so the technique in. producing that style develops No one technique is right or wrong it is the. result that counts Using coloured pencil for botanical art precision is. If you already use coloured pencils as long as you observe the fine details of a. plant and can portray them using your own technique This means you will be. able to use coloured pencils in the same way you normally would use them. This is how I generally work,1 Work Dark to Light in Layers.
Working from dark to light is the opposite of watercolour In. watercolour you can intensify a colour by adding layers of the same. colour But with coloured pencil you cannot intensify a colour by. either repeatedly layering or pressing extra hard I still find myself. doing this occasionally and it never works, The colour you see through the centre of the pencil is the colour you. will see on the paper and as I have just described more layers of the. same colour will not deepen it Remember that coloured pencils are. translucent and one takes advantage of this to create other darker or. lighter colours The first layer of colour will shine through the next. layer so that optically you are creating a third colour. In coloured pencil you mix colours on your paper not on your. One of the main reasons for working from dark to light is that light. colour pencils have more binder mixed in with the pigment than. dark colours The binder is normally wax or oil based depending. upon the make The more binder you apply to the paper in the form. of light colour pencil the less easy it is to add darker colour on top. The lighter pencil can act as a resist Therefore one generally puts. the dark layers on first and the lighter layers last. However in some instances rules can be carefully broken You might. apply a very thin and gentle layer of pale colour to tone down the. next layer applied over it, Observed highlights should be left as clean white paper Nothing will. be as white as the white of the paper Nothing will promote the. www ArtTutor com 10, An Introduction to Botanical Art by Gaynor Dickeson. intense contrast between a colour and white as the white of the. 2 Keep a Sharp Point, By keeping your pencils as sharp as possible you re able to fill the. valleys in the uneven surface of the paper It also helps you to have. more control over your work I use a rotary pencil sharpener and if. necessary hone or dress it by rubbing the side of the point on a piece. of scrap paper, 3 Press Lightly and Apply the Colour in a Circular Motion.
All paper has some form of tooth an uneven surface with valleys to. fill and mountains to climb at least for the pigment in your pencil. If you scoot across the surface of the paper with your pencil sharp or. Botanical art and illustration can cross over into each other so that the results of both can be portrayed in an aesthetically pleasing manner Flower painting is a more general artistic representation of flowers Its results can be looser in form and produce purely beautiful pictures Such is the extent of precision required in botanical art and illustration the judges scrutinise the

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