Tuesday, 2 January 2018

How do I know which course is suitable for me ??

There have been discussions on social media recently about the availability of accredited courses in botanical art. There are many courses of varying levels out there but virtually none are accredited.

By 'accredited' we mean those that are assessed and quality controlled by and an educational institution, such as a university.  Such courses usually carry points that can be used to put towards the application process of further courses at degree or masters degree level.

In the distant past I had looked at several illustration courses that had a good modular focus on natural science education, but at the time attending a course like this was not an option for me.  Instead I went down the route of studying for a science degree in ecology and conservation biology.

This in turn I have been able to combine with my art to become a full-time professional artist, tutor and illustrator.

All of the above has led me to review how information about courses is provided to perspective students, particularly those courses that I teach as part of Natures Details.

I consider myself very fortunate in that I can teach and share my passion of botanical art and natural science illustration at a variety of venues.  This has enabled me to create a range of course types and I thought now would be a good time to give an overview of each format of course, workshop and learning opportunity that I and Natures Details can provide.

I hope that this open approach will help everybody when they are considering taking a course or workshop and give you some points that may apply to other classes as well as my own.


Weekly classes at Peter Symonds College AHED, Winchester.
Botanical Art - An Introduction to Techniques x1 class 2.5 hrs
Botanical Art - Further Exploration of Techniques x2 classes 2.5 hrs and 2 hrs

  • These classes take place once a week and last for 6-10 weeks according to the confirmed term length.
  • They suit learners that may have limited time available, but also those that have more flexibility and would like a regular learning experience.
  • Each course is carefully written to ensure that there is opportunity for progression at what ever skill level. 
  • If somebody wishes to attend for each term of the academic year no subjects will be repeated, but a variety of techniques can be learnt that can then be applied to numerous subject matter.
  • In the Introductory class, the fundamentals in botanical drawing are covered at the beginning of each term.
  • Due to the above it is advised that the first 3 classes should not be missed, as individual catch-up time is not available within the class.
  • Learners can attend the class each week and only work during the class if they wish.  Alternatively, if further practice is completed between classes at home then individual progression is likely to be at a different pace.
  • Techniques are demonstrated within the group and there is also individual guidance given through each class.
  • Handouts to support learning activities are provided.
  • No formal written assessment is given although verbal feedback and review is available on an individual basis.
  • Due to being in a college environment there other resources available to support teaching and learning.
  • Enrolments can be throughout the year for the forthcoming term if space is available.
  • Some of the course attendees also attend the longer workshops below to enable further exploration of the techniques learnt during the shorter weekly sessions.

1 & 2 day workshops Natures Details Hampshire Courses, The Holt Estate near Winchester. 6 hrs each day.

  • These take place throughout the year from March until October.
  • They suit learners who are beginners and those at other skill levels.
  • These workshops are also about the overall experience as The Holt is in a beautiful countryside setting on the South Downs, providing rural inspiration for some of the classes.  There is also no mobile or internet access, so most course attendees relish in having this chance to be away from everyday technology, I know I certainly do !
  • Individual themes are covered in each workshop and will include botanical and natural science subjects.
  • Suitable for those that cannot commit to a weekly class but would still like a concentrated length of time to focus on their art.
  • Some of the workshops are available as a one day option but those that are two days long give more time and opportunity for everybody to focus on potentially a more complex subject.
  • Attending a 1 or 2 day workshop will also give more time to possibly complete a painting.
  • Handouts to support learning activities are provided.

  • Techniques are demonstrated within the group and there is also individual guidance given through each class.
  • There is more time available to get to know your classmates, particularly over the lunch break and afternoon tea, enabling you to share learning experiences, and to learn from each other as well as me.
  • During these workshops there are also chance to try materials and resources that may be new to you and see these in action demonstrated by the tutor.
  • No formal written assessment is given although verbal feedback and review is available on an individual and group basis.
  • Themes of workshops are reviewed each year and requests for repeats are taken into consideration.  

Residential courses at the Kingcombe Centre, Dorset (all of the courses are available for those wanting to attend on a daily basis)


  • Many of the above points for 1 & 2 day workshops also apply to the residential/longer course options at the Kingcombe Centre.
  • Courses with a residential option are an advantage to those that may have to travel some distance.
  • They provide an option for those that work full-time and may want to attend a course as part of their holiday allowance.
  • Having meals together provides an additional enjoyable social experience.
  • The Centre is situated adjacent to the Kingcombe Meadows Nature Reserve and therefore there is direct access to the reserve, with many elements being included within courses.
  • There is also staff on hand from the Dorset Wildlife Trust who can advise on species information if needed.
  • There is a purpose built well-lit teaching secure space where materials and equipment can be left in place for the duration of the course.
  • Being on a longer course gives the learner the chance to really get to know the tutor's work and their methods too, with the opportunity for techniques to be shown more than once.
  • Handouts to support learning activities are provided.
  • Evening sessions are often included as part of the courses and can provide additional painting time or a time slot to learn more about the course subject and other associated artists or other activities e.g presentations / videos / using the moth trap / quizzes.

New 2 day course at Nature in Art, Gloucestershire

  • This is in a similar format of the 1 and 2 day courses provided in Hampshire.
  • The difference is that the focus will be on a more in-depth aspect of botanical art.
  • A detailed handbook is available specifically on the course subject.
  • The surroundings are very inspirational as it is the only venue in the UK dedicated to art in the natural world as a permanent collection.

Online Tuition Drawing Nature Courses - Parts 1 & 2
  • The online courses that I have written are very much designed to try and include some of the learning experience that you would have if attending a course in person.
  • Ideal if you are in a more rural location or need to be based at home.
  • If you are considering  enrolling on an online course, you do have to have good self-motivation.
  • The Drawing Nature courses are modular in structure and are a progressive learning experience, designed to increase your confidence in drawing.
  • Assignments are set throughout the course and are assessed individually.
  • Individual feedback is given for each assignment completed.
  • Additional support is available via email and a private Facebook group.
  • A course handbook is provided and is written to be used alongside the tutorial videos.  Each of these are not intended to be used as individual learning resources, as each reinforces the other.
  • Rather than me setting specific subject matter there is the option for you to choose your own.
  • Remember that there are a variety of online learning options out there and take time to decide what format may be best for you.  
  • Don't be afraid to ask the tutor for further information and a course outline and/or an example of a tutorial video/or an example page from the course handbook.
  • For structured courses such as Drawing Nature there may be a set time for the course to be completed in. 
  • The set time that I give is if the learner requires individual feedback.  As the course handbook can be downloaded, the course can be completed without feedback given. But it is very much considered an important part of the learning process.


Personal tuition / Individual coaching

  • This type of learning experience is very much tailored to the individual and their needs.
  • It can take the form of a themed day or can cover specific techniques and approaches to both botanical art and natural science illustration
  • It can suit any level of experience and is particularly useful if you require a coaching experience to cover project management, from choosing a theme, moving to research, onto planning, and onwards to planning the final exhibit.
  • This format suits 1 or 2 people.
For further information email Sarah at: info@illustratingnaturesdetails.com

For all information about courses and workshops please see the Illustrating Natures Details tuition website



Tuesday, 19 December 2017

It's all in the nuts ! Getting to grips with using walnut ink.

As some of you will know I am a huge fan of using inks and love nothing more than experimenting with an ink to see what I can achieve with it.

A few weeks ago, it was time to get out the walnut ink that I had bought from that fab art shop in London, Cornelissen.  I decided that I wanted to add another dimension to my pen and ink work by creating a tonal pattern to the paper surface.

I have long been an admirer of Dorota Haber-Lehigh and the exquisite watercolours she creates on a paper with a walnut ink base, especially her 'Fragments' series of work.  The surface colour, tone and pattern so seems to suit autumnal/fall subjects.

The first stage was to experiment with different papers.  Presently, I have only tested one paper, namely Stonehenge, using the white, cream and fawn coloured papers.  I tend to use this paper for some pen and ink work and also graphite work too.
It is not as heavy as watercolour paper so I had to make sure that I taped it down around each edge completely, so that when it dried, it went completely flat.

I was really interested in firstly, how the diluted walnut ink looked on the coloured paper options and secondly, the natural looking patterns that I could achieve.

Left to right: white, cream and fawn paper

Rather than me ramble on, why not have a look at the video I produced describing the process I took:


I would add that there are other ways of producing a wide range of effects on the paper surface, one being spraying diluted walnut ink onto the damp paper from a small spray bottle - that is going to be my next experiment !

So what were my conclusions?
  • The Stonehenge 100% cotton paper has quite a soft surface even before applying the water and ink, so I was aware that applying that much moisture may effect the 'tooth' of the paper.  Once dried I tried it first with a dip pen.  The paper certainly didn't like this and the ink was very easily absorbed and bled into the paper fibres which made it impossible to work on.
  • Rather than using the two brushes I did to apply and manipulate the ink, perhaps a spray bottle used to apply the ink, will have less of an impact on the paper surface
  • Next I tried a 003 Pigma micron black technical drawing pen and it took this really well, as you can see below.  The other image shows a close up view of the paper surface and you can easily see the surface fibres.

  • I was impressed with how the coloured Stonehenge paper suited this.  Obviously the cream and fawn papers gave a warmer result, where as the white was less so.  I liked all though.
  • When I applied the watercolour wash after the ink work, the paper took the paint very well, but I was very gentle with it and let each layer dry before applying the next.  Some blending was possible, specifically on the Maple samara blending the green and golden colours whilst still damp.
  • Next I definitely want to try the technique on a heavier watercolour paper.  So watch this space !
I haven't finished quite yet though - the video raised a few questions from viewers in terms of the durability of the walnut ink and also its origins.

Is walnut ink light-fast ?

In the past walnut ink has not been that durable and as well as not being stable the contents of the old style ink were quite acidic too and would therefore damage the support.

More recent formulations seem more durable (see below).

Is it water-resistant ?

Unfortunately no.  Saying that though, when I applied the watercolour to my ink drawing there was no shifting of the surface colour.  So, I think that as long as the base of walnut ink is diluted and further subsequent watercolour washes are applied carefully it should be ok.
But be aware if you were to use it for line drawing and then apply a wash.

Are the more recent inks actually made from walnuts ?

Several of them still are - see the table below for further information.

The yellow highlighted line refers to the ink that I have used.








Sunday, 22 October 2017

Milkweed & Monarchs - a journey of discovery

I have been on my travels to the sunny state of California to attend the ASBA (American Society of Botanical Artists) conference in San Francisco.

That was a fantastic experience spreading my wings in the global family of botanical art.

Not only that I had a few days after the conference to visit an amazing artist and friend, Elizabeth Romanini of The Natural Line.

There was the wonderful opportunity to explore the area where she lives and discover some treasures of the natural world.

In the wildlife friendly garden that her and her husband have created it is full of visiting birds, including several species of Hummingbirds.

 There is also an array of plants still flowering in the warmer than usual October sunshine.  I was attracted to one plant by its seedpods, and also didn't recognise the plant and its other features.

I then discovered that it is a variety of Milkweed, an important plant in the life cycle of the Monarch butterfly (more on that in a while).

The seedpods provided me with the perfect subject to start a new sketchbook and get my pencils moving again after the positive intensity of attending the conference.

My normal graphite pencils were used, initially a 2H and then moving onto the H grade.  When I am composing line drawings, I do like to include tonal variation within a line.  It helps to give more depth to the line drawing without having to apply continuous tonal shading.  The H pencil is ideal for adding some darker tonal values to the lines as it is slightly softer than the 2H, without being too soft that it smudges or sheds too much graphite.

One of the possible trips was to visit some Monarch butterflies at a local state park on the coast - Natural Bridges State Park.  This was perfect as I had often admired illustrations of the Monarch, particularly those created by Betsy Rogers Knox who exhibited these illustrations of Milkweed and Monarchs at the RHS in 2016.

I don't really know what my expectations were at the time, as I hadn't had the chance to read-up on the butterfly's journey within its life-cycle.

When we arrived at the state park there was an area giving examples of ideal food plants for the Monarchs including Milkweed of various varieties, including African milkweed.  We walked along the boardwalk into a wooded area and then I was faced with one of the most amazing spectacles that I have ever seen in the natural world. 

CLOUDS of butterflies hanging onto the leaves and branches of the surrounding Eucalyptus trees.


The State Park's website explains perfectly why the Monarchs visit and stay there over the winter months:

'The park's Monarch Grove provides a temporary home for thousands of Monarchs. In 2016, 8,000 Monarch Butterflies overwintered at Natural Bridges. From late fall into winter, the Monarchs form a "city in the trees." The area's mild seaside climate and eucalyptus grove provide a safe place for monarchs to roost until spring.

In the spring and summer, the butterflies live in the valley regions west of the Rocky Mountains where the monarch's companion plant, milkweed, is found. For most of the year, where there are monarchs, there are also milkweed plants. Monarchs drink nectar from milkweed flowers, and female monarchs lay their eggs on milkweed leaves. Milkweed contains a toxin that, when ingested by the caterpillar, makes it toxic to other animals. These toxins remain in the butterfly as well, providing protection from predators that would otherwise eat the monarchs'. 


 So when I was seeing them, they hadn't even reached peak numbers !  It was still so fantastic to see.  The grove was quite shaded when we visited, but occasionally the sun would peak through on some of the trees and the butterflies would then become more active and their bright orange wings would gleam in the sunshine.

'Migration is variable and numbers and dates are different each year. The monarchs typically begin arriving in mid-October and leave by mid-February  (In 2013 and 2016, the monarchs had left by January). At Natural Bridges, November is often the best time to for a walk to observe the monarchs. The Monarch Grove has been declared a Natural Preserve, thus protecting these butterflies and their winter habitat from human encroachment or harm. This is the only State Monarch Preserve in California.

The grove contains eucalyptus trees which are located in a gently sloping canyon, providing the Monarch needed shelter from the wind. These winter-flowering trees are also a convenient food source for the butterfly. On chilly days when the temperature drops below 60 degrees, the butterflies cluster together in the eucalyptus trees for warmth'.

Monarch butterflies becoming more active in the Fall sunshine

Feeding on nectar from a cultivated variety of Scabious (left) and the nectar rich flowers of Ivy (right)


African milkweed seedpods

OTHER NEWS: 

  • I am taking a break this term from my weekly course at Peter Symonds College AHED, but courses will return to normal in January 2018.
  •  The second part of my online course will be making its debut soon.  Drawing Nature - Part 2 will focus on structured drawing techniques.  The course is suitable for all levels of experience using graphite pencils as a drawing tool.  For more information see the Illustrating Natures Details tuition website.
  • I have a new gallery style website, which I have been working on over the last 9 months.  It certainly was a relief when the task was completed and will hopefully be an improved place to showcase my artwork.  Click here for the Natures Details website


Thursday, 1 June 2017

A composition challenge - Navelwort - Umbilicus rupestris

Well, after a break of no writing on the blog for nearly 9 months, I am finally back.  I didn't intend to be away for quite so long, but the setting up of the online tuition and new painting projects has taken up a lot of time.

The painting projects continue, all of which include subjects that I am excited to paint and haven't painted already.  Several focus on medicinal plants for an exhibition that takes place next August (more about that to follow later) and I am also painting Yellow-horned poppy for the Botanical Art Worldwide Exhibition in 2018.

Now I am a painting member of the Chelsea Physic Garden Florilegium Society, I also need to complete a painting each year, which is then assessed and if acceptable will be included in the garden's archives. The subjects for the paintings are plants from the garden and this year I have chosen Navelwort Umbilicus rupestris.  It is a plant that I have always wanted to illustrate after spotting it growing on the ruins of Corfe Castle many years ago.
In the Physic Garden it grows on the pond rockery that has stood in the centre of the garden since 1773.  It is a Grade II listed structure and thought to be the oldest rock garden in Europe.  It also features stone from the Tower of London and black Icelandic basalt donated by plant hunter Joseph Banks.
 Sketching and colour notes of Navelwort on a chilly April day in the garden

The Navelwort leaves growing  in the pond rockery

The paintings need to be strictly botanical in style and if applicable show the different growth stages of the chosen plant.
The Navelwort isn't a large plant, although the flowering stems can sometimes grow quite tall.  The leaves can also be scattered, as you can see in the image above.  They are quite 'fleshy' and a have a little dimple in the middle.  The individual flowers are tiny, as are the seedpods when they are fully formed. 

So as you can imagine, there are many different elements to include in the composition.  How did I deal with a challenge such as this ?

Stage 1: I drew each element from life in my sketchbook.  Luckily I had some old field sketches of the plant that I could re-use as well.

Something to think about:  How can you know what is a successful composition until you have drawn each element ?  Treat each element as an entirely separate drawing until you have them all completed.  This where study pages really come in handy.  I have often had a composition idea in my mind that then doesn't work when I experiment with positioning the individual drawings.  See this as a good thing !

Stage 2:  Below you can see the individual elements having been traced onto drafting film and being positioned on the paper that I will be using for the painting. 
At this stage I haven't properly drawn the enlargements and dissections properly - I am just exploring ideas.

The drafting film is called Polydraw and is similar to tracing paper, but more durable. I use a Rotring Isograph pen for the tracing, although any permanent fineline pen with a very fine nib would be ok.
Using ink for the tracing will ensure that it shows through the watercolour paper when tracing on the lightbox.


Something to think about:  Work within a framed area.  As is the case with this painting I have to work to a particular size of paper, but having a frame drawn on the paper helps to interpret the balance and symmetry of a painting when I place the individual elements on the paper.

Stage 3:  

Here the drawings and tracings of the enlargements and dissections have been completed and are combined with the rest of the composition.

When drawing enlargements and/or dissections, draw each part in order of dissection.  This really enables you to get to know the finer details of the plant.

Another reason to draw them in order is that it helps in the decision making process of how many stages of enalargement/dissection there needs to be in the final composition.

Something to think about:  Draw and trace each stage of the dissection, even if you think you will not need them all.  In other words, draw more than you may need.  Less frustration in the long run !

Stage 4:













I have decided upon my final composition and the individual elements are taped down on the lightbox within the frame size decided earlier. The watercolour paper is then placed over the top (Fabriano 300gsm - old stock).

I have thought about the flow of the elements around the page, telling the life story of the plant in a logical progression. Here it is following an 'S' shape starting with the leaves, going to a stem with flower buds, then a full flowering stem and the finally to the dried flowers stem and seedpods and seed.

The other aspect that I have also considered is the alignment of the dissections and enlargements.  

I also take note of the negative space to ensure that there are no unnecessary spaces where your eye can be drawn to rather than the subjects.
In the case of this illustration some of the spaces will be filled with the painting of the substrate that the plant is growing on and in and enough space for the scale bars, of which there is likely to be 3 or 4.

Something to think about:  I was lucky enough to be at a lecture on composition led by one of the Botanical Artists from Kew Gardens, Lucy Smith.  One of the many things she said was to be aware of vertical symmetry and horizontal harmony.
This was something I really thought about with the positioning of the enlargements and dissection.

One other thing that I have always considered when creating a composition is the number of objects on the page.  Flower arrangers nearly always work with using odd numbers of flowers and if positioned well can give balance to a floral arrangement.  Can you tell the number groupings in this composition ?  Answers are below the next image.


3 main groups of leaves
3 stems
5 small drawings - enlargements and dissection

I hope that you find this post useful if you have to create a composition with multiple elements.  Do let me know if there are any other subjects that you would like me to cover in blogposts.  I can't promise that I can respond to every request, but will pick out several if suitable.

Other news and useful links:
  • The next 'in person' course with available spaces is:
Have a look on the website for more info.

  • All of the tuition from Natures Details is now on a new website:  Illustrating Natures Details. The original Natures Details site will become more of a gallery website over the summer months.
  • I will be taking part in Hampshire Open Studios this year, which I am really excited about.  I'll be exhibiting at Great Abshot Barn along with 10 other artists and crafts people.  I also hope to be demonstrating most days too.  So why not pop along and say hello !



Saturday, 24 September 2016

Returning with a Botanical Harvest


Autumn is a second spring when every leaf is a flower.   Albert Camus

Regular visitors to the blog would have noticed the change to the banner image above as my favourite season is here.  

Why favourite ?  It is a season that moves me, it stirs something up inside me, from the first glance of the red jewel like rose hips in a hedgerow, to the skeletal seedpods and umbellifer remains at the end of the season.

The pencils and paintbrushes have been busy and the subject matter varied and work is evolving, the majority of which has been painted on vellum.  I have started a series that I am going to call 'Dispersal'.  The montage approach works well for these subjects and shows examples of dispersal at this time of year.



'Dispersal (i)' Honesty seedpods.  One more will be added and also an escaped seed from one of the pods.  These have been painted on Kelmscott vellum.
To see more about how I drew and painted these, I have created a tutorial treat for you - my latest video can be found at the bottom of this page.

Apologies for not such a good photo.  Work in progress on 'Dispersal (ii)'

The county of Hampshire where I live is not known for many orchards.  Orchards are an important habitat which are in great decline across the country.  Smaller ones on private land can easily deterioate if neglected too.

Two commercial orchards fairly near to where we live have 'Apple Days' coming up and we are hoping to visit one of them and buy some of the produce.  Hill Farm Orchards have Applefest on Saturday 1st October and the Blackmoor Estate have their Apple Tasting Day on Sunday 9th October.

To top it all with more apple activities, I will be demonstrating botanical art (drawing and painting apples !) at King John's House and Heritage Centre in Romsey on the 15th October.  Come along and say hello and take part in apple themed activities for all ages.  See below for more information.


Devon Crab Apples - watercolour


Other news

My new online course will now be launching in the New Year 2017.  As my health hasn't been great, I have not been able to devote as much time to it's final preparation, so I have delayed the starting time.

News of 2017 courses will be available on the website soon.  I am just finalising details with both venues, then all will be revealed.

Look out for my 'Tutorial Treats' on the Natures Details Facebook page.  These take place every few weeks using Facebook Live which means you can join me and see me working live and ask questions too, by typing them in the comments section.  I look forward to meeting you !




Tuesday, 19 July 2016

Project Skills for Botanical Artists (iii) - grow your own

I suspect that a lot of botanical artists are keen gardeners too, or perhaps the botanical art has led them to gardening ?

I've always had an interest in gardening as well as the natural world, but it was not really until I had my own home that I could be 'let loose' !

Combining two of my passions is a real benefit.  The garden provides a place of contemplation and one where I can work out my frustrations, perhaps with a bit of weeding, when I am struggling with a painting.  One fantastic benefit is that I can grow my own subject matter for paintings.

Part of our small garden - crammed full of plants and pots

Over the years I have grown several selections of plants for botanical art projects. Although grown inside there were orchids, then there were a whole variety of Fritillaria.  The latter were grown in a cold frame type stand outside, but alas didn't all survive.  A winter storm and high winds blew the frame over and most of the pot's contents got emptied and completely muddled up !  Being a novice and before I really used the internet to any extent, I wasn't confident enough to name the bulbs without any evidence of flowers.

Now this year, I am growing some plants to continue my series 'A View Inside', of which the Echinacea purpurea below was the first painting.  This time I am painting the dissected flowers on natural calfskin vellum and a Cirsium is the latest one in progress.

'A View Inside - Echinacea purpurea'

Cirsium  - work in progress on calfskin vellum

For the last two years we have also grown a 'mini-meadow' which we planted with wildlflower seed and this year further annuals, such as Cornflower and Borage have been included.  Some of these flowers have been used as subject matter on courses, but not as a personal painting project - yet.

Our mini-meadow this Spring

This is the mini-meadow a couple of weeks ago

If you are wanting to grow some wildflower species at home for a botanical art project, there are several things to consider:

  • Wildflowers do not necessarily like a fertile soil. If you think of a downland type soil its fertility is minimal.
  • If using a variety seed mix, be aware that it will include grasses which can become too dominant and stifle the growth of the wildflowers.
  • Buy seeds that originate from your own country or even your local area if you can and make sure that they have been harvested responsibly.
  • If wanting to grow individual plants in pots, so that you have the flexibility of moving them around, one option is to buy plug plants.  These are normally plants in the early stage of growth that you can then nurture over a period of time.
    • If you buy these plants from a specialist supplier, you may have the option of asking about the substrate that they are growing in.  This can then be replicated as you plant on into a larger pot.
    • Using fine gravel in the soil is a good option too, to allow drainage and also reduce fertility levels.
  • If growing from seed, either as a mix or individually, Autumn sowing is usually more successful.
Several of the above points can apply to cultivated varieties of plants too, and here are some others to consider:
  • Some plants once transferred into large pots can bolt, or in other words have a growth spurt in a short period of time.  This happened to my Cirsium, when compared to the plants that I planted in the garden borders.  You have to watch that this does not affect the normal visual character of the plant, especially if you are going to paint the whole stem within a composition.  Have several plants available that you can refer to and do your research too.
  • Pot grown plants can have less of a plant spread.  This could be evident in the position of the leaves.  A plant expert once told me that he could often tell how the subject of a painting had been grown by how the leaves were portrayed.  One painting he viewed had the leaves of the plant too upright and a natural characteristic was for the leaves to grow in a more lateral position.
  • Try and get your nutrient levels right for individual pot grown plants as well as taking note of the other requirements - drainage, light levels.  Discolouration of the foliage and detrioation of the buds and blooms can often be due to too much watering, not enough, or the wrong soil type in the container.

There are so many things to consider, whatever level of experience you have in gardening, but there is a no better feeling than growing a plant from seed to flower and incorporating it into one of your own paintings.

Well, what's on the agenda for me ?  I have a couple of paintings that are waiting to be finished and on the 1st August I will have a week teaching a course at the Kingcombe Centre - Illustrating Butterflies and Moths.
As well as the above the new online course is being written and I am really excited about what I will be able to include in it.  So if you have made enquiries, don't worry, further news will follow towards the end of the summer.

Happy painting !

The beautiful seedhead of the Cirsium

Wednesday, 29 June 2016

Project Skills for Botanical Artists (ii) - considering the habitat

Apologies that there has been a bit of a gap between my last blog post and this one.

The first blogpost in the series certainly went a bit mad in terms of viewing figures, so I hope that this is a sign that it has proved useful to botanical artists embarking on a botanical art project with wild flowers and plants in mind.

In case you didn't get to read it, here is the link:  Project Skills for Botanical Artists (i) - Identifying Wild Flowers and Plants


This blog post will focus on the bigger picture and one aspect in particular that we may need to consider when immersed in a project - the habitat

When we are focused on a specific plant or  genus of plants as part of a project, we can often forget the habitat and the significance of it.  If looking at a particular suite of species, it can be due to the habitat and associated factors alone, for the reason that plant species is growing there.

As an art project versus a scientific project you may wonder why we need to consider the habitat so much, but if we have the background information at the beginning it can really help to expand our knowledge and inform our thinking, as well as practical tasks associated with the project eg. are you allowed to collect specimens, do I need to get permission as it is a designated site, is there further information available from who manages the site ??


An example of a group exhibit at the Royal Horticultural Society Botanical Art Show in 2016.
Iceni Botanical Artists depicted plants that came from the fragile and declining habitat of the Brecks found in the east of England in Suffolk and Norfolk.

Researching about the habitat and how it influences the plants would have been an important part for each botanical artist when illustrating their chosen plant.

Should I focus on one site or two ?
  • it depends on the focus of your project.
  • if focusing on one species of plant or a suite of species, you may still want to see how it looks over different sites and habitats, to help you determine its main and most familiar characteristics.  It's amazing how the look of plant can differ dependant on its growing conditions and the affect of hydrology and soil type, as well as management, such as grazing regimes.
  • if focusing on a group of plants from different plant families eg. meadow plants, they may not all be available in one site.  'Meadow plants' is also quite a general title, so consider if the plants you want to illustrate are from a particular type of meadow/grassland.  This may then be limited to one site or may be spread over a wider area.
How can I find out information about a site ?
Unfortunately, I am only able to comment on resources available within the UK.
  • MAGIC  - What is MAGIC?  'The MAGIC website provides authoritative geographic information about the natural environment from across government.  The information covers rural, urban, coastal and marine environments across Great Britain.  It is presented in an interactive map which can be explored using various mapping tools that are included.  Natural England manages the service under the direction of a Steering Group'. 
  • I have used the MAGIC website for many years, first when working as an Ecologist and latterly when working on botanical art projects and such like.  It provides a good starting point to determining the habitat type of a particular area.  To help you understand how it can be of help have a look at the following images:
When you first visit the website, you see a page showing a map of the British Isles.  You can then zoom into a specific area.  The example above shows Farley Mount Country Park, near Winchester, which is adjacent to and includes Crab Wood.

On the left you can see the orange box where you can tick what you want to see.  Firstly, you can choose what type of mapping you want.  So above it shows background mapping and Ordnance Survey black and white mapping.

The image above shows where I have chosen to see the Site of Special Scientific Interests and the specific detail about what condition they are in (bright green).

This is where the mapping tool can really give you the information that will prove useful - the habitat types.  Here, I have chosen the woodland option on the left and it shows me the different types of woodland on the site - Ancient and semi-natural woodland and ancient replanted woodland.

  • Other sources of information include your County Wildlife Trust - they may be able to provide you with further habitat about a site they manage.  Also, there are Biological Record Centres in some regions, that may provide information about habitats, and species too, but there may be a small charge for this service.

I hope this overview has been of help.  The next blogpost in the series will be about growing plants for a botanical art project.

Happy painting !