tag:blogger.com,1999:blog-89983078201944660262024-03-19T04:02:41.055+00:00The Natural YearSarah Morrishhttp://www.blogger.com/profile/05198273023728084037noreply@blogger.comBlogger128125tag:blogger.com,1999:blog-8998307820194466026.post-82792899088356078212020-03-16T18:22:00.001+00:002020-03-16T18:28:43.779+00:00Coronavirus - Challenges & trying to overcome them as a self-employed artist & tutorAs I write this blogpost, I am thinking that I should really be in the beautiful wilds of Dorset teaching a 4 day course at the Kingcombe Centre, but alas due to the Coronavirus and the need to protect my health and that of others, the course has been postponed.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1gKkxOCyDHmoLhID1dPXoYwxRGhUxW4JctEuegBFbiNQZ9m8QRXQNDl5BInPBkQRldU6wmfJPNu7-PFsy5ra3GKB86gaXKPoiJzAe-_MXNbljz_K24LqNSlsqlMSik4S3BrBCTK41bIdC/s1600/20200210_155234.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1gKkxOCyDHmoLhID1dPXoYwxRGhUxW4JctEuegBFbiNQZ9m8QRXQNDl5BInPBkQRldU6wmfJPNu7-PFsy5ra3GKB86gaXKPoiJzAe-_MXNbljz_K24LqNSlsqlMSik4S3BrBCTK41bIdC/s320/20200210_155234.jpg" width="320" /></a>In addition, two 2 day workshops and the remainder of the Tuesday project class has been cancelled/postponed at the Holt, in Hampshire. On top of that there is also teaching committments for other organisations in England and Ireland which we may have to consider postponing, as according to the PM's announcement this afternoon, I should stay at home and apart from others for 12 weeks.<br />
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These circumstances that we are in are the biggest challenge I have faced as a self-employed artist and tutor, living with a chronic health condition too. Yes, some of the artwork I produce is for leisure, but it is how I also earn my living. Most of my teaching is 'in-person' as I feel it provides such a fulfilling and positive experience for student and teacher. Nothing beats being able to turn round and ask your tutor a question and working together to solve a challenge.<br />
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This year I had decided to take a year off from providing online tuition. I am still writing my book, but I also wanted to review how I provide learning experiences online. I wanted to provide an insight and techniques in using a range of media in the genres of botanical and natural history art, as well as my life as a working artist, but how to do this?<br />
I had an online platform in mind and had done a lot of research, and also sought the advice of another artist who used it. The more I discovered, the more I liked it and so the last few weeks have been a whirlwind of activity in the studio getting ready to <b><u>launch on the 1st April.</u></b> I never expected to be picking up the reigns of online tuition again this year, but the present circumstances have been a major factor.<br />
I will reveal more in the next week or so, but rest assured it will provide learning experiences to suit all budgets and skill levels.<br />
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Keep a look out from the 1st April for the new online learning banner.</div>
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One of the filming set ups in my studio - note the cool bag with a tin of baked beans in it being used as a weight on the boom arm !</div>
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The workshops at the Holt, have been postponed until later in the year, but I felt that I still wanted to be able to provide something for those that were due to attend the workshops. There will be an awful lot of us self-isolating/social distancing and having something creative to occupy us will be one way to sustain our mental well-being. Of course, it will keep us connected to the natural world too!</div>
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So in addition, to setting up the new online tuition, I will be creating complimentary tutorial videos for those that were due to attend the Walnut Tree in Spring workshop, as well as the Tuesday project class and also providing personal individual feedback for work in progress for the latter.</div>
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If you are not part of a class but still want to have a go at sketching at home, I have put together some Sketchbook kits, which will soon be available in my <a href="https://www.etsy.com/uk/shop/NaturesDetails#items" target="_blank">Etsy</a> Shop. These include an A5 sketchbook, x3 fineline pens in black in (sizes 003, 005 and 01) and also a double-sided laminated card explaining tonal values and mark-making options for drawing in pen and ink. Look out for further details soon.</div>
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Lastly, I want to reach out and say a huge thank you to everybody that has been supporting me in so many ways over the last week or so and it is great to see so much positivity when people come together to support small businesses to help protect livelihoods. </div>
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Stay well, and happy drawing and painting !</div>
Sarah Morrishhttp://www.blogger.com/profile/05198273023728084037noreply@blogger.com0tag:blogger.com,1999:blog-8998307820194466026.post-46942698738580123162019-11-03T09:28:00.001+00:002019-11-03T09:33:32.132+00:00Art from a Bird's Eye ViewYesterday (2nd November) we had the delight to visit the Society of Wildlife Artist's exhibition The Natural Eye at the Mall Galleries in London.<br />
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The exhibition was outstanding and this year had a real focus on British birds, particularly those that are of conservation concern due to their declining numbers.<br />
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When I visit the exhibition, I always ensure that I have no time limitations to my visit. There is so much to take in and see and it is always beneficial to have the opportunity to go back and look at pieces that particularly inspire and appeal.<br />
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Many of the artworks have evolved directly from fieldwork and completed in the field too. There were several paintings where evidence of rain on the water colours had created a naturalistic effect which didn't detract from the main subjects but certainly added to the narratives of the paintings.</div>
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I always come away from this exhibition making a resolution to do more fieldwork. Although I do some I know it is not enough and there is nothing better than making that connection with the subject in its usually natural environment. What we observe definitely helps to inform the paintings and illustrations.</div>
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<b><i>So out of all the paintings, prints and drawings were there any that made me want to return to them and why ? </i></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdNp6CT6li9HZkMDMw-FEkoXMQD_UyZJTQF4SH7nrUCSOFuhdp4WUgTFYmwIEaCy-U9_8WLjMysYkYY8kJNOQb9KdbcNqvszuRWQgsZBwz6OO8of8FbrcVMCZopbuWQvESp20SqkZ0J5V1/s1600/IMG_5179.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1067" data-original-width="1600" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdNp6CT6li9HZkMDMw-FEkoXMQD_UyZJTQF4SH7nrUCSOFuhdp4WUgTFYmwIEaCy-U9_8WLjMysYkYY8kJNOQb9KdbcNqvszuRWQgsZBwz6OO8of8FbrcVMCZopbuWQvESp20SqkZ0J5V1/s400/IMG_5179.JPG" width="400" /></a>Yes there was, three in particular. They all reminded me of previous visits I have made to seabird colonies, where vast numbers of Razorbills and Guillemots were perched on sea cliffs. One of them took me back to seeing Gannets for the first time when approaching the island of Skomer, which is located off of the coast of Pembrokeshire in Wales, although not from the height as depicted in the painting.</div>
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These two images show part of The Wick located on Skomer, which is a shear cliff face with numerous ledges where seabirds roost and breed. Above you can see a ledge where Guillemots are perched. </div>
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I thought that it would be almost impossible to capture a vast vista such as The Wick in one drawing, but yesterday I was proved wrong.<br />
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Christopher Wallbank SWLA was exhibiting two huge drawings in graphite and egg tempera called <i>Guillemot Loomery, Fowlsheugh I and II</i>. I kept returning again and again to view these pieces, both from afar and up close too.</div>
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My husband who is 6ft 4in next to Christopher Wallbank SWLA <i>Guillemot Loomery, Fowlsheugh I</i></div>
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Details from <i>Guillemot Loomery, Fowlsheugh II</i> <span style="font-size: 12pt;"><span style="font-family: inherit;">© 2019 Christopher Wallbank</span></span></div>
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<span style="font-family: inherit;">Despite the shear scale of the drawings there was equal high quality of mark-making across both drawings and perfect observation of tonal values which accentuated the realistic form of each individual bird and the cliff face itself. An inspiring touch was the painting of some eggs with egg tempera and also notes made next to each egg. I was not able to find out what these meant, it would be interesting to know.</span></div>
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<span style="font-family: inherit;">The third piece that I also admired was <i>Uplift, Bempton</i> by Matt Underwood SWLA completed in oils. I felt as though I was peering over a cliff edge getting a true bird's eye view of Gannets flying above the sea and cliffs. This painting also gives the feel of numerous gannets flying in layers down towards the sea and colony.</span></div>
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<span style="font-family: inherit;">If you get the chance to visit the exhibition next year, do make the effort, you will not be dissapointed. There is so much more I could have written about, but there is something special in not revealing all online!</span></div>
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<span style="font-family: inherit;">It's been great to have the opportunity to return to my blog. I do so enjoy writing about nature and art. At the moment I am totally immersed in writing and illustrating a book on natural history illustration in pen and ink. Publication is quite a while away but the whole process is so exciting, particularly as I am having the chance to illustrate subjects I have wanted to do for so long.</span></div>
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<span style="font-family: inherit;">If you want to follow my progress the Natures Details Facebook page is the best way to keep up to date. Follow the Facebook page link here: <a href="https://linktr.ee/NaturesDetails" target="_blank">https://linktr.ee/NaturesDetails</a> </span></div>
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<span style="font-family: inherit;">Happy writing, drawing and painting !</span></div>
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Sarah Morrishhttp://www.blogger.com/profile/05198273023728084037noreply@blogger.com0tag:blogger.com,1999:blog-8998307820194466026.post-62008648989507311872018-10-05T16:37:00.000+01:002018-10-05T16:37:54.242+01:00In Search of Beatrix ..... and a mutual love of illustrating fungiIn recent weeks I have had the opportunity to visit the Lake District, one of the National Parks here in the UK that I have longed to visit.<br />
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I had previously been teaching in Edinburgh at RBGE, so on our way back home it was time for a few days to explore the Lakes and the surrounding countryside.<br />
As always, there was another aspect to the trip, that for me personally, was one to tick off the bucket list !<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwjy9dnmz0MGut_qSidKlbiyPBfxw5-LXulHDUKfBdJV4h5LmdWh4BOC8yp0r1AkoB4iF3AiMwfmCp7QXQFF1jAFTJsjybImy9jkItbTWojRNAQiPakv4X9Y7snV8jJEYkDoYROJ8_J6N4/s1600/P1000312.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1600" data-original-width="1067" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwjy9dnmz0MGut_qSidKlbiyPBfxw5-LXulHDUKfBdJV4h5LmdWh4BOC8yp0r1AkoB4iF3AiMwfmCp7QXQFF1jAFTJsjybImy9jkItbTWojRNAQiPakv4X9Y7snV8jJEYkDoYROJ8_J6N4/s320/P1000312.JPG" width="213" /></a>That was to see some of the original natural history illustrations drawn and painted by Beatrix Potter. But first I wanted to find out more about her, not necessarily about the famous children's books that she illustrated but other aspects of her life.<br />
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The first trip was to Hill Top, the first farm that she purchased in the Lake District. The garden was relatively small, but then it was a working farm and still is, so the garden is likely to have been for growing fruit and vegetables as well as flowers.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRtozCUGH5l2HDNLUQGIFuR_-TEfvLxgTG2k5vMLWX6kvUM68Fdpp5nXK93LW2tvasOi-1fi7B5NrhadQKHVBm3ozieVZwpOTdy21ey0PR-UKZVymr7eSBHDJ3QByRoLJ00QNyTocQ-8pb/s1600/P1000318.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRtozCUGH5l2HDNLUQGIFuR_-TEfvLxgTG2k5vMLWX6kvUM68Fdpp5nXK93LW2tvasOi-1fi7B5NrhadQKHVBm3ozieVZwpOTdy21ey0PR-UKZVymr7eSBHDJ3QByRoLJ00QNyTocQ-8pb/s320/P1000318.JPG" width="320" /></a>She bought Hill Top from the proceeds of The Tale of Peter Rabbit in 1905 and then went onto to buy many other farms and parcels of land, without her efforts some of the Lake District that we see today would not exist.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigM7X2xDSG6ue2THrZr2fpOt0wVyheP6Nit9bb8tOo7o8jRix9KjyIUBFn60P7_M5D3UiqMHfZ9X2ZYZ3yf1AnmgVK0vVJRTgeggyxV7lNzOv8oFbiUjs-SEUNkJCgfGF1HasrmAMDAgsV/s1600/P1000320.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1600" data-original-width="1067" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigM7X2xDSG6ue2THrZr2fpOt0wVyheP6Nit9bb8tOo7o8jRix9KjyIUBFn60P7_M5D3UiqMHfZ9X2ZYZ3yf1AnmgVK0vVJRTgeggyxV7lNzOv8oFbiUjs-SEUNkJCgfGF1HasrmAMDAgsV/s320/P1000320.JPG" width="213" /></a>She was known to be a fair landlord and was considerate to her tenants in times of need, especially as they progressed into old age. Another aspect of her life, was that she helped to fund the District Nurses, enabling them to travel to each of their patients in a car, making their lives easier and a lot safer, as well as benefiting those that were needing their care.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivqUEllwxnc-CC4qAilhN5AZL3lYdSJ8to1CQNeLy2fUB1VwL-BCO4K-1l0Pk9lhXD2F2vQbwlBA4HuEueehPbg1ZyPNtVAZFvMbnAVty-ngEmlGxQofpvRGBYEQCy25Wk8jxgB4bW7EFW/s1600/20180925_134207.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1054" data-original-width="1600" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivqUEllwxnc-CC4qAilhN5AZL3lYdSJ8to1CQNeLy2fUB1VwL-BCO4K-1l0Pk9lhXD2F2vQbwlBA4HuEueehPbg1ZyPNtVAZFvMbnAVty-ngEmlGxQofpvRGBYEQCy25Wk8jxgB4bW7EFW/s320/20180925_134207.jpg" width="320" /></a>The pictures above show the garden at Hill Top with the house in the back ground. Right you can see the range in the front parlour of the house. Once Beatrix was settled in the house she had the range removed and replaced with an inglenook fireplace. But before that she used the original range as a source of inspiration for her illustrations in the Tale of Samuel Whiskers published in 1908 (above left). In the 1980's a range similar to the original was installed.<br />
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But what of fungi ?? Her passion of illustrating fungi happened in another phase of her life, whilst she lived in London in the late 1800's, from 1888 to 1901, but also when the family used to travel to the Lake District and Pethshire on holiday.<br />
She got to know the postman that delivered to their holiday home and he was a keen naturalist. Over time Beatrix and Charlie McIntosh got to know each other and she would send him illustrations for him to check that they were correctly identified. He also gave suggestions to her as to how to present the information in her illustrations, suggesting that she should show parts of the cap with the gills being visible. It was discovered that some of the illustrations were completed in duplicate, so that she always had a record, whilst the other was sent to Charlie.<br />
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Upon her death in 1943, Beatrix's fungi and archaeological illustrations were bequeathed to the Armitt Library and Museum in Ambleside. This library was set up in 1912 and she was a founding member and a major benefactor too.<br />
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In the museum's collection of Beatrix's illustrations, there are:<br />
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250 studies of fungi</div>
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40 natural history studies (that include mosses and lichens)</div>
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140 microscopic drawings</div>
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30 archaeological drawings</div>
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So several weeks prior to heading off on our travels, I had contacted the Armitt and had arranged to meet the Curator whilst we were in Ambleside.</div>
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The feeling as I was approaching the museum and library was actually quite a peaceful one, hard to explain really. Yes, I was excited too, but I felt that I just wanted to soak in and remember every part of the experience.</div>
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Unfortunately, no photographs were allowed when I had my private viewing, a little disappointed initially, but now I really appreciate it, as it has made the experience so much more personal, although I would have course loved to have shared it with you !</div>
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There was only time to view about 30 of them, but they truly took my breath away. It was as though they had been painted yesterday, the colours were so fresh.</div>
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The Armitt Museum</div>
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I took a magnifying glass with me as I wanted to see her brush strokes closely. She also used several granulating colours, often in the background of the illustrations to portray the habitat. The latter was not always illustrated in great detail but there is tremendous depth to the paintings.</div>
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The compositions are inspiring as they truly lead your eye into what you are seeing, encouraging you to want to know more. The delicate application of washes means that there are hardly ever any overworked areas of painting. The neutral washes, which we often now call 'botanical greys' are made up of several washes using the glazing technique with watercolour. The fungi themselves are so accurately painted and detailed that the species are still easily identifiable today from Beatrix's paintings.</div>
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One fascinating aspect of holding and seeing her work so closely, was the opportunity to read her notes and measurements.</div>
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We also had the chance to see some of her archaeological illustrations and heard from the curator, that they were often illustrated from specimens either located at the British Museum or on loan to her. One illustration that will stay in my mind for a long long time, was one of Roman leatherwork, showing the remains of a sole of a sandal with the studs visible in the painting, and another of Roman leather latticework. The River Fleet was a major river in Roman times and it is likely that this was the origin of Beatrix's illustration subjects, when excavations were taking place at the time of it being incorporated into the Victorian sewage system.</div>
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Memories and memorabilia back in the studio at home.</div>
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So what now, after all of that inspiration ? I was determined to return to illustrating fungi this year, after a break of a year or two. A trip to the New Forest at the end of August yielded some specimens and now I feel motivated even more. <br />
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This coming Saturday 6th October is UK Fungus Day, so why not have a look at the website and see if there are any fungi events near you. If you are not up to sketching them why not take photographs, but remember to leave the fungi where they are. <a href="https://www.ukfungusday.co.uk/" target="_blank">https://www.ukfungusday.co.uk/</a><br />
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Butter bolete <i>Boletus appendiculatus </i>© 2018 Sarah Morrish/NaturesDetails</div>
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From my A3 botanical sketchbook</div>
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Penny bun <i>Boletus edulis</i> © 2018 Sarah Morrish/NaturesDetails</div>
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From my A3 botanical sketchbook</div>
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For further examples of my fungi illustrations and those of a fellow artist and friend, Claire Ward, you can view the blog of the UK Fungus Day - British Mycological Society</div>
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<a href="https://www.ukfungusday.co.uk/blog/artists-perspective/" target="_blank">https://www.ukfungusday.co.uk/blog/artists-perspective/</a></div>
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If you would like to read more about the time that Beatrix Potter illustrated fungi, the following booklet gives a wonderful and informative overview, with a good range of her illustrations included.</div>
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It is available directly from the Armitt Musuem.</div>
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<a href="http://armitt.com/armitt_website/contact-us/" target="_blank">http://armitt.com/armitt_website/contact-us/</a></div>
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Sarah Morrishhttp://www.blogger.com/profile/05198273023728084037noreply@blogger.com0tag:blogger.com,1999:blog-8998307820194466026.post-60323030041054811642018-07-10T07:46:00.000+01:002019-01-20T09:21:51.459+00:00Change is a positive thing............ for students and tutorChange can be a difficult process to get through, even when the end result will be a positive one.<br />
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The process of change is initiated often by an idea and for me in this instance it is a creative one. Barbara Januszkiewicz sums it up well:<br />
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<span style="color: #45818e; font-size: x-large;"><i><b>Creative thinking inspires ideas. Ideas inspire change - </b></i></span><o:p></o:p><span style="background-color: white; color: #212121; font-family: , "segoe ui" , "segoe wp" , "tahoma" , "arial" , sans-serif , serif , "emojifont"; font-size: 15px; text-align: left; white-space: pre-wrap;">Barbara Januszkiewicz</span></div>
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Many of you know that over the last year or so, as well as health, and family caring challenges, I have been involved in the organisation of the Botanical Art Worldwide event for the UK. Now this very successful event is over and the Association of British Botanical Artists evolves without me, I can move forward with opportunities for me as an artist but also as a tutor.<br />
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My ultimate aim when teaching is to guide my students through their learning process, recognising that each of them may learn in a different way and leading them to a progressive and successful outcome.<br />
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This is a challenge in itself, especially when you may only be teaching them for a one day workshop or for a few hours each week, or even online. So my thinking cap has been well and truly on and now I can reveal that there are several changes coming up with Illustrating Natures Details, which will hopefully provide a fulfilling learning and teaching experience for all.<br />
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The 3rd July was my last day of teaching at Peter Symonds College AHED in Winchester. I will be leaving after 6 years of teaching there and meeting so many talented people. Thank you to everyone that has supported me and come to the classes, many of whom I will still see.<br />
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<b>This means that I can create a new learning experience, one that means more time for all and following a project based approach.</b><br />
<b>This will take place from October 2018 at the Holt Estate, near Winchester, where I already teach workshops and courses.</b><br />
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<b>The classes are for those with some experience of drawing and painting botanical and natural history subjects. There will be a block of 4 classes to start with that will take place every other week. This will mean that there is the opportunity for structured tuition within class and then the option of continuing at home on a specific project over the 8 weeks in total. Students will also have the option of choosing a set botanical or natural history subject area at the point of booking.</b><br />
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Another exciting result of this creative change is that I have created a private group on Facebook for any student that attends the day workshops or longer courses at the Holt Estate. This is a great way of everybody keeping in touch as some are spread far and wide. </div>
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It is not a tuition group but an additional means of communication and support and is proving popular already.</div>
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This is one of the positive benefits of social media and I am thrilled to be able to provide this free of charge, as an addition to attending the workshops and courses.</div>
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If you have attended the courses at the Holt you can request to join the group here: <a href="https://www.facebook.com/groups/HoltCoursesandWorkshops/">https://www.facebook.com/groups/HoltCoursesandWorkshops/</a></div>
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Don't forget that you can also keep up to date with news by signing up for the newsletter, the link for which is in the tabs above.<br />
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Do also keep a look out for further online courses coming later in 2018.</div>
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Happy drawing & painting !</div>
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Sarah</div>
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Sarah Morrishhttp://www.blogger.com/profile/05198273023728084037noreply@blogger.com0tag:blogger.com,1999:blog-8998307820194466026.post-62254975297603026482018-02-04T22:22:00.002+00:002018-02-04T22:22:29.840+00:00A rain forest in a hedge-bank ...When I first started this blog way back in 2011, there were times when I could use it to focus on my nature writing as well as the 'arty' side of things. So this year I have made a promise to myself to write more about my experiences with the natural world, those that really capture all aspects in all weathers and conditions.<br />
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This blog post has taken a while to evolve, from the beginning of the year to be accurate.<br />
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The last day of the year in 2017 we were settled in a granary cottage on the beautiful <a href="https://www.littlecomfortfarm.co.uk/" target="_blank">Little Comfort Farm</a> situated in the depths of the north Devon countryside.<br />
The winter weather was typically British with rain showers visiting us for various lengths of time, delivering their load and giving the surrounding hedge-banks what looked like a shower of diamonds, once the sun was shining.<br />
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After one such delivery we ventured away from the wood-burner and headed outside.<br />
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The lane was surrounded by high hedge-banks which created almost a humid climate due to their sheltering nature. As I looked closer the realisation came that the vegetation on those banks gave you the feeling of being in a miniature rain forest. </div>
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The tiniest capsules of the mosses were weighed down with moisture, the hairs of Wood sorrel leaves glistened in the sunshine and the new Harts tongue fern fronds and others looked as though they had been brushed with varnish. </div>
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Further jewels of nature became more visible as we peered closer, not all touched by the rain but still shining out from the surrounding vegetation due to their colour, texture and pattern.</div>
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Don't forget to look around you after the rain - you may be in for a surprise !</div>
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Sarah Morrishhttp://www.blogger.com/profile/05198273023728084037noreply@blogger.com0tag:blogger.com,1999:blog-8998307820194466026.post-58205001207011565432018-01-02T23:05:00.000+00:002018-01-02T23:05:12.605+00:00How 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.<br />
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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.<br />
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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.<br />
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This in turn I have been able to combine with my art to become a full-time professional artist, tutor and illustrator.<br />
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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.<br />
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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.<br />
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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.<br />
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<b><u><span style="font-size: large;"><i>Weekly classes</i></span></u></b> at Peter Symonds College AHED, Winchester.<br />
Botanical Art - An Introduction to Techniques x1 class 2.5 hrs<br />
Botanical Art - Further Exploration of Techniques x2 classes 2.5 hrs and 2 hrs<br />
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<ul>
<li>These classes take place once a week and last for 6-10 weeks according to the confirmed term length.</li>
<li><b>They suit learners that may have limited time available, but also those that have more flexibility and would like a regular learning experience.</b></li>
<li>Each course is carefully written to ensure that there is opportunity for progression at what ever skill level. </li>
<li>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.</li>
<li>In the Introductory class, the fundamentals in botanical drawing are covered at the beginning of each term.</li>
<li>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.</li>
<li><b>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.</b></li>
<li><b>Techniques are demonstrated within the group and there is also individual guidance given through each class.</b></li>
<li><b>Handouts to support learning activities are provided.</b></li>
<li><b>No formal written assessment is given although verbal feedback and review is available on an individual basis.</b></li>
<li>Due to being in a college environment there other resources available to support teaching and learning.</li>
<li>Enrolments can be throughout the year for the forthcoming term if space is available.</li>
<li><b>Some of the course attendees also attend the longer workshops below to enable further exploration of the techniques learnt during the shorter weekly sessions.</b></li>
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<b>Course details available at: <a href="https://www.illustratingnaturesdetails.com/peter-symonds-college-ahed" target="_blank">https://www.illustratingnaturesdetails.com/peter-symonds-college-ahed</a></b></div>
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<b style="text-decoration-line: underline;"><span style="font-size: large;"><i><u>1 & 2 day workshops</u></i></span></b><span style="font-size: large;"> </span>Natures Details Hampshire Courses, The Holt Estate near Winchester. 6 hrs each day.<br />
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<li>These take place throughout the year from March until October.</li>
<li><b>They suit learners who are beginners and those at other skill levels.</b></li>
<li><b>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 !</b></li>
<li>Individual themes are covered in each workshop and will include botanical and natural science subjects.</li>
<li><b>Suitable for those that cannot commit to a weekly class but would still like a concentrated length of time to focus on their art.</b></li>
<li><b>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.</b></li>
<li><b>Attending a 1 or 2 day workshop will also give more time to possibly complete a painting.</b></li>
<li><b>Handouts to support learning activities are provided.</b></li>
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<ul>
<li>Techniques are demonstrated within the group and there is also individual guidance given through each class.</li>
<li>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.</li>
<li><b>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.</b></li>
<li>No formal written assessment is given although verbal feedback and review is available on an individual and group basis.</li>
<li>Themes of workshops are reviewed each year and requests for repeats are taken into consideration. </li>
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<b>Course details available at: <a href="https://www.illustratingnaturesdetails.com/hampshire-courses" target="_blank">https://www.illustratingnaturesdetails.com/hampshire-courses</a></b></div>
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<span style="font-size: large; font-style: italic; font-weight: bold;"><u>Residential courses</u></span> at the Kingcombe Centre, Dorset (all of the courses are available for those wanting to attend on a daily basis)<br />
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<li>Many of the above points for 1 & 2 day workshops also apply to the residential/longer course options at the Kingcombe Centre.</li>
<li>Courses with a residential option are an advantage to those that may have to travel some distance.</li>
<li><b>They provide an option for those that work full-time and may want to attend a course as part of their holiday allowance.</b></li>
<li>Having meals together provides an additional enjoyable social experience.</li>
<li><b>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.</b></li>
<li><b>There is also staff on hand from the Dorset Wildlife Trust who can advise on species information if needed.</b></li>
<li>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.</li>
<li><b>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.</b></li>
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<li><b>Handouts to support learning activities are provided.</b></li>
<li><b>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.</b></li>
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<b>Course details available at: <a href="https://www.illustratingnaturesdetails.com/kingcombe-centre" target="_blank">https://www.illustratingnaturesdetails.com/kingcombe-centre</a></b></div>
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<span style="font-size: large;"><b><i><u>New 2 day course at Nature in Art, Gloucestershire</u></i></b></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhc_HgmTpI-W5-EQzTmw1h3nuIeJmSaDA2curEwSihRwklxQx3rsFUlll9y7RCTZwKkMCWuPJU9Qhezl_bMIY9upVpt7lkhLFccbIJGq8UfjD19g3AvHaY-XRONb1-jsc7Y6fDcgQAv6agO/s1600/NIA2.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="549" data-original-width="1600" height="109" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhc_HgmTpI-W5-EQzTmw1h3nuIeJmSaDA2curEwSihRwklxQx3rsFUlll9y7RCTZwKkMCWuPJU9Qhezl_bMIY9upVpt7lkhLFccbIJGq8UfjD19g3AvHaY-XRONb1-jsc7Y6fDcgQAv6agO/s320/NIA2.gif" width="320" /></a></div>
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<ul>
<li>This is in a similar format of the 1 and 2 day courses provided in Hampshire.</li>
<li><b>The difference is that the focus will be on a more in-depth aspect of botanical art.</b></li>
<li><b>A detailed handbook is available specifically on the course subject.</b></li>
<li><b>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.</b></li>
</ul>
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<b>Course details available at: <a href="https://www.illustratingnaturesdetails.com/natureinart" target="_blank">https://www.illustratingnaturesdetails.com/natureinart</a></b></div>
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<i style="font-weight: bold;"><span style="font-size: large;"><u>Online Tuition</u></span></i><i style="font-size: x-large; font-weight: bold;"> </i>Drawing Nature Courses - Parts 1 & 2<br />
<ul>
<li>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.</li>
<li>Ideal if you are in a more rural location or need to be based at home.</li>
<li><b>If you are considering enrolling on an online course, you do have to have good self-motivation.</b></li>
<li><b>The Drawing Nature courses are modular in structure and are a progressive learning experience, designed to increase your confidence in drawing.</b></li>
<li><b>Assignments are set throughout the course and are assessed individually.</b></li>
<li><b>Individual feedback is given for each assignment completed.</b></li>
<li><b>Additional support is available via email and a private Facebook group.</b></li>
<li><b>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.</b></li>
<li><b>Rather than me setting specific subject matter there is the option for you to choose your own.</b></li>
<li><b>Remember that there are a variety of online learning options out there and take time to decide what format may be best for you. </b></li>
<li><b>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.</b></li>
<li><b>For structured courses such as Drawing Nature there may be a set time for the course to be completed in. </b></li>
<li>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.</li>
</ul>
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<b>Course details available at: <a href="https://www.illustratingnaturesdetails.com/online-courses" target="_blank">https://www.illustratingnaturesdetails.com/online-courses</a></b></div>
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<b><span style="font-size: large;"><i>Personal tuition / Individual coaching</i></span></b></div>
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<ul>
<li>This type of learning experience is very much tailored to the individual and their needs.</li>
<li>It can take the form of a themed day or can cover specific techniques and approaches to both botanical art and natural science illustration</li>
<li>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.</li>
<li>This format suits 1 or 2 people.</li>
</ul>
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<b>For further information email Sarah at</b>: info@illustratingnaturesdetails.com</div>
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<span style="font-size: large;">For all information about courses and workshops please see the Illustrating Natures Details tuition website</span></div>
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<span style="font-size: large;"><a href="https://www.illustratingnaturesdetails.com/" target="_blank">https://www.illustratingnaturesdetails.com/</a></span></div>
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Sarah Morrishhttp://www.blogger.com/profile/05198273023728084037noreply@blogger.com0tag:blogger.com,1999:blog-8998307820194466026.post-13142706841309829832017-12-19T16:10:00.002+00:002017-12-19T16:10:57.817+00:00It'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.<br />
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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.<br />
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I have long been an admirer of <a href="http://www.dorotahaberlehigh.com/fragments.html" target="_blank">Dorota Haber-Lehigh</a> 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.<br />
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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.<br />
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.<br />
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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.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRGZV5Na3UWQ9Kv-kKhzIQEqJWTlyyFMXWcB7FEvmjIZ4xOEtYs6V_pwEG1jqB5u-T18rKwY9beJBJ_9Bs_sHQgrFyjAJ4UJmDRCx9SUa-rc5gJ6t3WcsG8QQMApOSh649xUYdkb-rr8m3/s1600/20171109_094900.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRGZV5Na3UWQ9Kv-kKhzIQEqJWTlyyFMXWcB7FEvmjIZ4xOEtYs6V_pwEG1jqB5u-T18rKwY9beJBJ_9Bs_sHQgrFyjAJ4UJmDRCx9SUa-rc5gJ6t3WcsG8QQMApOSh649xUYdkb-rr8m3/s320/20171109_094900.jpg" width="320" /></a></div>
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Left to right: white, cream and fawn paper</div>
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Rather than me ramble on, why not have a look at the video I produced describing the process I took:<br />
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<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/ybU0A1UM4rE/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/ybU0A1UM4rE?feature=player_embedded" width="320"></iframe></div>
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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 !</div>
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<b>So what were my conclusions?</b></div>
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<li>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.</li>
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<li>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</li>
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<ul>
<li>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.</li>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibE0SnbGTY2vy0zqcVr_Bi5mpQGA6JuYCMrH9K-0gSOKrWAY9ATY5xehIR17W3plVi0x2YpQ_0icfVMdq7IfhGu6xoLwL2n2cbwGyO4gakIDV-l_-OJmnaRNwUEzp25TOknDwNA4vm0_uZ/s1600/20171115_141452.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="900" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibE0SnbGTY2vy0zqcVr_Bi5mpQGA6JuYCMrH9K-0gSOKrWAY9ATY5xehIR17W3plVi0x2YpQ_0icfVMdq7IfhGu6xoLwL2n2cbwGyO4gakIDV-l_-OJmnaRNwUEzp25TOknDwNA4vm0_uZ/s320/20171115_141452.jpg" width="180" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7QpI3PFDfAkxusXTNcy_9ojBtJ23526mzhWLC5DSnLlPPmv-koB-b_56AOFUiZU5tsORRqMkqIFJnM-_5KYDeP9sxAd8IKnzm6buasoDOFoNbh4QxeepYNi3XlYBREU35gpp6gIF_QGgR/s1600/20171115_141345.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="900" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7QpI3PFDfAkxusXTNcy_9ojBtJ23526mzhWLC5DSnLlPPmv-koB-b_56AOFUiZU5tsORRqMkqIFJnM-_5KYDeP9sxAd8IKnzm6buasoDOFoNbh4QxeepYNi3XlYBREU35gpp6gIF_QGgR/s320/20171115_141345.jpg" width="180" /></a></div>
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<li>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.</li>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsefONkJRifYROpWvXnEO_vFwBCX704ZnVYIrPrdo1dNwuGlbiPxno7oh7Azc4eZqiezfHAeCzdmCU6XH6mdyPfvYT82olLQc703yJ8V5c5rRDCBFG6HiTTG-LqEIsA9HnB5fr2jcY1WU1/s1600/20171109_095154.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1600" data-original-width="900" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsefONkJRifYROpWvXnEO_vFwBCX704ZnVYIrPrdo1dNwuGlbiPxno7oh7Azc4eZqiezfHAeCzdmCU6XH6mdyPfvYT82olLQc703yJ8V5c5rRDCBFG6HiTTG-LqEIsA9HnB5fr2jcY1WU1/s320/20171109_095154.jpg" width="180" /></a></div>
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<li>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.</li>
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<li>Next I definitely want to try the technique on a heavier watercolour paper. So watch this space !</li>
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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.</div>
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<b>Is walnut ink light-fast ?</b></div>
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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.</div>
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More recent formulations seem more durable (see below).</div>
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<b>Is it water-resistant ?</b></div>
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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.</div>
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But be aware if you were to use it for line drawing and then apply a wash.</div>
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<b>Are the more recent inks actually made from walnuts ?</b></div>
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Several of them still are - see the table below for further information.<br />
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The yellow highlighted line refers to the ink that I have used.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4mtGsJZM0KApc6j1OFlLbTA0jmUooS2fUcK3ByQcj6-tUM4X3F8lbh3U6wd6zC_Loiz6KBa-bJdV6n-FC2neCji10Tvv7_fFSjBGY3RFZ5Iy9PUbO0pTCIVasF92EVy7StAGH0gt1mRQn/s1600/walnut+ink+chart.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="691" data-original-width="889" height="496" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4mtGsJZM0KApc6j1OFlLbTA0jmUooS2fUcK3ByQcj6-tUM4X3F8lbh3U6wd6zC_Loiz6KBa-bJdV6n-FC2neCji10Tvv7_fFSjBGY3RFZ5Iy9PUbO0pTCIVasF92EVy7StAGH0gt1mRQn/s640/walnut+ink+chart.JPG" width="640" /></a></div>
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<br />Sarah Morrishhttp://www.blogger.com/profile/05198273023728084037noreply@blogger.com0tag:blogger.com,1999:blog-8998307820194466026.post-65700106330224396812017-10-22T21:29:00.001+01:002017-10-22T21:34:20.196+01:00Milkweed & Monarchs - a journey of discovery<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEge2DuIMBWZ1fp9KCShyckQQHF-pVv4bTMwyZb2x-KObztT1-UWOXH5sd1oBrgHRjbshx7QKiFcMLC8-33Z2-cxrg17SQ0uTWEaHpDPDpdr9gOUGk-x0MsxCjRCeCQmWp37f8JVvZn-8ebB/s1600/Milkweed-seedpods-cropped-web-safe.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1332" data-original-width="1600" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEge2DuIMBWZ1fp9KCShyckQQHF-pVv4bTMwyZb2x-KObztT1-UWOXH5sd1oBrgHRjbshx7QKiFcMLC8-33Z2-cxrg17SQ0uTWEaHpDPDpdr9gOUGk-x0MsxCjRCeCQmWp37f8JVvZn-8ebB/s320/Milkweed-seedpods-cropped-web-safe.jpg" width="320" /></a></div>
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.<br />
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That was a fantastic experience spreading my wings in the global family of botanical art.<br />
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Not only that I had a few days after the conference to visit an amazing artist and friend, Elizabeth Romanini of <a href="http://www.thenaturalline.com/" target="_blank">The Natural Line</a>.<br />
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There was the wonderful opportunity to explore the area where she lives and discover some treasures of the natural world.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5FTYJh7HKFzl4D7aVKhlAoXOZDwV6tNyBDdRVGfjaPROhuCRTfS6lx2p0YmFyl465e8JE55MJ3FWpKn8_eDk0fbwlLxZOdL6hpGmopxp0mXg1BUEEXrgxdVVnUg_2HxfUVAI-9VXdObJ9/s1600/Milkweed-seedpods-web-safe.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1600" data-original-width="875" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5FTYJh7HKFzl4D7aVKhlAoXOZDwV6tNyBDdRVGfjaPROhuCRTfS6lx2p0YmFyl465e8JE55MJ3FWpKn8_eDk0fbwlLxZOdL6hpGmopxp0mXg1BUEEXrgxdVVnUg_2HxfUVAI-9VXdObJ9/s320/Milkweed-seedpods-web-safe.jpg" width="174" /></a>In the wildlife friendly garden that her and her husband have created it is full of visiting birds, including several species of Hummingbirds.<br />
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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.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirkw9nsqFdcjgcaRzpt6JkdbzvqcU9hQR-qSkejhsaJbJ004npue74QiPBJX_tvUGUzB_nwJKAlIbLmW_nb0mT-M8gyMZAB6plDn13xE1or0VXgNciyl7F1qhR54i_rTU4Okuk-bB2fBnN/s1600/20171018_095116.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="900" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirkw9nsqFdcjgcaRzpt6JkdbzvqcU9hQR-qSkejhsaJbJ004npue74QiPBJX_tvUGUzB_nwJKAlIbLmW_nb0mT-M8gyMZAB6plDn13xE1or0VXgNciyl7F1qhR54i_rTU4Okuk-bB2fBnN/s320/20171018_095116.jpg" width="180" /></a>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).<br />
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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.<br />
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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.<br />
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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.<br />
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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.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV-OibxEoCx8O1CzZxkLu0TqV8UkcUPrwPMCpaZUXGhzNd2IclSTT3m3UWp0UITW3xO5nannIKsG_NYZbxEbBQIrWh78UKxCecQRkqRsM8ol2JqhvTnw5ZGG1Z7HZ7j28VXdPoZ6voKH3i/s1600/Monarchs+1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1217" data-original-width="1600" height="303" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV-OibxEoCx8O1CzZxkLu0TqV8UkcUPrwPMCpaZUXGhzNd2IclSTT3m3UWp0UITW3xO5nannIKsG_NYZbxEbBQIrWh78UKxCecQRkqRsM8ol2JqhvTnw5ZGG1Z7HZ7j28VXdPoZ6voKH3i/s400/Monarchs+1.jpg" width="400" /></a>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. <br />
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CLOUDS of butterflies hanging onto the leaves and branches of the surrounding Eucalyptus trees.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhml3nYVh8ziXfDe106MjdHJY9AOFFGHqfnMpqZALbJs7zIVR_8WyQw8OC0czOmm9nzQ6wCRXllyBAZ2ku7ROeFIwITRiiRbcEap61huBzDBnon97YFgBcdfvsuw-OKwN1S2LScQmfnbToo/s1600/Monarchs-2-web-safe.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="925" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhml3nYVh8ziXfDe106MjdHJY9AOFFGHqfnMpqZALbJs7zIVR_8WyQw8OC0czOmm9nzQ6wCRXllyBAZ2ku7ROeFIwITRiiRbcEap61huBzDBnon97YFgBcdfvsuw-OKwN1S2LScQmfnbToo/s400/Monarchs-2-web-safe.jpg" width="231" /></a></div>
The State Park's website explains perfectly why the Monarchs visit and stay there over the winter months:<br />
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<i>'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.</i><br />
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<i>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'. </i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUmK3iUCNoJcKnJPECrujj82Dt0pFAbhEYqt00c88kfx5QyPviwl3BZolKmXRo-LtullAhiAHmsQpGfvzI9F9z0oLgbffL5SCsjrMdLhQOrRzNB9wct32o9sgt_Q_d4nHe_jy6DAcGJ5ok/s1600/monarchs-3-web-safe.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="798" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUmK3iUCNoJcKnJPECrujj82Dt0pFAbhEYqt00c88kfx5QyPviwl3BZolKmXRo-LtullAhiAHmsQpGfvzI9F9z0oLgbffL5SCsjrMdLhQOrRzNB9wct32o9sgt_Q_d4nHe_jy6DAcGJ5ok/s400/monarchs-3-web-safe.jpg" width="198" /></a><span style="color: #333333; font-family: Open Sans, Arial, sans-serif;"><span style="font-size: 14px;"><i> </i></span></span>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.<br />
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<i>'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.</i><br />
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<i>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'.</i><br />
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Monarch butterflies becoming more active in the Fall sunshine</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpyqnULQJ-D5BbZiGWdj7RLJqE6ZngI1cmnQMSAcr2OOICIow2osnYAeFtc0mjZ73I6MTnE_Tvanwt83ORC-_yu-LEec1XnTo7nVqsbn4E13mlcxXUFDLkshyPpKjwSSnqdvrIo9lxjC-Y/s1600/monarch-1-web-safe.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1600" data-original-width="1327" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpyqnULQJ-D5BbZiGWdj7RLJqE6ZngI1cmnQMSAcr2OOICIow2osnYAeFtc0mjZ73I6MTnE_Tvanwt83ORC-_yu-LEec1XnTo7nVqsbn4E13mlcxXUFDLkshyPpKjwSSnqdvrIo9lxjC-Y/s320/monarch-1-web-safe.jpg" width="265" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxhqygRSB29ayDAdnWMmWgHVLOfhk9baRzZeB8z2A_xKoPWsi_7TYs-7CZRD-N8SqLv0LylN_gX-zliO0a6aKDZc0fGNBcFMaJeV_MORIyiAL_ExfNYvK4r-DfVl4i3bPYwyDf3dVw5oH3/s1600/Monarch-web-safe.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1276" data-original-width="1600" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxhqygRSB29ayDAdnWMmWgHVLOfhk9baRzZeB8z2A_xKoPWsi_7TYs-7CZRD-N8SqLv0LylN_gX-zliO0a6aKDZc0fGNBcFMaJeV_MORIyiAL_ExfNYvK4r-DfVl4i3bPYwyDf3dVw5oH3/s320/Monarch-web-safe.jpg" width="320" /></a></div>
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Feeding on nectar from a cultivated variety of Scabious (left) and the nectar rich flowers of Ivy (right)</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHLwb25ohLryWqF88pqb5fvKVzQ7w-c96-aYJd1kGFCOTKKkl0q5lO7jg9Q7u7lXW-imGYBMFkNUrTUvlqIstDhfKQJ-xawPa6uERB50ZCgDJyEjoUXRp0yYwaYe8Jn6y34_ynKN8DEgi9/s1600/IMG_1408.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1067" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHLwb25ohLryWqF88pqb5fvKVzQ7w-c96-aYJd1kGFCOTKKkl0q5lO7jg9Q7u7lXW-imGYBMFkNUrTUvlqIstDhfKQJ-xawPa6uERB50ZCgDJyEjoUXRp0yYwaYe8Jn6y34_ynKN8DEgi9/s320/IMG_1408.JPG" width="213" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPM3IiC-2q6CdeAqLoN2UVwvpOBGi_wZCI_AY8GLZ2QBs9sWb4r74gh9AOHQMA3lqTbSJkVLOLUX3tI-TzIQEKhVOn-LHuqyXT4yF04gKQEct_fqmMDpaLelkO7ReKYhvtWaXbQYVzQinq/s1600/IMG_1410.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1067" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPM3IiC-2q6CdeAqLoN2UVwvpOBGi_wZCI_AY8GLZ2QBs9sWb4r74gh9AOHQMA3lqTbSJkVLOLUX3tI-TzIQEKhVOn-LHuqyXT4yF04gKQEct_fqmMDpaLelkO7ReKYhvtWaXbQYVzQinq/s320/IMG_1410.JPG" width="213" /></a></div>
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African milkweed seedpods</div>
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<b><u>OTHER NEWS: </u></b></div>
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<li>Keep a lookout on the <a href="https://www.facebook.com/NaturesDetailsArt/?ref=bookmarks" target="_blank">Natures Details Facebook page</a> and sometimes this blog, for news of my 'Fieldwork Fridays' coming soon.</li>
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<li>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.</li>
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<li> 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 <a href="https://www.illustratingnaturesdetails.com/drawing-nature-course" target="_blank">Illustrating Natures Details tuition website.</a></li>
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<li>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. <a href="https://www.natures-details.com/" target="_blank">Click here for the Natures Details website</a>. </li>
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<br />Sarah Morrishhttp://www.blogger.com/profile/05198273023728084037noreply@blogger.com2tag:blogger.com,1999:blog-8998307820194466026.post-90691119773474964822017-06-01T06:00:00.000+01:002017-06-01T07:04:52.166+01:00A composition challenge - Navelwort - Umbilicus rupestrisWell, 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.<br />
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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 <a href="https://abba2018.wordpress.com/" target="_blank">Botanical Art Worldwide Exhibition in 2018</a>.<br />
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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 <i>Umbilicus rupestris</i>. It is a plant that I have always wanted to illustrate after spotting it growing on the ruins of Corfe Castle many years ago.<br />
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.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYhLBeB8fDu4KufB4KYqllwJrfdXXC7YYA-2ZFjs5e_TCudKZytpmlW7jXFWWpkJacMi5FWht7wCEQPoHH6M6uU6Pw8cq-YmyLuRNvqw6oLUgEoraPL4zBjjw2M7zavU1haaAmoBRb1nUE/s1600/20170331_113951.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYhLBeB8fDu4KufB4KYqllwJrfdXXC7YYA-2ZFjs5e_TCudKZytpmlW7jXFWWpkJacMi5FWht7wCEQPoHH6M6uU6Pw8cq-YmyLuRNvqw6oLUgEoraPL4zBjjw2M7zavU1haaAmoBRb1nUE/s400/20170331_113951.jpg" width="400" /></a></div>
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Sketching and colour notes of Navelwort on a chilly April day in the garden</div>
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The Navelwort leaves growing in the pond rockery</div>
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The paintings need to be strictly botanical in style and if applicable show the different growth stages of the chosen plant.</div>
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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. </div>
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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 ?</div>
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<b><i><u>Stage 1:</u></i></b> 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.</div>
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<u style="font-style: italic; font-weight: bold;">Something to think about:</u> 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 !</div>
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<u style="font-style: italic; font-weight: bold;">Stage 2:</u> Below<span style="font-family: inherit;"><span style="background-color: white; color: #1d2129;"> 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.</span><span style="background-color: white; color: #1d2129;"> </span></span></div>
<span style="background-color: white; color: #1d2129;"><span style="font-family: inherit;">At this stage I haven't properly drawn the enlargements and dissections properly - I am just exploring ideas.</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5_-XgywrD3N7p9JYXgiqw5o1NVswTg2SW_97PvKS9TUtC70mAdSWOHnIGXVkPoARRIt61DkVAbgeikTmAtNssWrl6WEfhj9O0JDFkpl7lnLpNIjnxtPvZhUzDup1GAQouSZJHVwL_9Vdd/s1600/20170529_082056.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1075" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5_-XgywrD3N7p9JYXgiqw5o1NVswTg2SW_97PvKS9TUtC70mAdSWOHnIGXVkPoARRIt61DkVAbgeikTmAtNssWrl6WEfhj9O0JDFkpl7lnLpNIjnxtPvZhUzDup1GAQouSZJHVwL_9Vdd/s400/20170529_082056.jpg" width="268" /></a></div>
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<span style="font-family: inherit;"><span style="background-color: white; color: #1d2129;">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.</span><br style="background-color: white; color: #1d2129;" /><span style="background-color: white; color: #1d2129;">Using ink for the tracing will ensure that it shows through the watercolour paper when tracing on the lightbox.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOi4dWqHgmdkdpWyUmZALUevM3z8fzopvDVLulN-oH7JkqjAfo9mbgv7JA-fbuQBNIc07tcMKj05ztJbb0BsQMA3TroiqVOzjjy66hTWk78AL_beabbfLWM7acvInvrNfBLWZJs37OsWcP/s1600/20170528_074446.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="900" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOi4dWqHgmdkdpWyUmZALUevM3z8fzopvDVLulN-oH7JkqjAfo9mbgv7JA-fbuQBNIc07tcMKj05ztJbb0BsQMA3TroiqVOzjjy66hTWk78AL_beabbfLWM7acvInvrNfBLWZJs37OsWcP/s400/20170528_074446.jpg" width="225" /></a></div>
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<u style="font-style: italic; font-weight: bold;">Something to think about:</u> 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.</div>
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<u style="color: #1d2129; font-style: italic; font-weight: bold;">Stage 3:</u><span style="color: #1d2129;"> </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxc9MHubKCRk1tYwspdpfCGWu-MAcWzTv6btDQENgmZEeVO1ZzbD-GI8mH_8svwAp3tVCS2fnb2BS2rZ35DmLFlFKF2DoBT3Nk4uRCGGbzXkOcF5wGieWdOIkWAb6vlw3w_q9uss1SFT_0/s1600/20170528_171321.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="900" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxc9MHubKCRk1tYwspdpfCGWu-MAcWzTv6btDQENgmZEeVO1ZzbD-GI8mH_8svwAp3tVCS2fnb2BS2rZ35DmLFlFKF2DoBT3Nk4uRCGGbzXkOcF5wGieWdOIkWAb6vlw3w_q9uss1SFT_0/s640/20170528_171321.jpg" width="360" /></a></div>
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<span style="background-color: white; color: #1d2129;"><span style="font-family: inherit;">Here the drawings and tracings of the enlargements and dissections have been completed and are combined with the rest of the composition.</span></span></div>
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<span style="color: #1d2129;">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.</span></div>
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<span style="color: #1d2129;">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.</span></div>
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<u style="font-style: italic; font-weight: bold;">Something to think about:</u> 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 !<br />
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<b><i><u>Stage 4:</u></i></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPR-SajYmSVj9kDqn_qBjdCXqZ9AhzoQE4rpflxyJZSJ1UtoFyRG7JmKzkplYWVDAyR-PJQjtfrI6NFEGIxW2AMNtdy2TZ5rwe-WFR3GTXHt1kzTTJKkc5YbGS8PkSpIJGozPe1oVmgK4m/s1600/20170528_174208.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1600" data-original-width="900" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPR-SajYmSVj9kDqn_qBjdCXqZ9AhzoQE4rpflxyJZSJ1UtoFyRG7JmKzkplYWVDAyR-PJQjtfrI6NFEGIxW2AMNtdy2TZ5rwe-WFR3GTXHt1kzTTJKkc5YbGS8PkSpIJGozPe1oVmgK4m/s400/20170528_174208.jpg" width="225" /></a><br />
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<span style="background-color: white; color: #1d2129; font-family: inherit;">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).</span></div>
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<span style="background-color: white; color: #1d2129; font-family: inherit;">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 </span><span class="text_exposed_show" style="background-color: white; color: #1d2129; display: inline; font-family: inherit;">stem and the finally to the dried flowers stem and seedpods and seed.</span></div>
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<span style="font-family: inherit;"><span class="text_exposed_show" style="background-color: white; color: #1d2129; display: inline;"><br />The other aspect that I have also considered is the alignment of the dissections and enlargements. </span></span></div>
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<span style="font-family: inherit;"><span class="text_exposed_show" style="background-color: white; color: #1d2129; display: inline;"><br />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.<br />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.</span></span></div>
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<u style="font-style: italic; font-weight: bold;">Something to think about:</u> 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.</div>
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This was something I really thought about with the positioning of the enlargements and dissection.</div>
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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.</div>
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3 main groups of leaves</div>
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3 stems</div>
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5 small drawings - enlargements and dissection</div>
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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.</div>
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<b><i><u>Other news and useful links:</u></i></b></div>
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<li>The next 'in person' course with available spaces is:</li>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqm8Pvfa1tquaGvzj9TkYtxgVto349rVHem0qPhQGT-blDb9EWeFcwtmS3IC8CYoGrs-qVnxiHamuscq9k5OdtJFOBM1Ghh0XKrZYu0eLupJf8SxhLDR1-IFfGD9dLsi3tOAe5yBRFTsfq/s1600/Harvest+colours+prom+pic.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="920" data-original-width="1600" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqm8Pvfa1tquaGvzj9TkYtxgVto349rVHem0qPhQGT-blDb9EWeFcwtmS3IC8CYoGrs-qVnxiHamuscq9k5OdtJFOBM1Ghh0XKrZYu0eLupJf8SxhLDR1-IFfGD9dLsi3tOAe5yBRFTsfq/s400/Harvest+colours+prom+pic.jpg" width="400" /></a></div>
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Have a look on the <a href="https://www.illustratingnaturesdetails.com/hampshire-courses" target="_blank">website</a> for more info.</div>
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<li style="text-align: left;">All of the tuition from Natures Details is now on a new website: <a href="https://www.illustratingnaturesdetails.com/" target="_blank">Illustrating Natures Details</a>. The original <a href="http://www.natures-details.com/" target="_blank">Natures Details</a> site will become more of a gallery website over the summer months.</li>
<li style="text-align: left;">I will be taking part in Hampshire Open Studios this year, which I am really excited about. I'll be exhibiting at <a href="https://abshot.wordpress.com/" target="_blank">Great Abshot Barn</a> 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 !</li>
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Sarah Morrishhttp://www.blogger.com/profile/05198273023728084037noreply@blogger.com1tag:blogger.com,1999:blog-8998307820194466026.post-19045446878288501072016-09-24T21:32:00.000+01:002016-09-24T21:44:30.821+01:00Returning with a Botanical Harvest<br />
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<span style="background-color: white; color: #333333;"><span style="font-family: "georgia" , "times new roman" , serif;"><i>Autumn is a second spring when every leaf is a flower. Albert Camus</i></span></span></div>
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Regular visitors to the blog would have noticed the change to the banner image above as my favourite season is here. </div>
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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.</div>
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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.</div>
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'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.</div>
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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.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYol4vaCseNG3pXILzEFB-02zwnCkQh0VTopj-XwFk2gfIMZp5DeCQzwSAePEACj24iqVxS68jBVTrCE9xpH8mQXgJrdwy7Po-AQBplf1DOkqGsn9-uPXuRsRZMDpUP1ToKKstkEMdjhu6/s1600/14292324_1240671295963571_588904812740480141_n+%25282%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYol4vaCseNG3pXILzEFB-02zwnCkQh0VTopj-XwFk2gfIMZp5DeCQzwSAePEACj24iqVxS68jBVTrCE9xpH8mQXgJrdwy7Po-AQBplf1DOkqGsn9-uPXuRsRZMDpUP1ToKKstkEMdjhu6/s400/14292324_1240671295963571_588904812740480141_n+%25282%2529.jpg" width="220" /></a></div>
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Apologies for not such a good photo. Work in progress on 'Dispersal (ii)'</div>
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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.</div>
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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. <a href="http://www.hillfarmorchards.co.uk/news" target="_blank">Hill Farm Orchards have Applefest on Saturday 1st October</a> and the <a href="http://www.blackmoorestate.co.uk/index.php?option=com_content&view=article&id=21&Itemid=18" target="_blank">Blackmoor Estate have their Apple Tasting Day on Sunday 9th October</a>.</div>
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<a href="https://www.westdean.org.uk/gardens/events/apple-affair" target="_blank">West Dean Gardens in West Sussex also have their Apple Affair on Saturday 1st and Sunday 2nd October</a></div>
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To top it all with more apple activities, I will be demonstrating botanical art (drawing and painting apples !) at <a href="http://kingjohnshouse.org.uk/" target="_blank">King John's House and Heritage Centre </a>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.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSpt6DnobrY97LHg52bam-iKioxiSpH0RceYEsYT9xSRa0-wyvKgu3jhKSeEcoCgUzkAYUFNNJjY1fidk1DYG0lu2qRdYFZjdtToDCIGlbH_tnRnJPVNQps_G1PFtepr9Fi6e4okdD4wZ5/s1600/Apple+day+poster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSpt6DnobrY97LHg52bam-iKioxiSpH0RceYEsYT9xSRa0-wyvKgu3jhKSeEcoCgUzkAYUFNNJjY1fidk1DYG0lu2qRdYFZjdtToDCIGlbH_tnRnJPVNQps_G1PFtepr9Fi6e4okdD4wZ5/s640/Apple+day+poster.jpg" width="451" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4EIbMJvlv5crIrebEVGMfYJnXU5LvDlWvAxktxTx7SF4Cb_qJbhsaHR9NB6-N8h3Le5Pij23iD9pnTYr6g6S1X8seD_ckkhSs1_3NXJMiqaqEDno2XRZKOhDQu4aWS500nUoyesxnKX7v/s1600/devon+crab+apples.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4EIbMJvlv5crIrebEVGMfYJnXU5LvDlWvAxktxTx7SF4Cb_qJbhsaHR9NB6-N8h3Le5Pij23iD9pnTYr6g6S1X8seD_ckkhSs1_3NXJMiqaqEDno2XRZKOhDQu4aWS500nUoyesxnKX7v/s400/devon+crab+apples.jpg" width="346" /></a></div>
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Devon Crab Apples - watercolour</div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><u>Other news</u></b></span></div>
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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.</div>
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News of 2017 courses will be available on the website soon. I am just finalising details with both venues, then all will be revealed.</div>
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Look out for my <b>'Tutorial Treats'</b> on the <a href="https://www.facebook.com/NaturesDetailsArt/" target="_blank">Natures Details Facebook page. </a> 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 !</div>
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Sarah Morrishhttp://www.blogger.com/profile/05198273023728084037noreply@blogger.com0tag:blogger.com,1999:blog-8998307820194466026.post-20060292666121403922016-07-19T18:06:00.003+01:002016-07-19T18:06:43.710+01:00Project Skills for Botanical Artists (iii) - grow your ownI suspect that a lot of botanical artists are keen gardeners too, or perhaps the botanical art has led them to gardening ?<br />
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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' !<br />
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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.<br />
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Part of our small garden - crammed full of plants and pots</div>
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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.<br />
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Now this year, I am growing some plants to continue my series 'A View Inside', of which the <i>Echinacea purpurea</i> 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.<br />
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'A View Inside - <i>Echinacea purpurea</i>'</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfXUuVjHsDoalL6iOkrlx3X0vGGrTMZJ2F-a76KNTsu0CRHHXnqE_Hjacl64WIGtAWU8QNI9Op6dXg5f68mu5n6vsPmO0HQ0R7CKVjdyZH8LXyuap7v8QhCehkAY0XpbKWQtHFRhld2mNS/s1600/13411787_1005218822927582_5862871921422676820_o+%25282%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfXUuVjHsDoalL6iOkrlx3X0vGGrTMZJ2F-a76KNTsu0CRHHXnqE_Hjacl64WIGtAWU8QNI9Op6dXg5f68mu5n6vsPmO0HQ0R7CKVjdyZH8LXyuap7v8QhCehkAY0XpbKWQtHFRhld2mNS/s640/13411787_1005218822927582_5862871921422676820_o+%25282%2529.jpg" width="640" /></a></div>
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<i>Cirsium</i> - work in progress on calfskin vellum</div>
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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.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizkO4WrWRhpFUhoSZmIdhX6V-uisw-oEBGlWUqcE3FeFaFGAXiQjIW0SNOo4o3A9xfKqFuHE91s41O-YQFh8UHj29h45MLuu86omgGEq9uXg2CRRrq-gMESHtJ8mQIsSJjmWOCFdB4mzP9/s1600/13245434_1149727281724640_461581540355196219_n+%25282%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizkO4WrWRhpFUhoSZmIdhX6V-uisw-oEBGlWUqcE3FeFaFGAXiQjIW0SNOo4o3A9xfKqFuHE91s41O-YQFh8UHj29h45MLuu86omgGEq9uXg2CRRrq-gMESHtJ8mQIsSJjmWOCFdB4mzP9/s400/13245434_1149727281724640_461581540355196219_n+%25282%2529.jpg" width="400" /></a></div>
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Our mini-meadow this Spring</div>
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This is the mini-meadow a couple of weeks ago</div>
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If you are wanting to grow some wildflower species at home for a botanical art project, there are several things to consider:<br />
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<ul>
<li>Wildflowers do not necessarily like a fertile soil. If you think of a downland type soil its fertility is minimal.</li>
</ul>
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<ul>
<li>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.</li>
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<ul>
<li>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.</li>
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<ul>
<li>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.</li>
<ul>
<li>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.</li>
<li>Using fine gravel in the soil is a good option too, to allow drainage and also reduce fertility levels.</li>
</ul>
</ul>
<ul>
<li>If growing from seed, either as a mix or individually, Autumn sowing is usually more successful.</li>
</ul>
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Several of the above points can apply to cultivated varieties of plants too, and here are some others to consider:</div>
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<ul>
<li>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 <i>Cirsium</i>, 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.</li>
</ul>
<ul>
<li>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.</li>
</ul>
<ul>
<li>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.</li>
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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.</div>
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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.</div>
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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.</div>
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Happy painting !<br />
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The beautiful seedhead of the <i>Cirsium</i></div>
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Sarah Morrishhttp://www.blogger.com/profile/05198273023728084037noreply@blogger.com2tag:blogger.com,1999:blog-8998307820194466026.post-26676490991789184372016-06-29T08:37:00.002+01:002016-06-29T08:37:46.691+01:00Project Skills for Botanical Artists (ii) - considering the habitatApologies that there has been a bit of a gap between my last blog post and this one.<br />
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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.<br />
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In case you didn't get to read it, here is the link: <a href="http://thenaturalyear.blogspot.co.uk/2016/06/project-skills-for-botanical-artists-i.html">Project Skills for Botanical Artists (i) - Identifying Wild Flowers and Plants</a><br />
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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 <b>habitat</b><br />
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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.<br />
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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 ??<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBW6UaS-wcNjJL4jf476VrZUmSSc_x_OKYPDH_rBMFIuInzXveuFBeRbAHgEB4SJshSE8D_xAMaJPq1XC6MCVYw7xqOzYmoNcXy5mA051OTQMZXR7-gJ0dWQq4yzs206KgnC568K-tTMvL/s1600/20160227_095603.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBW6UaS-wcNjJL4jf476VrZUmSSc_x_OKYPDH_rBMFIuInzXveuFBeRbAHgEB4SJshSE8D_xAMaJPq1XC6MCVYw7xqOzYmoNcXy5mA051OTQMZXR7-gJ0dWQq4yzs206KgnC568K-tTMvL/s400/20160227_095603.jpg" width="225" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl8cH3c4SOZUgyYqIrTaDoOw7vu1n33QNeR7a7vItWy9OtMVwD-Fzcaox8SlbDc_PnEh5W6S5vIQDjf4lHdXmBtgtRHpHqHwcIAyXLSTgygGohDY61ipIoo2cHVkucQXdT11PZd9_Cru63/s1600/20160227_095549.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl8cH3c4SOZUgyYqIrTaDoOw7vu1n33QNeR7a7vItWy9OtMVwD-Fzcaox8SlbDc_PnEh5W6S5vIQDjf4lHdXmBtgtRHpHqHwcIAyXLSTgygGohDY61ipIoo2cHVkucQXdT11PZd9_Cru63/s400/20160227_095549.jpg" width="400" /></a></div>
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An example of a group exhibit at the Royal Horticultural Society Botanical Art Show in 2016.</div>
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<a href="http://www.icenibotanicalartists.co.uk/">Iceni Botanical Artists</a> depicted plants that came from the fragile and declining habitat of the Brecks found in the east of England in Suffolk and Norfolk.</div>
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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.</div>
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<b><span style="font-size: large;">Should I focus on one site or two ?</span></b></div>
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<ul>
<li>it depends on the focus of your project.</li>
</ul>
<ul>
<li>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.</li>
</ul>
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<ul>
<li>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.</li>
</ul>
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<span style="font-size: large;"><b>How can I find out information about a site ?</b></span></div>
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<div>
Unfortunately, I am only able to comment on resources available within the UK.</div>
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<ul>
<li><a href="http://magic.defra.gov.uk/">MAGIC</a> - What is MAGIC? <i> '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></li>
</ul>
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<div>
<ul>
<li>I have used the<i> </i>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:</li>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-hAeoiNgmHLXvnW27LkwTuYXQZ-cplw3JOJSjmMaYRF7KzC_ygL0ZMRWfOs7BLtLXiE9s6ZQq6jIFRH8ec7c3Q40N4NtJTS15YBhrw5l4fexmx0kovJo3itgfLg4POhoygotFjodAQ_40/s1600/Magic+-+intro.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="380" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-hAeoiNgmHLXvnW27LkwTuYXQZ-cplw3JOJSjmMaYRF7KzC_ygL0ZMRWfOs7BLtLXiE9s6ZQq6jIFRH8ec7c3Q40N4NtJTS15YBhrw5l4fexmx0kovJo3itgfLg4POhoygotFjodAQ_40/s640/Magic+-+intro.JPG" width="640" /></a></div>
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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.</div>
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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.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQJ-GnQ4gduZ8d0yMc8R7qYUxrcFbIJKRRh15EZVy-gkhtl5ABhUXcLTu_mfBpVUdPCYN4iGfuCKORSbSnnNfhziPd2WW1a3BAwbqRVAok5luzYNRrKnzvPNbwqPSIyj_XkDniNrxF2yPV/s1600/SSSI+condition.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQJ-GnQ4gduZ8d0yMc8R7qYUxrcFbIJKRRh15EZVy-gkhtl5ABhUXcLTu_mfBpVUdPCYN4iGfuCKORSbSnnNfhziPd2WW1a3BAwbqRVAok5luzYNRrKnzvPNbwqPSIyj_XkDniNrxF2yPV/s640/SSSI+condition.JPG" width="640" /></a></div>
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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).</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwr4i07Q2pc1I95A8nz8OWTvKZJE5X8K4PsXIjN5V9cWjp02JKwpkSxBerMGwHysjs3tl6U-8MQawe2Xh8XWMBusimEiXQ8tsm78u8CpZ-r8mQRu71vFG6vUKDD4tjmqRjL4WRcRnXJsuw/s1600/ancient+woodland.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwr4i07Q2pc1I95A8nz8OWTvKZJE5X8K4PsXIjN5V9cWjp02JKwpkSxBerMGwHysjs3tl6U-8MQawe2Xh8XWMBusimEiXQ8tsm78u8CpZ-r8mQRu71vFG6vUKDD4tjmqRjL4WRcRnXJsuw/s640/ancient+woodland.JPG" width="640" /></a></div>
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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.</div>
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<ul>
<li>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.</li>
</ul>
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I hope this overview has been of help. The next blogpost in the series will be about growing plants for a botanical art project.</div>
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Happy painting !</div>
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Sarah Morrishhttp://www.blogger.com/profile/05198273023728084037noreply@blogger.com0tag:blogger.com,1999:blog-8998307820194466026.post-26351111331221362192016-06-14T09:52:00.000+01:002016-06-14T09:52:24.914+01:00Project Skills for Botanical Artists (i) - Identifying wild flowers & plantsYes, I'm back ! Gosh what a busy time it has been, exhibitions, teaching and producing new art work.<br />
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I've neglected the blog for a while, but I am back up and running with a new series of posts that will hopefully help those botanical artists who are planning and completing projects over the summer months. These projects may be the start of producing work to exhibit with the RHS (Royal Horticultural Society), or it may be a self-guided project that will help you become familiar with a particular family or genus of plants or plants within a specific habitat. Either way, working in a structured way is a a huge benefit and to become absorbed and teach your self new skills, although I guess it may not suit everyone.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9x6PenwdiKBX9upEY6bD_LsZDxnIvwuqNqDmR0lPVFnrAGrxwCAdHDGUxuCRiduvCKbd4Mk5ry_FvmL6Iv1Et0gMscdGBRH8B2fz1xZK54fBJ-SGaXO13C9_Lor3HKCzgjXHb-NAJS2ri/s1600/Claires+work.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9x6PenwdiKBX9upEY6bD_LsZDxnIvwuqNqDmR0lPVFnrAGrxwCAdHDGUxuCRiduvCKbd4Mk5ry_FvmL6Iv1Et0gMscdGBRH8B2fz1xZK54fBJ-SGaXO13C9_Lor3HKCzgjXHb-NAJS2ri/s400/Claires+work.jpg" width="400" /></a></div>
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Preparatory work as part of a project © 2016 Claire Ward - <a href="https://www.facebook.com/drawntopaintnature/">Drawn to Paint Nature</a></div>
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If wanting to work in this way, do chose a plant family or a place/habitat that you are really interested in and feel passionate about. This interest and passion needs to be continuous if you are working towards the RHS, although because we are human, there will always be times where we feel challenged.<br />
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The one key thing, whatever approach you take is to be able to identify plants, and this could potentially include grasses, sedges, rushes and ferns too.<br />
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<b><span style="font-size: large;">Learning to identify plants and their characteristics goes hand in hand with producing accurate botanical illustrations and portraits - you cannot do the latter without the other.</span></b><br />
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Within the world of the internet, especially social media, it is easy to ask others for identification of a plant from a photographic image. This is fine if you have already tried to identify it or if it is a particularly challenging species, but when starting out try to move forward yourself by using a variety of resources.<br />
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<b><span style="font-size: large;">'Where do I start?' I hear you ask ..... </span></b><br />
<ul>
<li>To make a gentle start have a pocket guide to wild flowers or a fold out chart. These are unlikely to include all species but may give you a starting point to a plant family or genus. They will also fit well into your pocket or back pack.</li>
<li><span style="text-align: center;">Once you are starting to feel more confident it is time to buy a more complex flora. This does not have to be a large volume, but it is likely to be slightly heavier than a pocket guide !</span></li>
<li><span style="text-align: center;">There are some wonderful 'older' floras out there, but do make sure that you have an up to date edition, as plant names can be revised and sometimes even be re-classified.</span></li>
<li><span style="text-align: center;">When buying this stage of flora do make sure it contains a key. A key is a step by step approach to identifying a plant species by noting, counting and recording specific characteristics that move you on to the next step. Keys really help when dealing with sub-species and more complex plant families.</span></li>
</ul>
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<b><span style="font-size: large;">Other tips </span></b></div>
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<ul>
<li>Other useful items to carry with you are a hand lens x10 is fine and a x20 is useful to have in addition. </li>
</ul>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcvU0ccNN3WXUXRiUX3iiFCT1G_g6AdMruwiU3VAeSXUnBcQWMrIwO3fPiG_Aa9SxDpQho_ibvy6BzjfjNj5PF_46t-Qs0B2s7rVpmKiMO14xNWbAOvNZrJAPtzMcbCNlimJLYC66vCOV4/s1600/20160614_094425.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="237" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcvU0ccNN3WXUXRiUX3iiFCT1G_g6AdMruwiU3VAeSXUnBcQWMrIwO3fPiG_Aa9SxDpQho_ibvy6BzjfjNj5PF_46t-Qs0B2s7rVpmKiMO14xNWbAOvNZrJAPtzMcbCNlimJLYC66vCOV4/s320/20160614_094425.jpg" width="320" /></a></div>
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<ul>
<li>Identify plants in the field where at all possible.</li>
</ul>
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<div>
<ul>
<li>Small collecting bags are also useful to keep specimens in. Please follow the guidelines for your own country in regard to collecting. Plantlife have some excellent advice - <a href="http://www.plantlife.org.uk/about_us/faq/is_it_illegal_to_pick_common_wildflowers_in_the_countryside" target="_blank">Is it illegal to pick common wild plants in the countryside ?</a></li>
</ul>
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<div>
<ul>
<li>Usually specimens can survive for a short while, if you cannot identify them in the field. Once you are back at home you can combine the resources you have to aid identification - additional books, the internet and also the option of using dissection.</li>
</ul>
</div>
<div>
<ul>
<li>Don't rely on just using photographs to identify plants, but they are great to use in combination with specimens. Photographs are one of the only options for rare and protected species, in addition sketches and notes are very important too. Why not consider using the video function on your mobile phone ? That way you can view and film all aspects of a plant.</li>
</ul>
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<div>
<ul>
<li>If you are studying a particular plant family or genus, also make a note of other plants present in the same habitat.</li>
</ul>
<div>
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</div>
<div>
<span style="font-size: large;"><b>Books & other identification resources </b></span></div>
<div>
<ul>
<li>Fold out identification charts from the <a href="http://www.field-studies-council.org/publications/fold-out-charts.aspx" target="_blank">Field Studies Council</a>. These are great for starting off and are light enough to carry a few together in a bag. They cover a wide range of themes, with very good illustrations on one side and text on the other. Good to be used in combination with a pocket ID book.</li>
</ul>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioZ8gWkK9n9rZIZPwsP1LWkwVLeRMQUU5YH1wkyInEyZrO5cZ9wuC_rVkGCYhTZPNgUdwg9GFzcYIToZYHimfzX9TuP0hAvG1pFkr2xrBNvjK7jJw9IDBLs1h7bUKGdp2TkXiLFINPPAvv/s1600/20160614_091530.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="251" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioZ8gWkK9n9rZIZPwsP1LWkwVLeRMQUU5YH1wkyInEyZrO5cZ9wuC_rVkGCYhTZPNgUdwg9GFzcYIToZYHimfzX9TuP0hAvG1pFkr2xrBNvjK7jJw9IDBLs1h7bUKGdp2TkXiLFINPPAvv/s320/20160614_091530.jpg" width="320" /></a></div>
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FSC fold out identification charts</div>
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<ul>
<li>The next step on is to use a flora with a key. I have always used <i>The Wild Flower Key </i>by Francis Rose, which has been revised and updated by Clare O'Reilly. My original copy is in pieces due to wear and tear, but is still kept for sentimental reasons ! For more in depth clarification I then use Stace's <i>New Flora for the British Isles</i> , quite often when I get home as it is a hefty volume !</li>
</ul>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE0g0J6eAF8EU5kNu84DPJSeTtpforcWproawCI5TdVI3txCy_dMM8QsT4WD-HW3wYJpk8wH2TmmMrFkXXT9SGGlkgs1I1tU4TCEM2CrhC9uHPlD4UaPgVb0IZwH7AjhkVD7R15d4IlyFS/s1600/20160614_091129.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="312" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE0g0J6eAF8EU5kNu84DPJSeTtpforcWproawCI5TdVI3txCy_dMM8QsT4WD-HW3wYJpk8wH2TmmMrFkXXT9SGGlkgs1I1tU4TCEM2CrhC9uHPlD4UaPgVb0IZwH7AjhkVD7R15d4IlyFS/s320/20160614_091129.jpg" width="320" /></a></div>
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<ul>
<li>There are also books available that cover specific subjects, and these generally include keys too. An example is: The Vegetative Key to the British Flora by John Poland and Eric Clement, with others available about trees in winter, grasses, sedges and ferns, and orchids too.</li>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBjbOeuhiYk7nDqLYAWsXwKeHxXEfWjEJmoJGfIepcqgVFzr6NMv8uBsYdJNBLqyzdqxjefWnTwPCPVzy60FebE8HIlb7tMB3qacbCLkuMKtmjtt3w9PKEuZOtKnf9s7jOqJxLA1eeqY3-/s1600/20160614_091258.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="277" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBjbOeuhiYk7nDqLYAWsXwKeHxXEfWjEJmoJGfIepcqgVFzr6NMv8uBsYdJNBLqyzdqxjefWnTwPCPVzy60FebE8HIlb7tMB3qacbCLkuMKtmjtt3w9PKEuZOtKnf9s7jOqJxLA1eeqY3-/s320/20160614_091258.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs-laU6xHcdIf9OmNCpB3suWESzTZfs5ctX9RapRorENg8Sg__Hs9YULYVOJ-xB1LTbferTBRZwyH0CVD3FY-VclJJ3eTosP7r3WHe8AHaGk8DutfiAgXrBkuoua3EhbjsOijgebqXT9Hu/s1600/20160614_091418.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="254" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs-laU6xHcdIf9OmNCpB3suWESzTZfs5ctX9RapRorENg8Sg__Hs9YULYVOJ-xB1LTbferTBRZwyH0CVD3FY-VclJJ3eTosP7r3WHe8AHaGk8DutfiAgXrBkuoua3EhbjsOijgebqXT9Hu/s320/20160614_091418.jpg" width="320" /></a></div>
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<ul>
<li>On social media such as Facebook and Twitter you may find groups that help with plant identification. This can be a great help, but you need to be sure that the identification is correct. One particular group that I find extremely interesting on Facebook is 'Botanical Keys and how to use them'.</li>
</ul>
</div>
<div>
<ul>
<li>Apps - there are numerous apps out there that help with plant identification. This article gives an overview of the variety of apps available <a href="http://www.telegraph.co.uk/gardening/tools-and-accessories/the-best-apps-to-identify-unknown-plants-and-flowers/" target="_blank">The best apps to identify unknown plants and flowers</a></li>
</ul>
<div>
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</div>
<div>
<span style="font-size: large;"><b>Want to learn more and gain experience ? </b></span></div>
<div>
<ul>
<li>Why not volunteer at a local nature reserve and become familiar with the plants throughout all of the seasons.</li>
</ul>
</div>
<div>
<ul>
<li>Join the Flora Group for your County. They will generally have regular meetings or outings to specific sites. They may also provide some training and the opportunity to help with surveys.</li>
</ul>
</div>
<div>
<ul>
<li>The Wildlife Trusts and other conservation organisations usually have a course/workshop programme that will often provide workshops for learning plant identification and other interest areas.</li>
</ul>
</div>
<div>
<ul>
<li>For slightly longer courses and those those that focus on specific botanical subjects, the Field Studies Council run courses at various centres around the UK. Examples are <a href="http://www.field-studies-council.org/individuals-and-families/courses/2016/sl/using-a-flora-59560.aspx" target="_blank">Using a Flora</a> and <a href="http://www.field-studies-council.org/individuals-and-families/courses/2016/kd/discovering-and-identifying-wild-flowers-59647.aspx" target="_blank">Discovering and Identifying Wild Flowers.</a> To view the full range of plant related courses click <a href="http://www.field-studies-council.org/individuals-and-families/natural-history/plants.aspx" target="_blank">here</a>. </li>
</ul>
</div>
<div>
<ul>
<li><a href="http://bsbi.org/">The Botanical Society of the British Isles (BSBI)</a> provide training opportunities and also have an excellent resource page on their website. <a href="file:///C:/Users/sarah/Downloads/Know_your_plants.pdf" target="_blank"> 'So you want to know your plants'</a> is a PDF that describes the botanical field skills pyramid. It gives guidance on specific skill levels and what levels you can work towards by taking a course that leads to the Field Identification Skills Certificate.</li>
</ul>
</div>
<div>
<ul>
<li>Another learning option is to take an online plant identification course. The online plant identification course for beginners course provides a foundation in classification, terminology, the use of keys and the features of the most important plant families. Participants have to find common plant species and answer questions about them. Their answers are checked, and advice given, by a tutor. Further information, including a course sample, can be found on the website: <a href="http://www.identiplant.co.uk/">www.identiplant.co.uk</a>.</li>
</ul>
</div>
<div>
<ul>
<li>The wild plant charity <a href="http://www.plantlife.org.uk/">Plantlife</a> also provides learning opportunities and the option to take part in surveys in your area as part of the <a href="http://www.wildaboutplants.org.uk/england/learning/">'Wild About Plants'</a> initiative. There is also an e-learning community with updates throughout the year.</li>
</ul>
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Sarah Morrishhttp://www.blogger.com/profile/05198273023728084037noreply@blogger.com4tag:blogger.com,1999:blog-8998307820194466026.post-48862507558192472892016-04-01T12:51:00.002+01:002016-04-01T12:51:58.339+01:00Sketching from the Strandline<div class="separator" style="clear: both; text-align: left;">
I had intended to write a post about illustrating birds of prey, but perhaps I will do that once I have finished my owl drawing.</div>
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Instead, I will introduce you to a few mysteries of the strandline, that area on a beach where natural and man-made debris gathers after the tide has gone out. The position of the strandline on the beach can vary according to what type of tide there has been.</div>
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You may wonder what mysteries I am referring to, especially as it is April 1st !</div>
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I visited our local beach at Meon shore which overlooks the Solent between the mainland of the south coast of England across to the Isle of Wight. I never tire of visiting here, as one side of the road is the shore and the other side is where Titchfield Haven Nature Reserve is located. Regular readers of the blog have no doubt heard me mention this place before.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZjov-zYssRlP_R0jZzhJM9iFvzjAJvNNmzcLx_Ov56UElUIjS9CdFSnGcJHSnh4ZhIR8jDb2ZTX6V3AjrFu27mutKTa2pzoxUnunbypL09tw63JHwBP6t8P3b2Le3n7YzaLCYuRfyVVj1/s1600/20160331_091050.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZjov-zYssRlP_R0jZzhJM9iFvzjAJvNNmzcLx_Ov56UElUIjS9CdFSnGcJHSnh4ZhIR8jDb2ZTX6V3AjrFu27mutKTa2pzoxUnunbypL09tw63JHwBP6t8P3b2Le3n7YzaLCYuRfyVVj1/s400/20160331_091050.jpg" width="400" /></a></div>
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The tide going out revealing the shingle spit and looking across the Solent to Fawley Power Station.</div>
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Can you spot the Turnstones ?</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFPLzRG7WWa4h1w5VM9rFyOTbCMFBLyybZ6ROVT43PqG0HzNSjL1auUhfGIUNg82CTEIibhFQv8jTOmTJGTEcfWbbTE4Tk-2z0i5O8bBG-_Xo1WEoxGFtU_Oei5jS3niks5_eWt_IxKdz3/s1600/20160331_090049.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFPLzRG7WWa4h1w5VM9rFyOTbCMFBLyybZ6ROVT43PqG0HzNSjL1auUhfGIUNg82CTEIibhFQv8jTOmTJGTEcfWbbTE4Tk-2z0i5O8bBG-_Xo1WEoxGFtU_Oei5jS3niks5_eWt_IxKdz3/s400/20160331_090049.jpg" width="400" /></a></div>
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The sun shone brightly to reveal the beautiful shades of green on the Spiral wrack seaweed.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRZuItLEUi7z_Y6-jwY4FGH6w2L_tF0Q13NROzkJUoukeRlge7j8512WiECCV-g0ZrOSEvZyJJMPGaIKQIYzrxY_Dcyxm_Ve0J2aJm3JR2mPruJMux0XXV3b8Csi2kCqmOyjblrDgh56Tt/s1600/20160331_091737.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRZuItLEUi7z_Y6-jwY4FGH6w2L_tF0Q13NROzkJUoukeRlge7j8512WiECCV-g0ZrOSEvZyJJMPGaIKQIYzrxY_Dcyxm_Ve0J2aJm3JR2mPruJMux0XXV3b8Csi2kCqmOyjblrDgh56Tt/s400/20160331_091737.jpg" width="400" /></a></div>
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An area of the strandline revealing its contents</div>
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Now for the first of the mysteries .....<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz9qLmNqHVGAnJiL6Gg1Qq_UemGwpJIXxfLryvO0-sSf_OSch9qzNdmIZzNq1WZsnYUP4ASlWwky4Qh-rCL_XoanI0EtsFfDMa8kot_58yCt2ExZzemWSxY56eNi-0aVbVbQTe7tjaJqNh/s1600/strandline2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="231" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz9qLmNqHVGAnJiL6Gg1Qq_UemGwpJIXxfLryvO0-sSf_OSch9qzNdmIZzNq1WZsnYUP4ASlWwky4Qh-rCL_XoanI0EtsFfDMa8kot_58yCt2ExZzemWSxY56eNi-0aVbVbQTe7tjaJqNh/s400/strandline2.jpg" width="400" /></a></div>
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As I wandered through the tidal pools out on the shingle spit, I always walk along head down looking out for Snakeslock sea anemones, but no luck today. What I did notice was several small gelatinous blobs bobbing around in the water. A photo wasn't possible but I managed to illustrate one in my sketchbook (bottom left above). Apparently they were the egg masses of the Green leaf worm, which is common on British coasts in a variety of habitats.<br />
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The biggest mystery of all was this ......<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKa-8iexw5YtoeOQNhs2ww_foNq-e5Hwp7AN0OR6z8OxcIgtwj4lhRx7nARHm8DbcZJ-ZK4tDC3POOrUpgd0xMubnmvXTLcRQqw1Yy1RdAXOElRx_J46VeHZpFjcsMbFUVz9T8lT2t9mmF/s1600/20160331_091428.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKa-8iexw5YtoeOQNhs2ww_foNq-e5Hwp7AN0OR6z8OxcIgtwj4lhRx7nARHm8DbcZJ-ZK4tDC3POOrUpgd0xMubnmvXTLcRQqw1Yy1RdAXOElRx_J46VeHZpFjcsMbFUVz9T8lT2t9mmF/s400/20160331_091428.jpg" width="400" /></a></div>
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I had spotted a mass like this several times as I walked along the strandline. They were generally attached to remnants of shells. When I got home I did a bit of research and discovered it is a Sea squirt called a Baked bean sea squirt <i>Dendrodoa grossularia</i> !!!! No I am not kidding !<br />
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It is most common along the south and west coasts and occurs at low tides and at depth as solitary individuals or in clusters. The dots on top are the siphons and as in many of the sea squirts the fertilised eggs are held in the atrium, from which the larvae are released.<br />
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Other things seen ......<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7wxrPgcx8YRw2-lzFG-UWJ47QdBQ3mHh5l9haZ5Z2zV1aWkUipyaYxOrqNzQF7JW7KowJC81tISEnI51kVcN4GC2dXeBIR_jNKvxg0XyqdghmthbZvJHqEiZJdsQ_DtS80dcwKBy8o_Ri/s1600/20160331_091314.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7wxrPgcx8YRw2-lzFG-UWJ47QdBQ3mHh5l9haZ5Z2zV1aWkUipyaYxOrqNzQF7JW7KowJC81tISEnI51kVcN4GC2dXeBIR_jNKvxg0XyqdghmthbZvJHqEiZJdsQ_DtS80dcwKBy8o_Ri/s320/20160331_091314.jpg" width="320" /></a></div>
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Sea wash ball - the egg capsules of the Common whelk.</div>
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Each of the capsules forming the mass may contain up to 10 or more eggs, but most will be eaten by the single one which develops into a juvenile whelk.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQzVE_PzoOxAXZXZ4SbWlvP5BeLjtcmhU5cp_94EtziX4ChbVSHK4wSS4Ajuf3quBrErfHSF27iSfcbwsKTExh9yBbN37Hnym7WwssqLAVt-q4jhpC0m7xBFertJ9DLarztKEhSSXYY3U2/s1600/20160331_083915.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQzVE_PzoOxAXZXZ4SbWlvP5BeLjtcmhU5cp_94EtziX4ChbVSHK4wSS4Ajuf3quBrErfHSF27iSfcbwsKTExh9yBbN37Hnym7WwssqLAVt-q4jhpC0m7xBFertJ9DLarztKEhSSXYY3U2/s320/20160331_083915.jpg" width="180" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjrHheAUN8OC4kD92Vabh7a1oTNbKDXEUCq6Zn2dFI-tHeIx82GLOtloghyyz07qZQ5Zmn-az1X-JwbsrffHH1IJTchcnwnr_T7V0OYXgMHZoBnazmtkD7OKNb1hyphenhyphenjpI-hwdS0rn1bSXFc/s1600/20160331_091503.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjrHheAUN8OC4kD92Vabh7a1oTNbKDXEUCq6Zn2dFI-tHeIx82GLOtloghyyz07qZQ5Zmn-az1X-JwbsrffHH1IJTchcnwnr_T7V0OYXgMHZoBnazmtkD7OKNb1hyphenhyphenjpI-hwdS0rn1bSXFc/s320/20160331_091503.jpg" width="180" /></a></div>
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Left - Sand masons protruding from the sand as the tide goes out. These are segmented worms and when the tide is high the tentacles extend to feed on passing organic matter.</div>
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Right - I just loved the colour and pattern of the seaweed holdfast.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAyExHTxqAUbdclxem1EftFbslKLcxHz72RHtKA-kkwUBw29dnrX2ZvihKzSTO7vICNGZyjMz4Uvzt8ea6egGYNhYtQbF-5C6QFTG0G8hRbFrHVP9hXnmUheJdANBV6Ta8DRQCKhNcKdWM/s1600/20160331_110823.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAyExHTxqAUbdclxem1EftFbslKLcxHz72RHtKA-kkwUBw29dnrX2ZvihKzSTO7vICNGZyjMz4Uvzt8ea6egGYNhYtQbF-5C6QFTG0G8hRbFrHVP9hXnmUheJdANBV6Ta8DRQCKhNcKdWM/s400/20160331_110823.jpg" width="400" /></a></div>
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Lots of lovely treasures collected up and will be used later for the Natures Details Seashore Palette course. As an important aside, I always check shells and other objects just to make sure that nothing living is inside them, if there is it goes straight back to where it came from.</div>
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Starting a sketchbook ......</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8lZEGj7dU0g7gDgtB3G3rGBAihyphenhyphenV3Pxut-BIbHVWj6twkTiXzv7g1pRX7MdEF0JYJm-2-ba9SN7oWUAJdjMnPxoXwkT6B3LmyT2mQESCUM3h-8o9Pq5NR5yylnkxy6ugdlmtXT0f-H8I2/s1600/stradline+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="171" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8lZEGj7dU0g7gDgtB3G3rGBAihyphenhyphenV3Pxut-BIbHVWj6twkTiXzv7g1pRX7MdEF0JYJm-2-ba9SN7oWUAJdjMnPxoXwkT6B3LmyT2mQESCUM3h-8o9Pq5NR5yylnkxy6ugdlmtXT0f-H8I2/s640/stradline+1.jpg" width="640" /></a></div>
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I always like to provide interesting learning resources for my students. So for each of the courses this year I am going to create a concertina sketchbook with examples of subject matter and colour notes.</div>
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There are only 4 pages in each and I have used watercolour paper, so it will tolerate the moisture from the paint.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTIK3SbF2sIzQciPFaUzFdMZQPX4XDyxUjP0K7rm8rJuSGCHnMgaKfEOrgzYltd1_Uy41OaoBIDXEqvtpHfdJqnb3SqkEvowH6gBgnQRF-3juT6UOy2Ji8TkJifv_qSWIIBVeFN7ZbAqXx/s1600/strandline+3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTIK3SbF2sIzQciPFaUzFdMZQPX4XDyxUjP0K7rm8rJuSGCHnMgaKfEOrgzYltd1_Uy41OaoBIDXEqvtpHfdJqnb3SqkEvowH6gBgnQRF-3juT6UOy2Ji8TkJifv_qSWIIBVeFN7ZbAqXx/s640/strandline+3.jpg" width="640" /></a></div>
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The left hand page consists of seashore treasures collected off of the coast of California, sent to me by a very kind friend. There are still a few more items to include. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhI0NFJYvA45KjjmBNdqvlckF4krD8s5japDKWAkTcrJT0gUCMDyf3npzYxmekGrb_7GjljTAE0Kd72Sd9C7UhGXeLQj50wHAozq1JCO7vlvIh3vxrxePrTx-qEmiVQunfplrSXnTQ60fcg/s1600/20160331_130219.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhI0NFJYvA45KjjmBNdqvlckF4krD8s5japDKWAkTcrJT0gUCMDyf3npzYxmekGrb_7GjljTAE0Kd72Sd9C7UhGXeLQj50wHAozq1JCO7vlvIh3vxrxePrTx-qEmiVQunfplrSXnTQ60fcg/s400/20160331_130219.jpg" width="400" /></a></div>
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Painting the items collected from Meon shore. Left to right - Oyster shell, Sea wash ball, Cuttlefish bone, Mermaid's purse, Mussel shell and a Grooved razor shell.</div>
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If you would like to find out more about the strandline, there has been a brilliant programme on <a href="http://www.bbc.co.uk/programmes/b074zdd0" target="_blank">Radio 4 this week at lunchtime, <i>A Guide to Coastal Wildlife.</i></a> Each day Brett Westwood, Phil Gates and other wildlife experts explore different areas and habitats of our coast.</div>
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The Natures Details Course - <i><a href="http://www.natures-details.com/naturesdetailscourses.html" target="_blank">The Seashore Palette-Colours and Details of the Seashore</a> </i>is taking place on the 19th and 20th August. There are still a few places left, but if you are interested I would book up soon, it's proving to be a popular subject !</div>
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<br />Sarah Morrishhttp://www.blogger.com/profile/05198273023728084037noreply@blogger.com0tag:blogger.com,1999:blog-8998307820194466026.post-62002680024613196092016-03-13T23:18:00.000+00:002016-03-13T23:18:27.610+00:00Illustrating plants out of season - a tricky dilemma !After a few days of respite following on from the RHS and going straight back to teaching, it was all go again with news of an exciting commission.<br />
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Exciting because it meant that I could continue working in pen and ink, a medium that I really enjoyed using for the twig drawings in my RHS exhibit.<br />
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The only problem, or should I say more of a challenge, is that part of the commission involved illustrating five plants that are completely out of season, in that they are not flowering. In addition there was also a ladybird, grasshopper and bumblebee to illustrate, and wait for it - a timescale of just 3-4 days !!<br />
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The first step - research is the key and knowing where to look. The internet is great, but be careful if you use images and ensure that you have permission to use them and/or they are copyright free. The same applies in using illustrations in books.<br />
With a challenge such as this, the key thing is to really know your plant and start to bring the elements together from various sources to produce a viable and realistic plant portrait.<br />
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I was somewhat lucky with this commission, as the brief was to produce sketch like ink drawings, this helped in two ways, I could potentially work a little faster, which helps with the tight timescale, and secondly I could be a little freer with my drawing style, but still create an accurate portrayal.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaePFV4gOcZp0NmkjUyMcZS0tub8cZOo8TUYDklF-o01bO40KKqQjBkSLeJwG98tgi-Xbpyjw9Auhel9XmMNVOxCYSXg7saX7tx5mxt1pLeJTuC5f6_VofTaEnrrbk9BbNvLUY_5euMQxA/s1600/20160309_084415.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaePFV4gOcZp0NmkjUyMcZS0tub8cZOo8TUYDklF-o01bO40KKqQjBkSLeJwG98tgi-Xbpyjw9Auhel9XmMNVOxCYSXg7saX7tx5mxt1pLeJTuC5f6_VofTaEnrrbk9BbNvLUY_5euMQxA/s400/20160309_084415.jpg" width="400" /></a></div>
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A selection of reference books on my desk. My collection of Stella Ross Craig books proved invaluable with a project such as this.</div>
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My Francis Rose key is my go to book for checking accurate identification details. This is my second copy as my first is in pieces, and a very treasured possession, after years of use in the field.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUnpihx7Ycr-qqHgkMzaWOuMihYj0-9SyThvjpofMH8_TWJ0dWl-3gANAl6JryvPhW1mKTLERoeJVCcpp8y24n0sNl9_u39qNJc-NF4aloOW3AY2ahmROJBwG-6-I643H9CkWIKfpDialE/s1600/20160313_222107.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUnpihx7Ycr-qqHgkMzaWOuMihYj0-9SyThvjpofMH8_TWJ0dWl-3gANAl6JryvPhW1mKTLERoeJVCcpp8y24n0sNl9_u39qNJc-NF4aloOW3AY2ahmROJBwG-6-I643H9CkWIKfpDialE/s400/20160313_222107.jpg" width="400" /></a></div>
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The above dried grass samples were not used for this project, but keeping dried or pressed specimens is an excellent way to help with future drawings.</div>
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I collected grasses, sedges and rushes in particular as they can be quite tricky to identify.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKg63LDRCjlmrHVVGCbrRSUmdHRLYexrOJ2gvUp-TRazEQc9T3yqnruWG4hl4Cr9YdPfGawQ_-EywO_h3mw07JzXjyzukOEfdYaIpL1ovMNgMt_AIKGdzDMqmYYLdNdVyhiz0tHUGZ9uyO/s1600/20160309_143545.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKg63LDRCjlmrHVVGCbrRSUmdHRLYexrOJ2gvUp-TRazEQc9T3yqnruWG4hl4Cr9YdPfGawQ_-EywO_h3mw07JzXjyzukOEfdYaIpL1ovMNgMt_AIKGdzDMqmYYLdNdVyhiz0tHUGZ9uyO/s320/20160309_143545.jpg" width="180" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBfs6TH7OVE7HYloY7JoOPJi5jZ_FV-ZYWuanIk7O4a5Uv4cH_DVlMAogpmStRuie-dPoRw8POaCIgfTjtu0CMFbI7qSdwXeNVwdI3_YhTufCEhRvci2Tgxidawz0Dzu7iXTOWqVz2FPUV/s1600/20160309_143554.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBfs6TH7OVE7HYloY7JoOPJi5jZ_FV-ZYWuanIk7O4a5Uv4cH_DVlMAogpmStRuie-dPoRw8POaCIgfTjtu0CMFbI7qSdwXeNVwdI3_YhTufCEhRvci2Tgxidawz0Dzu7iXTOWqVz2FPUV/s320/20160309_143554.jpg" width="180" /></a></div>
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Even though time was tight, I made sure that my sketchbook was used for the initial studies and to make sure I was interpreting correctly what I was seeing.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTCwjHRG8R8Z48B_qxPtAy_Q0YTRYeJI49zB4vGiA_0hZ9_SE1ANRYrVD57owtsaG0M2RLQ69hvEQ5iJuSlKlOqAvT6sN_Cnq2pyoFUyIctLQtQj3ht5mCDI7vxnHWHkHYIJGfbmD6yfjv/s1600/20160310_092956.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTCwjHRG8R8Z48B_qxPtAy_Q0YTRYeJI49zB4vGiA_0hZ9_SE1ANRYrVD57owtsaG0M2RLQ69hvEQ5iJuSlKlOqAvT6sN_Cnq2pyoFUyIctLQtQj3ht5mCDI7vxnHWHkHYIJGfbmD6yfjv/s400/20160310_092956.jpg" width="225" /></a></div>
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The drawing of Yarrow taking shape.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeU4QdCGXEoVSlgbygnA5pKQziaMCGC2yZfOzIJtE0Ep6zqLyFm_GXKnusWvttMEClOrwu5PxmQ-ZUXoKPveF0QyMiJS9mPxBYZ-NOUJHiUlBdZmkKAJa4yaqBGr4tpbqjvu0FQmzyEoQF/s1600/20160309_075246.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeU4QdCGXEoVSlgbygnA5pKQziaMCGC2yZfOzIJtE0Ep6zqLyFm_GXKnusWvttMEClOrwu5PxmQ-ZUXoKPveF0QyMiJS9mPxBYZ-NOUJHiUlBdZmkKAJa4yaqBGr4tpbqjvu0FQmzyEoQF/s320/20160309_075246.jpg" width="320" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizRT9DQzOBnK_km9lbHO5z5UEiaQmIJPgdXyGyR6qqR4XBY4S3JQ9AuztCt3DSrEmO5Ez-qytxf0TYoSR2YKOkl8BjICE65tqfjOIJrmqc7hhBkOGRNlrVadEm8WMsS4CeVF44lTQFlTfR/s1600/20160309_080922.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizRT9DQzOBnK_km9lbHO5z5UEiaQmIJPgdXyGyR6qqR4XBY4S3JQ9AuztCt3DSrEmO5Ez-qytxf0TYoSR2YKOkl8BjICE65tqfjOIJrmqc7hhBkOGRNlrVadEm8WMsS4CeVF44lTQFlTfR/s320/20160309_080922.jpg" width="180" /></a></div>
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The next stage was to trace the design from my sketchbook onto tracing paper using my Rotring Isograph ink pen with a 0.10 nib and my lightbox.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBV_qn8yuOA_etzSBUYkKiMzdlrnME4bkG0cj86s3sjXqmjYBQfgOLXFdYtdzCe2nrv-8SnIMNn4RJBFGlIodmYwCocv86hn_sHGvxewNuYCPXOGrnJNiLKYxw1qh8O3UQy5eaKFDqPhOs/s1600/20160309_150335.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBV_qn8yuOA_etzSBUYkKiMzdlrnME4bkG0cj86s3sjXqmjYBQfgOLXFdYtdzCe2nrv-8SnIMNn4RJBFGlIodmYwCocv86hn_sHGvxewNuYCPXOGrnJNiLKYxw1qh8O3UQy5eaKFDqPhOs/s400/20160309_150335.jpg" width="225" /></a></div>
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Once the design was on tracing paper, the Fabriano Artistico HP paper was placed over the tracing and to save time the last drawing was made directly with the ink pen.</div>
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This was quite risky, but it saved on time and also having my sketchbook at the side made sure that I could refer to that for any detail that was difficult to see.</div>
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<br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9cVAbpAIYU7OwHcgcajzQK4WUXg1qBjyWbg0V8UjaQQU4wbicc6E9JobWWe4611TT5hGfmgnHwztjDNaQ2gOfkc0Wafno8wt1S5p70DHlZQX8mAHPCfTuUG4moz1vPtR_04O5fiBMqt09/s1600/20160311_144413.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9cVAbpAIYU7OwHcgcajzQK4WUXg1qBjyWbg0V8UjaQQU4wbicc6E9JobWWe4611TT5hGfmgnHwztjDNaQ2gOfkc0Wafno8wt1S5p70DHlZQX8mAHPCfTuUG4moz1vPtR_04O5fiBMqt09/s400/20160311_144413.jpg" width="400" /></a></div>
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The finer details and areas of tonal work were completed once the main outline was in place.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkQmCtFXmuM0RPg_qQp5odsqg1tDzamQWR5ASfUs-tBix0WefzZhELTmxzFqwznX9_vlPr-seuE6MIYxNUkdIewCC7QbCOLAFKqN3yNhbNiZayxpxe-we3UuGXMdOLjkKbf_xLEhbJNhps/s1600/20160308_110936.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkQmCtFXmuM0RPg_qQp5odsqg1tDzamQWR5ASfUs-tBix0WefzZhELTmxzFqwznX9_vlPr-seuE6MIYxNUkdIewCC7QbCOLAFKqN3yNhbNiZayxpxe-we3UuGXMdOLjkKbf_xLEhbJNhps/s400/20160308_110936.jpg" width="225" /></a></div>
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A selection of my ink pens.</div>
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Left to right: Zig Zag 'throw away' technical drawing pen; Rotring Isograph pens; far right, an old Rotring pen, the equivalent of the modern Isograph.</div>
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Now for the completed work:</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcuiVtU-iVg2Qn7uOORUjIcp4bhmXMCqzZs0WLiUYMRqs3RTZYNZkmAIrc0U3HOnmfOgHHObx9VMEUddki175A6nhdsjSrPLm3fRVjF5eUYvY5xLOC43wzU8-oB69N7yli_UZklgmtTedy/s1600/Bombus+Terrestris+96dpi.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="299" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcuiVtU-iVg2Qn7uOORUjIcp4bhmXMCqzZs0WLiUYMRqs3RTZYNZkmAIrc0U3HOnmfOgHHObx9VMEUddki175A6nhdsjSrPLm3fRVjF5eUYvY5xLOC43wzU8-oB69N7yli_UZklgmtTedy/s320/Bombus+Terrestris+96dpi.jpg" width="320" /></a></div>
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Bombus terrestris</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1RFaeRSX8L4dAl3iz_3qAfd56NXnsPK6sGnan1WAxJ8k5NJAHT2PWUpJttr_fFDw7pmVbULGh4X0fcXuq8vOCYarT0dN5HYFiBorXLZCamVXaIpi6Ga-gcs8pc-wR8Jxyc5-wKveSQIjf/s1600/Meadow+grasshopper+96dpi.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1RFaeRSX8L4dAl3iz_3qAfd56NXnsPK6sGnan1WAxJ8k5NJAHT2PWUpJttr_fFDw7pmVbULGh4X0fcXuq8vOCYarT0dN5HYFiBorXLZCamVXaIpi6Ga-gcs8pc-wR8Jxyc5-wKveSQIjf/s400/Meadow+grasshopper+96dpi.jpg" width="216" /></a></div>
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Meadow grasshopper</div>
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Seven-spot ladybird</div>
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Selfheal</div>
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Yarrow</div>
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Red campion</div>
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Red clover</div>
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Ragwort</div>
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Well, 'what now?' you may say, no respite I'm afraid. </div>
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My botanical art courses at Peter Symonds College AHED in Winchester are nearing the end of term and the <a href="http://www.natures-details.com/naturesdetailscourses.html" target="_blank">Natures Details Courses</a> start at the end of this week.</div>
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This year we are opening with the 'Sketching the Beauty of Owls' course and Beebo and Eddi will be returning. Further courses include Spring flowers, Summer Flowers, Butterflies and Moths, the Seashore Palette and Painting on Vellum.</div>
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Further details can be found on the <a href="http://www.natures-details.com/naturesdetailscourses.html" target="_blank">website</a>.</div>
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Have a good week everyone !</div>
Sarah Morrishhttp://www.blogger.com/profile/05198273023728084037noreply@blogger.com3tag:blogger.com,1999:blog-8998307820194466026.post-49829350723627970782016-02-29T09:01:00.000+00:002016-02-29T10:26:45.979+00:00Speaking up for native species amongst a global stageWhat is very special about the RHS Botanical Art Show is that you are visiting a global stage of botanical art where you will be bombarded (in a positive way), to botanical subjects that will dazzle you in form and colour.<br />
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Evident at the recent <a href="https://www.rhs.org.uk/shows-events/rhs-london-shows/rhs-london-botanical-art-show" target="_blank">RHS London Botanical Art Show</a>, was that several of the artists exhibiting had illustrated native species from their countries, rather than plants of a cultivated variety.<br />
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Three exhibitors illustrated British native plants, myself, <a href="http://www.rogerreynoldsbotanicalart.com/" target="_blank">Roger Reynolds</a> and the <a href="http://www.icenibotanicalartists.co.uk/" target="_blank">Iceni Botanical Artists.</a><br />
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My exhibit 'Twigs & Buds in Winter - from Trees & Shrubs of Ancient Hedgerows'</div>
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Lower image courtesy of Solene Dequiret</div>
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Roger's Gold medal exhibit 'The Tip of the Branch' showed the beautiful detail of the growth stages of native woody species, and the Iceni Silver gilt medal exhibit was composed of numerous illustrations of 'Breckland Wildflowers - Heaths and Grasslands'.<br />
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Roger Reynolds with his exhibit 'The Tip of the Branch'</div>
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Images courtesy of Amber Halsall</div>
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The Iceni Botanical Artists Exhibit 'Breckland Wildflowers - Heaths and Grasslands'</div>
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As the first day of the show progressed, there was a pattern emerging and we soon realised that there was a real interest in native species. Roger and I were constantly busy on the first day especially, with many many people wanting to know more specific information about the plants we had illustrated in addition to the techniques we had used to illustrate them.<br />
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During one of the quieter moments of the show, you can see that Roger and I were still busy chatting to people around our exhibits (centre of picture).</div>
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Image courtesy of Katherine Tyrrell.</div>
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Even though the subjects of our exhibits were presented in a different way, both of them really raised the profile of native woody species and for me, the fragility of ancient hedgerows.<br />
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Chatting to one of my students visiting the show</div>
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Personally, I had numerous visitors unknown to me, come and introduce themselves and to tell me that they had been following my project online for the last year and now wanted to see the work for real. Other botanical artists were also grateful that I had been so open about the process I had gone through. This was extremely satisfying and is evidence of how different forms of social media can work positively to promote native species and of course botanical art, as well as help in promoting yourself as a professional botanical artist.<br />
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I would like to say a huge thank you to everyone that helped to spread the word, on Twitter, Facebook and followers of this blog. In particular the <a href="http://www.bsbi.org.uk/" target="_blank">Botanical Society for the British Isles</a> and The <a href="http://www.ancienttreeforum.co.uk/" target="_blank">Ancient Tree Forum</a> were very supportive on Twitter in the lead up to the show, as well as many others.<br />
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I had the opportunity to chat to the Show Manager about social media and he was very keen for artists to spread the word on social media platforms in the lead up to the botanical art show. There is nothing to say that you can't in the RHS documentation, and indeed they provide details of tags and links to use.<br />
As an artist you do not necessarily want to reveal every single piece of the detail of your exhibit, but to reveal some information and perhaps images of parts of paintings, can pay dividends in the long run.<br />
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I will soon be writing another blogpost about the logistics of attending the RHS Botanical Art Show as an exhibitor - watch this space !Sarah Morrishhttp://www.blogger.com/profile/05198273023728084037noreply@blogger.com0tag:blogger.com,1999:blog-8998307820194466026.post-80815792869876197152016-02-19T09:07:00.000+00:002016-02-19T09:19:39.193+00:00Finishing and fine tuning - reaching that goalThe last year has been somewhat of a busy one. Natures Details has had its busiest year yet with new courses and exhibiting opportunities, but the main focus by far has been the work towards my RHS project.<br />
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With under a week to go until the RHS London Botanical Art Show, I thought that I would pen some words, hopefully to encourage others and also to give an insight into what goes into the preparation of such an exhibit in the final stages.<br />
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Back to the beginning first though. I have been asked recently, <i>'why do you want to exhibit at the RHS with all the work it involves ?'</i><br />
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The process for me started many years ago when I could only dream of painting full-time. At that point botanical art was a hobby alongside my main career in early years education. I was also on the committee of a painting organisation and one day I had to deliver some paperwork to a popular and skilled botanical artist's home. I nervously entered and there before me on the wall were several RHS gold and silver gilt medals. At the time I remember thinking how amazing such an achievement was, just to exhibit, and wouldn't it be lovely one day ....<br />
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Well here I am, waiting to exhibit at the RHS. There are so many people to thank and you all know who you are, I can't thank you enough.<br />
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One of the first ports of call for any botanical artist thinking of exhibiting at the RHS is the blogposts written by Katherine Tyrrell of <a href="http://makingamark.blogspot.co.uk/" target="_blank">Making A Mark</a>, with the help of RHS medal winners. A compilation of posts under the title <i>Tips from RHS Gold Medal Winning Artists </i>can be found on the <a href="http://www.botanicalartandartists.com/tips-and-techniques.html" target="_blank">Botanical Art & Artists website</a>.<br />
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For me, if I was to put so much effort into creating a body of work on a theme, I wanted it to benefit others, not be just for the purpose of exhibiting. Because of my previous working life in conservation this often happens with my work. I wanted the paintings to be able to be used beyond the RHS show.<br />
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With this in mind I knew my theme would be linked with an ancient and declining habitat, so I therefore chose hedgerows, which have always fascinated me, particularly the structure of the ancient remnants. The hedgerows themselves contain many species and these gave me perfect subjects to study and to help others ID these species.<br />
But then I had to decide what season to depict the artwork in. For me there was only one - winter. I had already become mesmerised by the beauty of buds and twigs in winter and this was the route I decided to take. With some expert help and guidance I was encouraged to depict the buds in a very different way - larger than life - and this really does open up the beauty of them for others to see.<br />
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It really helps to chose a theme that you feel passionately about. It will buoy you along as you have to maintain that momentum. There are times when you will have to be so determined. Not everything will be straightforward.<br />
No matter how much preparation you do before you even put brush to paper, a painting may not work out how you envisioned it to be. One of my paintings had to be painted 4 times, before I got it right!<br />
I learnt so much through this process though.<br />
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<li>All through the project you need to take note of exhibiting regulations and guidance given to you by the RHS.</li>
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Now to the final stages ......<br />
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<li>Taking the advice of others I completed one painting more than I had chosen to exhibit. This gave me the option that if one was weaker in quality than the others, I could hopefully maintain the consistency, especially as the exhibit is judged as a whole. Also you need to see how the collection of paintings look together. They need to be individual but still harmonious and the one I chose to leave out did not fit in and jarred against the others.</li>
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<li>I knew what I wanted to say in the accompanying text for my exhibit and built this up over several months. It is very useful to ask someone to give an independant opinion on the text that you had in mind, and be prepared that you may have to make significant changes if it will benefit your exhibit as a whole. Bear in mind that some aspects will only be down to you if you have specific knowledge in a subject. It can be easy to become close to your theme and be difficult to distance yourself and view it as to how others would see it. Remember when writing the text, link directly with your exhibit title and present the information in an easy to read format. Visitors may not know anything about your theme/subject and they will also not be able to necessarily stand there for ages reading reams of information.</li>
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<li>Think about how you are going to present your work. This should definately have been decided very early on in the project in terms of the sizes of the finished paintings. 2016 is the last year that framed pictures will be exhibited at the RHS show. From 2017 only mounted work will be accepted for exhibiting. I had already decided that mine would be mounted and I also wanted the paintings to be backed on foam board so that they stood out from the board a little. Even though I do cut my own mounts normally, I took the stress away by getting my framer to cut the mounts and he also cut a couple of extra ones just in case ! This was done several months in advance so that there was no rush at the end.</li>
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Cutting the foam board to fit the size of the mount-board</div>
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Using acid free framers tape to edge the foam-board.</div>
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I have seen too often how 'normal' tape can discolour very quickly, in a matter of weeks.</div>
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Mounted work backed onto foam-board and with acetate between the mount-board and artwork to help protect it.</div>
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<li>There will be other things that you will need to take with you to help you build the exhibit on the day before the show. If you haven't got these already, start collecting them early on. I got a small spirit level as a 'tree present' at Christmas !</li>
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My Christmas spirit level !</div>
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Also heavy duty velcro - this will be used to attach the artwork to the display boards. Using heavy duty velcro means that the adhesive is stronger and the hooks and loops are more robust too. I will be attaching the velcro to the back of the pictures before we leave on Wednesday so that I know it is fully adhered to the backing surface. The velcro pictured above is 5cm deep.</div>
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Take additional other tape with you too, just in case it is needed.</div>
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<li>Other items you will need will include business cards, may be a profile leaflet with contact details and course information on (if you teach), and cards of the artwork, as you are allowed to sell them and visitors so often want a reminder of specific artworks.</li>
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Ooh the first peek !</div>
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These are the postcards that I will have for sale at the show.</div>
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Finally ....... Remember it is your exhibit with your vision. As with everything it is a complete learning process too.</div>
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I am at the stage now, that I have done all that I can and I just want to enjoy next week and hopefully get a medal too ! </div>
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Thank you again for the support and I look forward to seeing some of you at the show.</div>
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For more information about the show got to: <a href="https://www.rhs.org.uk/shows-events/rhs-london-shows/rhs-london-botanical-art-show" target="_blank">https://www.rhs.org.uk/shows-events/rhs-london-shows/rhs-london-botanical-art-show</a></div>
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<br />Sarah Morrishhttp://www.blogger.com/profile/05198273023728084037noreply@blogger.com5tag:blogger.com,1999:blog-8998307820194466026.post-22723255818282216352016-01-18T08:31:00.000+00:002016-01-18T08:31:00.586+00:00Try, try and try again - don't give up !I've been painting away still, working on the bud paintings for my RHS project.<br />
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It has been quite satisfying recently as the majority of the paintings are nearing completion. Seeing how they look as an exhibit as well as individually, certainly gives a feeling of everything coming together.<br />
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Early on in the project studying the Hazel bud and female flower.</div>
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At this time when you see them as a whole it is good to really look and evaluate how they look together. Yes, they have their individual colour range for each tree species, but also you need to make sure that there is harmony and consistency between each one.<br />
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It was during one of these evaluations that I realised the Hazel bud was just not working, yes the one that I had already painted 3 times !! No matter how much planning you put into the individual paintings and the exhibit, things can still go wrong towards the end.<br />
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The dreaded Hazel bud and the terrible bundle scar - it wasn't quite finished at this stage.</div>
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Take it as a complete learning experience. I was surprisingly calm reaching this last decision about the Hazel. You may wonder why I didn't just leave it out if it was causing so many problems, well it is one of the dominant species in the ancient hedgerows, so it has to be included as far as I am concerned.<br />
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Where the first 3 paintings had been of the same composition, this time I completely changed it.<br />
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I've worked on it all weekend and I am finally satisfied with how it looks and how it fits into the exhibit.<br />
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The new Hazel bud - work in progress.</div>
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So the advice I give is stay determined and never give up - try, try and try again. You'll be a better artist because of it.</div>
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In the meantime, the other buds that have been completed are the Wayfaring tree and Ash. I thought the Wayfaring tree was going to be the most challenging, but to date this is the one that I enjoyed painting the most.</div>
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The Wayfaring tree - very 'downy' buds</div>
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A whole range of blacks used to paint the Ash bud.</div>
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On another note, the Natures Details courses are receiving bookings, so if you fancy a bit of botanical art - Spring & Summer Flowers; sketching live owls; painting a Hazel Dormouse; illustrating butterflies and moths and exploring colours of the seashore, then there may be something for you !</div>
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For more information visit the website:</div>
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<a href="http://www.natures-details.com/naturesdetailscourses.html" target="_blank"><b><span style="font-size: large;">http://www.natures-details.com/naturesdetailscourses.html</span></b></a></div>
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<br />Sarah Morrishhttp://www.blogger.com/profile/05198273023728084037noreply@blogger.com1tag:blogger.com,1999:blog-8998307820194466026.post-76169004065864468192015-12-31T13:50:00.002+00:002015-12-31T13:52:48.489+00:00New Year, New Sketchbook (or 2), and new SubjectsWhere has that year gone ?!<br />
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It has flown by for me, with various challenges along with the way, but there are several constants that are always there - my family (and very tolerant husband), my friends and yes you guessed it, my love of art and the natural world.<br />
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What has been truly special this last year has been the number of people that have become interested in botanical art and natural history illustration. Some of them have been coming to courses and workshops for a few years now, one lady for 10 years ! The Natures Details Summer School courses were a joy to teach and what made them special was the learners' infectious enthusiasm and the sense of sharing that with everyone, along with the beautiful venue in the South Downs National Park, in Hampshire UK. There are more courses to follow in 2016 - starting earlier this year in March. <a href="http://www.natures-details.com/naturesdetailscourses.html" target="_blank">Go to the website for more info.</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguneVGaThork8dhksvj87okjTvbboBZUQTMIpTJVDx7jA6xyMgeHgElWOWkYVtPh-Asu90HF7aDKW-7641blCUOPJM2p7_QvZZyI_67OoF1KAewrygpOmnxKdOOPlI_F5dhyphenhyphenHSqBDWP0n0/s1600/20150704_150151.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguneVGaThork8dhksvj87okjTvbboBZUQTMIpTJVDx7jA6xyMgeHgElWOWkYVtPh-Asu90HF7aDKW-7641blCUOPJM2p7_QvZZyI_67OoF1KAewrygpOmnxKdOOPlI_F5dhyphenhyphenHSqBDWP0n0/s400/20150704_150151.jpg" width="400" /></a></div>
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The view from the 'Old Tractor Workshop' - venue for the Natures Details Courses</div>
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The botanical art courses at Peter Symonds College AHED in Winchester are very popular, with a 3rd class having been introduced in September. Last term I had 35 students in total and next term looks about the same.</div>
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As for my own artwork, subjects were varied this year. Several focused on my current project 'Art & the Hedgerow', which is leading up to the completion of another selection of paintings that will be exhibited at the <a href="https://www.rhs.org.uk/shows-events/rhs-london-shows/rhs-london-botanical-art-show" target="_blank">RHS London Botanical Art Show on the 26th and 27th February.</a></div>
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Butterflies proved popular subjects too and this will continue into 2016 with a specific <a href="http://www.natures-details.com/kingcombecentre.html" target="_blank">Butterfly & Moth Illustration course</a> to be held at the <a href="http://www.kingcombe.org/courses.html" target="_blank">Kingcombe Centre, Dorset</a> in July.</div>
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I am hoping to complete some new butterfly and moth illustrations looking at their ecological relationships. Birds will no doubt play a part as well and this has already started with a drawing of Beebo the Tawny owl. He was one of the owls that visited us for the Sketching Owl's course in October. This drawing will also be making a special appearance in the not to distant future, although more about that to follow soon.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDa1tXGywsHhvyYZNDj-h2I4cQHRCNee7pAKxkZhzUYVydGIOcHLFUaPMlXyJBww5wkojwL7iADX64oTSmDLO_KSZbP24hihP-VWMy5kXK4dpvvu5odGs7-fQllHWTTZJ3is9y5aIrfq2d/s1600/Beebo+scan+96dpi.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="325" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDa1tXGywsHhvyYZNDj-h2I4cQHRCNee7pAKxkZhzUYVydGIOcHLFUaPMlXyJBww5wkojwL7iADX64oTSmDLO_KSZbP24hihP-VWMy5kXK4dpvvu5odGs7-fQllHWTTZJ3is9y5aIrfq2d/s400/Beebo+scan+96dpi.jpg" width="400" /></a></div>
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Beebo the Tawny owl</div>
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Onto sketchbooks. Many of you will know about my love of sketchbooks and this is great, but up until now I have never been able to complete one. Well this year I have managed it, even filling two in the process !</div>
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They are used in several ways: sticking 'lost' drawings and paintings in, creating detailed study pages, quick sketches, exercises for use in courses and lastly, they are a place for me to explore my love of nature in.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiQgYl4SdRNfycZU8w6b28do5vTSwUQGpTKMUBCzWJhMlW6WbaoFqERBll92226qbmtHUYPBPppO_IN8qwllzj9bbwXh5TL-bTzMDAQ0dIwugzB-3-UfFHJWZstOvBjy2xS9vJNhgicWBY/s1600/20151231_120906.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiQgYl4SdRNfycZU8w6b28do5vTSwUQGpTKMUBCzWJhMlW6WbaoFqERBll92226qbmtHUYPBPppO_IN8qwllzj9bbwXh5TL-bTzMDAQ0dIwugzB-3-UfFHJWZstOvBjy2xS9vJNhgicWBY/s320/20151231_120906.jpg" width="320" /></a></div>
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This year's sketchbooks - A3 in size and made by Pink Pig in Yorkshire, UK. The bottom sketchbook is my RHS project one and is still very much in use.</div>
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So here is a selection of pages from my botanical and natural history sketchbooks of 2015.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6-5TIek0npi9mg8WZR5fHDg0mNQOR55GPdkCJDIb98H_XcIDZJ7bL3MtTTEL63Mv8atPov9DVbPyLLxZnp3boRBy37dKlLtwXPTMR9kFKJIujm3lPNRY0T3kgTLxIfFd29FnnlOVRe8WX/s1600/20151231_121200.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6-5TIek0npi9mg8WZR5fHDg0mNQOR55GPdkCJDIb98H_XcIDZJ7bL3MtTTEL63Mv8atPov9DVbPyLLxZnp3boRBy37dKlLtwXPTMR9kFKJIujm3lPNRY0T3kgTLxIfFd29FnnlOVRe8WX/s400/20151231_121200.jpg" width="400" /></a></div>
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Wild garlic </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiabVeWmOzPCOkNxq2Lo8V_3nFBY0a1XlUgGiIUJo2hagFpxWmb0n0T15GX7-wiDmmeezHp-GJPl5lj7GFEwEvCMqZxTnrwnV8WAFBQDbMrv9cvd6Q4Ood4dq6Pjz6Y42zFQYfJ8roGdYoL/s1600/20151231_120945.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="262" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiabVeWmOzPCOkNxq2Lo8V_3nFBY0a1XlUgGiIUJo2hagFpxWmb0n0T15GX7-wiDmmeezHp-GJPl5lj7GFEwEvCMqZxTnrwnV8WAFBQDbMrv9cvd6Q4Ood4dq6Pjz6Y42zFQYfJ8roGdYoL/s400/20151231_120945.jpg" width="400" /></a></div>
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Kingfisher - sketched from museum specimen</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2z4SxK2PvhDR7lFimBmBDAOAyatvKaEQRgCGb-HqRo3HcjeNWTPkrk0Y3vUBf4g4dnOQOKzB7t0ZXzx8nGcesdY6Z4GfsMh5iyK6kcOg6F0cCWtQXeYMIGdmdtsLPdpjZvGqUamSZM77y/s1600/20151231_121026.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2z4SxK2PvhDR7lFimBmBDAOAyatvKaEQRgCGb-HqRo3HcjeNWTPkrk0Y3vUBf4g4dnOQOKzB7t0ZXzx8nGcesdY6Z4GfsMh5iyK6kcOg6F0cCWtQXeYMIGdmdtsLPdpjZvGqUamSZM77y/s400/20151231_121026.jpg" width="258" /></a></div>
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A popular page used in several courses this year. Painted lady butterfly.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs2NqOMdffvchXtV638Sq6fW_w4WEnejFbdaqUsJuu0XRUy1g5HRf64xRN8A_ss1MirxGVC2z_xPcua0hW89928pTYF_j9717uC8jey6bgKsnJD4bClyl9XdUqpGhfuWVLCvyhE8dVqFH_/s1600/20151231_121327.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs2NqOMdffvchXtV638Sq6fW_w4WEnejFbdaqUsJuu0XRUy1g5HRf64xRN8A_ss1MirxGVC2z_xPcua0hW89928pTYF_j9717uC8jey6bgKsnJD4bClyl9XdUqpGhfuWVLCvyhE8dVqFH_/s400/20151231_121327.jpg" width="400" /></a></div>
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Happy memories from a wonderful summer day spent with my friend and artist Susan at Old Winchester Hill, who had come all of the way from Vermont.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5wFLDFA8UVhnZ9STxwZX3rE6dtOrHEjERIu-twplBGJMXu1EtCXb22OUo_LRwKekQ7srpoKQfDWPWysV9rnI7HCMhICvHZNcyksrLIiijp-oo27ppEKmazxJV_CzjgsYyXesa8NUJ-yEz/s1600/20151231_121318.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5wFLDFA8UVhnZ9STxwZX3rE6dtOrHEjERIu-twplBGJMXu1EtCXb22OUo_LRwKekQ7srpoKQfDWPWysV9rnI7HCMhICvHZNcyksrLIiijp-oo27ppEKmazxJV_CzjgsYyXesa8NUJ-yEz/s400/20151231_121318.jpg" width="400" /></a></div>
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Preparation for a vellum painting - A View Inside - Foxglove.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvDV1YbMLbcs-tS8jh6i4_pzv1RVUtPYaw3flYiQLyAxFmBzb7lG9cBFjxdlIwJQZAdYfCqSf4ves3mxf6TDnPiumYbc35Y_R_PRbl0ZDsdu_ZwOvxTisyWMx3Wb5JYPddvGzqzmNGdzwF/s1600/20151231_121128.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvDV1YbMLbcs-tS8jh6i4_pzv1RVUtPYaw3flYiQLyAxFmBzb7lG9cBFjxdlIwJQZAdYfCqSf4ves3mxf6TDnPiumYbc35Y_R_PRbl0ZDsdu_ZwOvxTisyWMx3Wb5JYPddvGzqzmNGdzwF/s400/20151231_121128.jpg" width="400" /></a></div>
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A lost and found painting added to the back of the natural history sketchbook. Goldfinch.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmtB3HDlPVcDMSP10iS4gMS02EOdqg8NBFrJ0hbsEh723RyKVWSsC7uVKFZ5KZsfyY117DyTZPse1NtfYhEKEAWCM1VCedbaNmEQxWZCznQWHJa8YgH58MXdBOiLj3v5zgMbJfJnb1w9FK/s1600/20151231_121340.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmtB3HDlPVcDMSP10iS4gMS02EOdqg8NBFrJ0hbsEh723RyKVWSsC7uVKFZ5KZsfyY117DyTZPse1NtfYhEKEAWCM1VCedbaNmEQxWZCznQWHJa8YgH58MXdBOiLj3v5zgMbJfJnb1w9FK/s400/20151231_121340.jpg" width="400" /></a></div>
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Sketches and colour trials (also on vellum) of peaches from the stunning peach house at West Dean Gardens. It was so hot and almost impossible to paint, but the smell from the ripening peaches was divine !</div>
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A wonderful Autumn day sent with Claire from <a href="http://drawntopaintnature.blogspot.co.uk/" target="_blank">Drawn to Paint Nature</a> sketching fungi in the New Forest, Hampshire</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiR6Jix2vqMX0J9UZ5-tkbpA96fYQeDgHcgqhJthzRI2SioIdwaSgJW_gYIT06PTqFsWLQ2ECYno-UnKvS8oMEN32Ala5ylO-5i3WYIGkp_C2WuU-REZ_nc_ORRHgZkkUjV10mG02zpzYNE/s1600/20151231_121648.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiR6Jix2vqMX0J9UZ5-tkbpA96fYQeDgHcgqhJthzRI2SioIdwaSgJW_gYIT06PTqFsWLQ2ECYno-UnKvS8oMEN32Ala5ylO-5i3WYIGkp_C2WuU-REZ_nc_ORRHgZkkUjV10mG02zpzYNE/s320/20151231_121648.jpg" width="227" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRjoCSRr0hCsW1yO0O02K0VFPQXHMQlZJrw5mDCScxS21AHW9jakGVVUp6-XaeG6WFO0EB4X5w3S5Y6hrFDSxyB_Cazk8vpgRj_AlJFA1WA0aqyBWDst7NCS_UkG_hIdyCYQwzupBGqsnQ/s1600/20151231_121744.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="201" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRjoCSRr0hCsW1yO0O02K0VFPQXHMQlZJrw5mDCScxS21AHW9jakGVVUp6-XaeG6WFO0EB4X5w3S5Y6hrFDSxyB_Cazk8vpgRj_AlJFA1WA0aqyBWDst7NCS_UkG_hIdyCYQwzupBGqsnQ/s320/20151231_121744.jpg" width="320" /></a></div>
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The new sketchbooks ready and waiting.</div>
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As they get dragged around everywhere with me I make fabric bags for them to go in.</div>
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This year there will be two A3 Amelie watercolour sketchbooks along with an 8x8 inch version, which will be just for butterflies, moths and other insects.</div>
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There have been two pieces of good news this week, helping to kick start the new 'botanical art' year.</div>
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I was thrilled to be one of the featured botanical artists in Garden News Magazine this week (2nd Jan issue). The article was perfect in showing how botanical art and gardening can go hand in hand.</div>
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Secondly, Anne-Marie Evans who created the first ever Botanical Illustration Diploma Course in the UK, was awarded an MBE in the Queen's New Years Honours list, for her services to Botanical Art and Education.</div>
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I am sure that many people are thrilled that she has been awarded this and it is also good news for botanical art too.</div>
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Read more about it here: <a href="http://www.botanicalartandartists.com/news" target="_blank">News from Botanical Art and Artists</a></div>
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All I have to do now is wish you a very happy, healthy and creative 2016.</div>
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Thank you to everyone that follows this blog and the exploits of Natures Details elsewhere.</div>
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Happy painting !</div>
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Sarah </div>
Sarah Morrishhttp://www.blogger.com/profile/05198273023728084037noreply@blogger.com2tag:blogger.com,1999:blog-8998307820194466026.post-91226681963619817782015-12-08T07:42:00.000+00:002015-12-08T07:42:25.125+00:00Seeing things - vascular bundlesMy love of plant morphology certainly extends into my botanical drawing and painting it would seem strange if it didn't.<br />
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Whilst completing the paintings for my RHS project I am drawn ever closer (excuse the pun), to the details I am illustrating, especially as some of them are x20 lifesize. You even begin to start seeing things - yes I am not joking !<br />
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Most recently I have been painting my 3rd attempt at a Hazel bud, yes third, and I think have finally cracked it. The bit that was the most challenging was believe it or not the leaf scar. This is usually found just below the bud and is where the leaf from the previous year was attached.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0Ivtvry9A-BvtIbZ0gzxEJxIVoDFBjDt762yka19tptkCxG8_Bi5UYVtheOMdAYqTJ0iFc5xNLM1KMQ1ohFYn_ufwBVlo1xR1RNEfGdFj7c2g3ngwe6G2QumyWthbVVJ2RrktRrX1DgDr/s1600/twigs.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="410" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0Ivtvry9A-BvtIbZ0gzxEJxIVoDFBjDt762yka19tptkCxG8_Bi5UYVtheOMdAYqTJ0iFc5xNLM1KMQ1ohFYn_ufwBVlo1xR1RNEfGdFj7c2g3ngwe6G2QumyWthbVVJ2RrktRrX1DgDr/s640/twigs.JPG" width="640" /></a></div>
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A Horse-chestnut twig showing the morphological features of a twig. The leaf scars on this tree species are characteristically quite big.</div>
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On the surface area of the leaf scar is usually some small spot like features, when viewed life size. These are called the bundle scar and are actually the ends of vascular bundles.</div>
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<b>What are vascular bundles ?</b></div>
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A vascular bundle is a part of the transport system in vascular plants. The transport itself happens in vascular tissue, which exists in two forms: xylem and phloem. Both these tissues are present in a vascular bundle, which in addition will include supporting and protective tissues.</div>
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So these bundle scars have proven to be a bit of a challenge, as their layout on the leaf scar is often regular in pattern and can at times represent a face - this has been the case with the Hazel.</div>
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It has been driving me a bit mad, but I have had to accept it, as the position of these bundle scars can be a feature used in identification, so I have to show them as they actually are.</div>
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The Hazel bud and twig WIP - see what I mean !</div>
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Guelder rose - not so much of an issue</div>
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A very small bundle scar on the Field maple</div>
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Ash - only the edge of the leaf scar is visible below the lateral bud</div>
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I accept the challenge of the bundles and will carry on regardless !</div>
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<b>On a positive note I have had confirmation from the RHS, and will be exhibiting this series of paintings at the RHS Botanical Art Show at the Lindley Hall in Westminster, London, on Friday 26th and Saturday 27th February.</b></div>
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For further information about the show follow this link: <a href="https://www.rhs.org.uk/shows-events/rhs-london-shows/rhs-london-botanical-art-show" target="_blank">https://www.rhs.org.uk/shows-events/rhs-london-shows/rhs-london-botanical-art-show</a></div>
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Sarah Morrishhttp://www.blogger.com/profile/05198273023728084037noreply@blogger.com4tag:blogger.com,1999:blog-8998307820194466026.post-944977290365965532015-11-07T10:21:00.000+00:002015-11-07T10:21:57.492+00:00Hairy buds - how do you paint them ??Well, this is the dilemma that I have been facing over the last year.........<br />
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Painting twigs and buds almost x20 lifesize means that every single bit of detail shows, and yes you guessed it, some of them have hairs too. Looking at the twigs with the naked eye, you would never believe that those hairs were even there !<br />
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This was the case with a Field maple twig, showing the terminal bud as well as the lateral buds.<br />
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The painting forms part of my collection of artwork, which will hopefully be exhibited with the RHS in 2016. The title of the exhibit is: <i>Twigs & Buds in Winter - from Trees & Shrubs of Ancient Hedgerows</i><br />
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So far this painting has been the most challenging, and in the lead up to it I tried several ways of depicting the fine hairs found on the buds and twig.<br />
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<li>Using <b>masking fluid</b> - I can't stand the stuff but I gave it a go trying several makes along the way ! I used a ruling pen, dip pen and a fine brush and just couldn't get the results that I wanted.</li>
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<li>Using <b>white gouache/body colour</b> - this I am used to and I like permanent white, particularly the Daler Rowney one. When I use it I tend to apply it to the area concerned in the painting and then add the colour on top, even though it is usually only a subtle hint of colour and often a neutral shade, such as a 'botanical grey'. The gouache was just looking too blue, so back to the drawing board !</li>
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<li><b>Painting the areas around the hairs - the negative space</b> - I just wasn't brave enough to do this !</li>
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<b>So what did I use ?</b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQY66E1lkjsNuz47zBeGCcVEloA1TW_ryct2axOx_4fVeHg9wbAuX75v8fBXoP1aDGOEN4iw5h8xQR4Hq2uSvBiySnSLMbtO-IvkXe1_rvwQkeytMJ66YXQ2mbGY6cc7hSBpn1EcBuZUVj/s1600/20150913_193025.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQY66E1lkjsNuz47zBeGCcVEloA1TW_ryct2axOx_4fVeHg9wbAuX75v8fBXoP1aDGOEN4iw5h8xQR4Hq2uSvBiySnSLMbtO-IvkXe1_rvwQkeytMJ66YXQ2mbGY6cc7hSBpn1EcBuZUVj/s320/20150913_193025.jpg" width="320" /></a></div>
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I came across this liquid acrylic made by Golden. It is not acrylic ink, but is still quite fluid and can be diluted too.</div>
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What appealed to me was that it was available in Titan buff, which is like a very pale beige and a far more natural looking colour than a stark white.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0WOUOMZ9sxjwhHGiiLPIz7DQ6uu0m_1x1UImUzebFfLaOVch0KdqM1hq1wzeentaF6xELFLeLcSu0YelH9CgN0n_BPB_8msJR6rJRd0wM5etqAiuB04EMBJlgOPq4MTFUxUIviDTJk5fU/s1600/20150913_193050.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0WOUOMZ9sxjwhHGiiLPIz7DQ6uu0m_1x1UImUzebFfLaOVch0KdqM1hq1wzeentaF6xELFLeLcSu0YelH9CgN0n_BPB_8msJR6rJRd0wM5etqAiuB04EMBJlgOPq4MTFUxUIviDTJk5fU/s320/20150913_193050.jpg" width="320" /></a></div>
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The lightfastness rating was good and I also looked at the other properties, which were clearly marked on the back of each bottle. I certainly didn't want shiny looking hairs, but I still wanted a good degree of opacity !</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9Mws1gr28PBFV1Ou159p_BbM19Y30Fn0NKemG7g_38HvpUKWCVbRxhHrptDTBLfcpOtFFZxlYJmFZuRy5lK9PNrDFptndPD0LXPWudbQgvJybFF08qELV3zk350GVYOhfQuK6QuFAdxOx/s1600/20150916_103013.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9Mws1gr28PBFV1Ou159p_BbM19Y30Fn0NKemG7g_38HvpUKWCVbRxhHrptDTBLfcpOtFFZxlYJmFZuRy5lK9PNrDFptndPD0LXPWudbQgvJybFF08qELV3zk350GVYOhfQuK6QuFAdxOx/s400/20150916_103013.jpg" width="225" /></a></div>
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I tried out various brushes and I am especially a fan of spotter brushes, particularly the firmer ones, which tend to made of man made fibres and not sable.</div>
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Rosemary & Co Series 307 are proving useful and I opted for size 3/0, a size I wouldn't normally use!</div>
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The titan buff on my palette. I had diluted it with a tiny drop of water.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYqjdAz40c3M1tnJic0Matz2S0hGakBXoJ7Mhk0BJH95Vel2-N32UFWY36qqmBCaxVkCKxoSveqbm9W8WsIPKz4qoxiPb4DWlPJFo0QNRrtZWYeqv8m7uSCeQvXmUMr7Kitf6ooWjfpbbw/s1600/hairy+buds+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="361" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYqjdAz40c3M1tnJic0Matz2S0hGakBXoJ7Mhk0BJH95Vel2-N32UFWY36qqmBCaxVkCKxoSveqbm9W8WsIPKz4qoxiPb4DWlPJFo0QNRrtZWYeqv8m7uSCeQvXmUMr7Kitf6ooWjfpbbw/s640/hairy+buds+1.jpg" width="640" /></a></div>
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The development of one of the lateral buds. When you view a twig and bud through a microscope it is amazing how the colours are often more intense than if you saw them with the naked eye.</div>
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Initially for the tiny hairs on the bud tip I used a neutral colour to create some form and texture and then used the liquid acrylic to introduce the lighter hairs and create even more depth.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYMMEvfoD27qu0oYq1xHSFR52PVj0Ym9VPZKFyQb6wmC-FG5XmQY2t1VRq1yWumKyMzzMgu3RvapvEqs55_a_31-zHeLxorF_dVtQKG-Y2y9U5MQF1Y4spqN2PO59IhL-Gl3mNMlXvDMYp/s1600/hairy+bud+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYMMEvfoD27qu0oYq1xHSFR52PVj0Ym9VPZKFyQb6wmC-FG5XmQY2t1VRq1yWumKyMzzMgu3RvapvEqs55_a_31-zHeLxorF_dVtQKG-Y2y9U5MQF1Y4spqN2PO59IhL-Gl3mNMlXvDMYp/s400/hairy+bud+2.jpg" width="245" /></a></div>
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The hairs on the main body of the twig were of varying lengths and densities so this presented as another challenge ! Shadows under some of the hairs were painted in and if the liquid acrylic was still too bright, I toned it down with a weak wash of a colour that I sometimes call 'dirty paint water' !</div>
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At this stage some of the hairs still need more of a highlight, but not all along each shaft, but where the hair bends and hits the light. (Thanks to a very helpful and good friend for advising me on this).</div>
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So there you are, I faced the challenge head on. I'm not saying it is the right answer, and another time I may approach the same challenge differently, but I am relived to have now finished this painting.</div>
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Previously, blogposts relating to my RHS project could be found only on my <a href="http://art-hedgerow.blogspot.co.uk/" target="_blank">Art & the Hedgerow </a>project blog, but in the lead up to the project being finished I will be posting on both blogs.</div>
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<b>I will be at the <a href="http://www.kingcombe.org/" target="_blank">Kingcombe Centre</a> in Dorset from Tuesday 17th to Thursday 19th November, working on the project. So if you are around why not pop in and say hello and see me at work. </b></div>
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Sarah Morrishhttp://www.blogger.com/profile/05198273023728084037noreply@blogger.com7tag:blogger.com,1999:blog-8998307820194466026.post-91903043506722277232015-10-28T12:25:00.001+00:002015-10-28T12:25:55.024+00:00Exploring your art materials - Graphite pencilsAs with all new art materials that I purchase, I always want to give them a thorough testing, especially before I make any recommendations.<br />
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We perhaps take our graphite pencils for granted at times and don't really give them the attention they deserve, thinking that they are a tool that takes us part way to producing a painted picture, if that is to be our chosen end result.<br />
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I have tried many graphite pencils over the years and I can be really fussy about how they perform, both for line drawing and for tonal shading. <br />
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<strong>Things I look out for are:</strong><br />
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* How smooth they are on the paper - I don't want to feel a 'gritty' sensation when I am using it<br />
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* I want each grade of pencil to have a good contrast across its varying degrees of tone, as well as across the whole range of grades - some of the cheaper makes of pencil will not have this contrast and I have often had students turn up with the cheapest pencils they could find, only to discover that an H performs just the same as a 2B, with hardly any difference in the range of tones each pencil produces<br />
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* It has to feel comfortable in the hand - is it the right weight and is the barrel shape comfortable ?<br />
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<strong>What are my favourites so far ? :</strong><br />
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* Faber Castell 9000 graphite pencil<br />
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* Caran D'Ache Grafwood graphite pencil<br />
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<strong>So why use another ?</strong><br />
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I have been hearing good things about Tombow Mono 100 graphite pencils, so I decided to try them for myself. If I am pleased with them, I am hoping to use them for a new project, but more about that towards the end of the year !<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvmu_ANC9JtZ5Vscwj_HdaadZLmhz4T95YQYfP6QSN7l2DGMnZ7zk6DBpZx5TI0i5iFyTMp8w7KVyi681U-joCse5AIRFJyWKxs4Wv7Roc-NWHQ_v1GdI1WoZUpCzVr4P7bROJ07wwK4EU/s1600/2015-10-27+15.53.22.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="145" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvmu_ANC9JtZ5Vscwj_HdaadZLmhz4T95YQYfP6QSN7l2DGMnZ7zk6DBpZx5TI0i5iFyTMp8w7KVyi681U-joCse5AIRFJyWKxs4Wv7Roc-NWHQ_v1GdI1WoZUpCzVr4P7bROJ07wwK4EU/s320/2015-10-27+15.53.22.jpg" width="320" /></a></div>
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The pencils can be bought individually, in boxes of 12 of each grade and also an assortment box, which contains grades 6B - 4H</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq-Lg7_7Ee4-ZazZdnjCHdOrsqTT0tQr2KgphDcu0Oo5Z83oD1PBgrSAP4p1_u5FPZmjhhHtzj-_7g3DPlcl_oNwKL2LFYAAsMWq-S0wDbaOJgNmm82Iwxeqmp47HYx5KQi4M_lG-LIgkp/s1600/Mono+100+info.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="295" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq-Lg7_7Ee4-ZazZdnjCHdOrsqTT0tQr2KgphDcu0Oo5Z83oD1PBgrSAP4p1_u5FPZmjhhHtzj-_7g3DPlcl_oNwKL2LFYAAsMWq-S0wDbaOJgNmm82Iwxeqmp47HYx5KQi4M_lG-LIgkp/s320/Mono+100+info.JPG" width="320" /></a></div>
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This is a screen shot from the Tombow (Europe) website, with suggestions as to what various grades of pencils are useful for</div>
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<strong>How do I test them ?</strong></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmXWN1oDL4ewG67TCR4kJKL1C7t59btrNO7eVvt4nwWLrRCVM-l5qzbpkWiQbVFnjEyX7FnmX3Z_KTVvASbexoS8WNEbDsAfvfO4_tTM-t2RJnUA5OPgL_wDGb9LUm1fzIV-vUXQoWQKEk/s1600/2015-10-28+08.44.12.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmXWN1oDL4ewG67TCR4kJKL1C7t59btrNO7eVvt4nwWLrRCVM-l5qzbpkWiQbVFnjEyX7FnmX3Z_KTVvASbexoS8WNEbDsAfvfO4_tTM-t2RJnUA5OPgL_wDGb9LUm1fzIV-vUXQoWQKEk/s400/2015-10-28+08.44.12.jpg" width="270" /></a></div>
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The first thing I always do (and get my students to do before they even start drawing) is to test the tonal range achieveable with each grade of pencil.</div>
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To do this you need to produce a tonal strip which will show the darker tones, through the mid-tones to the lighter tones for each grade. This will always depend on the amount of pressure you apply.</div>
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So to achieve the darker tones you apply more pressure and then as you progress further along the strip you lighten the pressure.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvNvCxQI_AEu-6oXKXHfIqW7YuRPjj6VgMT-4rJm_oyRYpwhmYtCBEuRxrFBBqxRqp6YHwRSTvt7adO0ZQnjMI7IqaNZaX3LoE-OSVkR35abrt_IqAEwXLAPmphAuLXoPFpHsEygC9An44/s1600/20151028_084020.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvNvCxQI_AEu-6oXKXHfIqW7YuRPjj6VgMT-4rJm_oyRYpwhmYtCBEuRxrFBBqxRqp6YHwRSTvt7adO0ZQnjMI7IqaNZaX3LoE-OSVkR35abrt_IqAEwXLAPmphAuLXoPFpHsEygC9An44/s400/20151028_084020.jpg" width="400" /></a></div>
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Whilst producing the tonal strips I prefer to hold the pencil like this as I feel that the pressure I apply can be controlled more easily.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj72gkX0TkFUIjxn-Jet9QRj0R1Cg_ynCeWJay2TJb4VcOcmETnXnuz2_lwVnm02yJhoWRwUwUDyEcU5VP-zMxcdUc7qa60wO1o4I0YStTW8EYL9s27VJlk1KWXOsBfnEFGIDtKK69Cxz38/s1600/2015-10-28+08.42.19.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj72gkX0TkFUIjxn-Jet9QRj0R1Cg_ynCeWJay2TJb4VcOcmETnXnuz2_lwVnm02yJhoWRwUwUDyEcU5VP-zMxcdUc7qa60wO1o4I0YStTW8EYL9s27VJlk1KWXOsBfnEFGIDtKK69Cxz38/s320/2015-10-28+08.42.19.jpg" width="90" /></a>At the softer end of this pencil range (especially 6B-3B) I found that I could achieve a really rich intense black without applying too much pressure. There was still a variation between each grade though. </div>
So if I wanted a more intense black for the darkest tones of a drawing, I would use one of the softer grades of pencil and the 6B would give me the absolute darkest tone.<div>
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There was no feeling of 'grittiness' at all across the whole range. I am especially aware of this as I move through to trying the harder grades (F - 4H). <div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6UjS226BoEDxRxCp8BoTe93xM1vIvPt3dtG0HYrGUS5jAEo3s4CTZqnY2uLU7pIMlJiQmvU1WjGb0rhNTuLlbJe2kdqzPST48PhPJLJSCtWI-axugsPsl1cKOZqfOjrrWs-LMQ6heMlZD/s1600/2015-10-28+08.43.05.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6UjS226BoEDxRxCp8BoTe93xM1vIvPt3dtG0HYrGUS5jAEo3s4CTZqnY2uLU7pIMlJiQmvU1WjGb0rhNTuLlbJe2kdqzPST48PhPJLJSCtWI-axugsPsl1cKOZqfOjrrWs-LMQ6heMlZD/s320/2015-10-28+08.43.05.jpg" width="36" /></a>I often use these grades for line drawing, both in sketching and more detailed work, so it is essential that I am happy with the feel and results.</div>
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Filling in small circles and creating tonal spheres is also a good way to see the varying tones each pencil produces.</div>
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I tend to fill each circle with graphite by creating very small ellipses, blending as I go so that no lines are visible. </div>
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When creating these I would hold the pencil in the normal way as I would for drawing.</div>
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As I mentioned before in some makes of pencil the harder grades can still feel too soft and may shed some graphite as you shade with them. From H to 4H I do not want to see this happening as I often like to overlay my tonal drawings with a wash of transparent watercolour. If too much graphite is shed this will make the watercolour look 'dirty' when the wash is applied. The Tombow pencils in these grades were very favourable.</div>
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I hope that you have found this insight into testing graphite pencils useful.</div>
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Below is an example of where a graphite tonal drawing has had watercolour applied on top of the shading.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqmhTuqnMzYIdHYfQfnbfv3_x3EY-HSOY0wQGm-G08AB29zD8iEedV2Ga2YlPq2I59KqaKpGQ1VaU9WqumhUvkbVT_j1FescHFKqeYeUg16UE0LfLoTgukrDDDE5woea5F9l2ZeD5S6dp8/s1600/Bronagh%2527s+owl.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="508" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqmhTuqnMzYIdHYfQfnbfv3_x3EY-HSOY0wQGm-G08AB29zD8iEedV2Ga2YlPq2I59KqaKpGQ1VaU9WqumhUvkbVT_j1FescHFKqeYeUg16UE0LfLoTgukrDDDE5woea5F9l2ZeD5S6dp8/s640/Bronagh%2527s+owl.jpg" width="640" /></a></div>
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This beautiful drawing of a Barn Owl was produced by one of my students on a recent course - <a href="https://www.youtube.com/watch?v=2nzzJa2ze_Q" target="_blank">Sketching the Beauty of Owls</a> </div>
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Bronagh created an accurate line drawing first and then carefully put in areas of shading using H & 2H pencils. The watercolour wash was then applied over the top, using a transparent mix of watercolours. Where more depth of colour was applied, additional watercolour washes were added.<span style="text-align: left;"></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCPnInUfaJQoMCn1X5TC0svLNdRM5OJae6VNYi1bUv6CSalJq1YJoEIS_o42nb14LzCKRXTCBplmi7g0jXhr-J4DKrkhlcIIMPnDpFzEd5uFP55f3jHYTpQ7PQezJZ99jsJy-AcFg0IQ2L/s1600/TOwl+chick.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCPnInUfaJQoMCn1X5TC0svLNdRM5OJae6VNYi1bUv6CSalJq1YJoEIS_o42nb14LzCKRXTCBplmi7g0jXhr-J4DKrkhlcIIMPnDpFzEd5uFP55f3jHYTpQ7PQezJZ99jsJy-AcFg0IQ2L/s400/TOwl+chick.jpg" width="296" /></a></div>
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One of my graphite pencil sketches of a Tawny owl chick, drawn from a museum specimen.</div>
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Sarah Morrishhttp://www.blogger.com/profile/05198273023728084037noreply@blogger.com1tag:blogger.com,1999:blog-8998307820194466026.post-23095950589098305072015-09-29T10:58:00.001+01:002015-09-29T10:58:10.102+01:00'A cracking good egg' - eggs and artYou know me, always fascinated by so many aspects of the natural world, and I am always up for illustrating subjects that don't always appeal to others.<br />
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Eggs are one of those subjects ......<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPEbvYZKj9tIEg6LLJtjM0V7pyVvxWUtKs55vi0v3iJn4cQx1ZSVU10pzU-xZBoJD5faXSD8kNOApl2adk4BCJUilIxMsil2tl28nWhtfvUnCL24MMJZmJBVlPkKMcY-MzCmmn8tq5fxAv/s1600/Adolphe_Millot_oeufs-fixed.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPEbvYZKj9tIEg6LLJtjM0V7pyVvxWUtKs55vi0v3iJn4cQx1ZSVU10pzU-xZBoJD5faXSD8kNOApl2adk4BCJUilIxMsil2tl28nWhtfvUnCL24MMJZmJBVlPkKMcY-MzCmmn8tq5fxAv/s400/Adolphe_Millot_oeufs-fixed.jpg" width="301" /></a></div>
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This fascinating image of a variety of eggs was illustrated by Adolphe Millot (1857-1921), a French natural history artist who was Senior Illustrator at the Museum Nation d'histoire Naturelle. The image was published in Paris by the Librarie Larousse (1897-1904)</div>
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It shows the eggs of various birds, a reptile, various cartilaginous fish, a cuttlefish and various butterflies and moths.</div>
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Previously I have had a commission for an illustration of Gull's eggs. These eggs can only be collected under license and in the past the collecting of these eggs was common place along areas of the coast. Many years ago they provided a rich food source, but in recent times they have become a delicacy in high class restaurants, with individual eggs costing a lot of money.</div>
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Now the license holders are few and far between. Even though gulls seem common place in many of our towns and cities, in actual fact many of the species are in decline.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRPX97FTAJRIg_nLs_aWBHjR0yqHbV1cjoP1tTYbsVYCXErFL4HESrNVBaTspMe3ab217Y-upiqn1mQwzLweaWHrRvVGoBlKkq3po9FsQzTai2_9KT4PGArVf8Tbw3wEtAHTs5wSg3LHfn/s1600/seagulls+eggs.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRPX97FTAJRIg_nLs_aWBHjR0yqHbV1cjoP1tTYbsVYCXErFL4HESrNVBaTspMe3ab217Y-upiqn1mQwzLweaWHrRvVGoBlKkq3po9FsQzTai2_9KT4PGArVf8Tbw3wEtAHTs5wSg3LHfn/s320/seagulls+eggs.jpg" width="320" /></a></div>
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Gull's eggs can vary considerably in shape and colouration and can at times be quite elongated, like the one on the far right.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmah9awTu-XyVcXqfwU54791INi_uPi2JhzaiPrsjl0YIdXSX90tMGlEt0wDi1ndd8Bksg1pZHto0KJMh2Be09sHAzJRTTSW2j7kn7E-Zp820ACZA7ULTmQ6ctOV13HB3PX9RIB5Klj0_i/s1600/IMG_6614.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmah9awTu-XyVcXqfwU54791INi_uPi2JhzaiPrsjl0YIdXSX90tMGlEt0wDi1ndd8Bksg1pZHto0KJMh2Be09sHAzJRTTSW2j7kn7E-Zp820ACZA7ULTmQ6ctOV13HB3PX9RIB5Klj0_i/s400/IMG_6614.JPG" width="266" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_Hn6lhGxhAc43dn2w8bRryq-ZR_oyeGFWNjpVVhyj_zAlFai_rcdQsSmYrGiaU5m54o-y0acEycT0_zZiMf8pxYIStksPKPgktsfqGPDlK3bPaP7Xq5c4C7BTMnASaBx85ToI_wsAk4ug/s1600/quails+eggs+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="311" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_Hn6lhGxhAc43dn2w8bRryq-ZR_oyeGFWNjpVVhyj_zAlFai_rcdQsSmYrGiaU5m54o-y0acEycT0_zZiMf8pxYIStksPKPgktsfqGPDlK3bPaP7Xq5c4C7BTMnASaBx85ToI_wsAk4ug/s320/quails+eggs+1.jpg" width="320" /></a></div>
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Quail's eggs are great fun to illustrate.</div>
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I was given a whole tray of Quail's eggs and many of them had some lovely colour combinations and patterns. Most of them were considered too 'different' to be packaged up for sale in shops, so yours truly had the great opportunity to make her choice. This has proved a popular painting, and several others have followed after this one was sold.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho6plL3VbTDOL14mcNW1NFaIgX2WMDd2NjLWOj7ePUVynBY7zt4KFIftYJPozdYXZW2AATN1h0V3BaO8K5_c1wozvY2Xo5El_6c-blpK8UDEB2F6Re-r4a0bVGKkrycGlqoePOf5jFcLCf/s1600/hens+eggs.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="153" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho6plL3VbTDOL14mcNW1NFaIgX2WMDd2NjLWOj7ePUVynBY7zt4KFIftYJPozdYXZW2AATN1h0V3BaO8K5_c1wozvY2Xo5El_6c-blpK8UDEB2F6Re-r4a0bVGKkrycGlqoePOf5jFcLCf/s400/hens+eggs.jpg" width="400" /></a></div>
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Hen's eggs - from Aurora, Twinkle and Star</div>
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Now for something a bit more subtle. My friend gave me some freshly laid eggs and prior to cooking them I did this quick sketch. The Daniel Smith Primatek colours came in useful for this painting, although unfortunately I didn't make a note of which ones I used.</div>
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More recently, I was given a Robin's nest. The nest had been abandoned in early summer and throughout the summer the eggs within had remained intact. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqNhUbUYcCGag4TLPX7h1I0NhzLxpcfO6TlApdJCd4U7eqPmPLonXWYLnOXoQweFsMeBwJ3M3Ri9DVv-QOkudiJ1OPGSUIV8rApE0DfUtVdPKh0dN8YSZ3Hv8IXMu-8U3zbPseryuN-zUz/s1600/20150923_151922+%25282%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqNhUbUYcCGag4TLPX7h1I0NhzLxpcfO6TlApdJCd4U7eqPmPLonXWYLnOXoQweFsMeBwJ3M3Ri9DVv-QOkudiJ1OPGSUIV8rApE0DfUtVdPKh0dN8YSZ3Hv8IXMu-8U3zbPseryuN-zUz/s320/20150923_151922+%25282%2529.jpg" width="320" /></a></div>
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Painting a tiny Robin's egg on vellum. Once finished, this will be part of a series of small paintings which will be framed using the frame seen above.</div>
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The small book is the Observer's book of Bird's Eggs, a book I have had since childhood.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtkO_NyRB4gCoAEiay5_SkAKZj5dkEj_GMhjznaFo8lnHtt-gAW9KJ2RUr1Ruhn8KAWXJ4MO0e0myrYO4wLDyW6cLwhSJAtGCDvl982E70TTREE89Q-Gs9aIRp9IJG6hrwolJvm97mOW0L/s1600/20150923_152002.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtkO_NyRB4gCoAEiay5_SkAKZj5dkEj_GMhjznaFo8lnHtt-gAW9KJ2RUr1Ruhn8KAWXJ4MO0e0myrYO4wLDyW6cLwhSJAtGCDvl982E70TTREE89Q-Gs9aIRp9IJG6hrwolJvm97mOW0L/s320/20150923_152002.jpg" style="cursor: move;" width="320" /></a></div>
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The subtle colours of burnt sienna, natural sienna, buff titanium and graphite grey were all used in this painting (all Daniel Smith colours)</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCwP168Pt62LZdqOtUNXByAJ_lJ2IXPMWg3IdXUx6BPLJ6btWBmQa-gYtnqJg6SGLCkOoUe2FDr-voLSRJTDJ_924ROnTQnfT7EcwErfZ9Bihe_Nz9xfKBNH3jwpxH7UHhZ_If2e_9IJao/s1600/RE_Closeup_96dpi.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCwP168Pt62LZdqOtUNXByAJ_lJ2IXPMWg3IdXUx6BPLJ6btWBmQa-gYtnqJg6SGLCkOoUe2FDr-voLSRJTDJ_924ROnTQnfT7EcwErfZ9Bihe_Nz9xfKBNH3jwpxH7UHhZ_If2e_9IJao/s320/RE_Closeup_96dpi.jpg" width="176" /></a></div>
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The pale creamy colour of the natural calfskin vellum was perfect for this subject and the graphite grey watercolour was used for the areas of shadow.</div>
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Now for some COLOUR !</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBbGBQQARJ92vL7WpejwhuXdCuLhSzWaKHk6uthfyhS5KtICnAqf904TrZj0DpQ3PCRn3hhwKP5oewwnJ03jXS9xc_FTr3OA4cOm0cOzRgfqJ_6x7AUDOGaiM27unHBu286GH6OEsbttxZ/s1600/20150513_160931.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBbGBQQARJ92vL7WpejwhuXdCuLhSzWaKHk6uthfyhS5KtICnAqf904TrZj0DpQ3PCRn3hhwKP5oewwnJ03jXS9xc_FTr3OA4cOm0cOzRgfqJ_6x7AUDOGaiM27unHBu286GH6OEsbttxZ/s400/20150513_160931.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj45PbZeNtMo2teR32CNjVMPJWiUoyBDAyKts3OFtfxeOga_EgDKDQcMqojBDndR5gCq2djKsJw-leElhxZGx32qfq-_LlMNwl-Rbky_PkX7HaSU6tMz0FD3pRR3yy8iiE9SLaVmBljgODt/s1600/Dream+eggs+edited.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="67" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj45PbZeNtMo2teR32CNjVMPJWiUoyBDAyKts3OFtfxeOga_EgDKDQcMqojBDndR5gCq2djKsJw-leElhxZGx32qfq-_LlMNwl-Rbky_PkX7HaSU6tMz0FD3pRR3yy8iiE9SLaVmBljgODt/s400/Dream+eggs+edited.jpg" width="400" /></a></div>
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This painting I called 'Dream Eggs'. After painting one of the Quail's Eggs paintings, I felt that I needed to splash some colour around.</div>
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All of the patterns and colours are created by me, although of course there are some similar representations in the natural world.</div>
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It is hard to believe that out of all of the entire array of egg colours and patterns, only two colour pigments are responsible - a reddish brown and a bluish green. Scientists have been investigating this for many years, and it was only in the 1970's that progress was made.</div>
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To read more about this fascinating discovery go the <a href="https://www.audubon.org/news/cracking-code-egg-coloration" target="_blank">Audubon website</a>.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia0S6Q86rgF7cHv_SVGZ7FPYEY55ObYaoGGbJV6OEn-jFPM9_1TOsYIl-IKPDHePzc-OVSS338ec1fWS1OWtMX2BFMS1RBEWveygHFwQKAfu6aE52rcsR0bmR4sWH1ZtscZHKF36_1RZNc/s1600/sfw_edd_pigments_frans_lanting.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia0S6Q86rgF7cHv_SVGZ7FPYEY55ObYaoGGbJV6OEn-jFPM9_1TOsYIl-IKPDHePzc-OVSS338ec1fWS1OWtMX2BFMS1RBEWveygHFwQKAfu6aE52rcsR0bmR4sWH1ZtscZHKF36_1RZNc/s400/sfw_edd_pigments_frans_lanting.jpg" width="400" /></a></div>
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Hard to believe that all of these colours and patterns are the results of just two pigments !</div>
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For further fascinating facts about bird's eggs why not have a look and listen at <a href="http://www.bbc.co.uk/programmes/b05w9bj5" target="_blank">BBC Radio 4 Natural Histories </a>series of programmes ?</div>
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Happy painting !</div>
Sarah Morrishhttp://www.blogger.com/profile/05198273023728084037noreply@blogger.com2tag:blogger.com,1999:blog-8998307820194466026.post-72478404297777089682015-08-23T17:21:00.001+01:002015-08-23T22:30:16.427+01:00Drawing Birds - here's one approachAfter another successful Summer School Course, this time illustrating birds, I thought some of you would like to see the approach I take to drawing these wonderful creatures. I drew and painted birds before I ever took up botanical art work, and through my life I have taken several approaches before I settled on one that I use most of the time. It was quite reassuring to find that other bird artists follow similar approaches, as I discovered when purchasing the book mentioned below.<br />
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As with a lot of natural history illustration, nothing beats drawing from life and working in the field.<br />
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John Muir Laws has several wonderful quotes in his book 'The Laws Guide to Drawing Birds'<br />
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<em>'The purpose of field-sketching is to learn from nature. Train yourself to look and look again until you see. Do not worry about making pretty pictures; instead focus on documenting on what you earn during a direct encounter with nature'</em></div>
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<em>'A field sketch is not about making a perfect illustration; instead it is a tool that allows you to look more closely'</em></div>
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<em>'The sketching process cements memories in your mind'</em></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3YQ_FnQPG9QWfjhbpdS_RnTrrGbqQTZ52B4_Qtpcb6GiX5vsZdRtw1J_E3E8p6dEYqSpGTgrbZHLImvWtpyOwqjCetsRA8Pkz6dz5vUD1M3o3yaKb40U2fNrUmS4B2zqKH7mwSjPG0V_j/s1600/P1020070.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3YQ_FnQPG9QWfjhbpdS_RnTrrGbqQTZ52B4_Qtpcb6GiX5vsZdRtw1J_E3E8p6dEYqSpGTgrbZHLImvWtpyOwqjCetsRA8Pkz6dz5vUD1M3o3yaKb40U2fNrUmS4B2zqKH7mwSjPG0V_j/s320/P1020070.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">This very quick pencil and wash sketch of a Blue tit was one of my very fist field sketches. It is very small and only measures about 6 x 5 cms. It still sits a bit tattered on my pin board in the studio.</td></tr>
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In reality sketching out in the field is not always possible. When starting to draw birds it can be daunting sitting in a public place such as a bird hide or park, whilst people may look over your shoulder. Using your garden is a different matter and I encourage this as much as possible, when observing birds but also when starting to make the first few tentative sketches. Remember, nobody else has to see them !</div>
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I can hear you saying 'what about using photographs ?' This is often frowned upon by some natural history artists, some of the reasons I totally agree with. But using photographs alongside other resources can create a more holistic approach and encourage people to actually get out there to sketch too.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgm3MG_xVUieLknwyqV6bdN_nCn2LfZkehLvrKrZbQRKwPVlM9KrqEQrLzcR7X5z4XgXGeR2fKvfOrdNuqkBg7H_izMOYzQIsYsAnr_HMLN4TTgmh_TM9HkTZUJKaLrzvLiFKk9sTkm3zBi/s1600/20150821_083723.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgm3MG_xVUieLknwyqV6bdN_nCn2LfZkehLvrKrZbQRKwPVlM9KrqEQrLzcR7X5z4XgXGeR2fKvfOrdNuqkBg7H_izMOYzQIsYsAnr_HMLN4TTgmh_TM9HkTZUJKaLrzvLiFKk9sTkm3zBi/s400/20150821_083723.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The resource table at the Summer School Course. Not only photographs but also taxidermy specimens of birds, bird id guides, books from bird illustrators and examples of other artwork.</td></tr>
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If using photographs you do need exceptionally good images and I am lucky that I have a good library of my own images, but also access to other images from a photographer friend.</div>
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For the Summer School we used the resources seen above all in combination with photographs. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLgOO2OKG4LXLnthGMAHdDlcBfefmgH4rANKoMQDsCs63Z6SRGOaYxVIMy-7IgsTmlVDYwT3XU5UWHxFhhP40p9DqTCS5NnTYIWFtjD3D7x5j4IZvIf62LLF7FXiTDHSVVboooMQvY7LWS/s1600/20150822_112955.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLgOO2OKG4LXLnthGMAHdDlcBfefmgH4rANKoMQDsCs63Z6SRGOaYxVIMy-7IgsTmlVDYwT3XU5UWHxFhhP40p9DqTCS5NnTYIWFtjD3D7x5j4IZvIf62LLF7FXiTDHSVVboooMQvY7LWS/s400/20150822_112955.jpg" width="225" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Each coloured photo had an accompanying black and white image, as near to scale as possible. This enabled the students to really look at the details without being distracted too much by colour and pattern.<br />
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The central red line is the first line that is always drawn. This helps to indicate the posture of the bird. The angle of this line can vary considerably according to what the bird is doing.<br />
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If this line is drawn accurately, the rest of the drawing becomes easier.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGV1QH_3HWXKlw2-aPC22X_w3UMPa8mB0bfVHcWXOd7UXhyiOkizz58RkqI8c3qPA8mMZfYilWXYrkD6RSYr7lT6g7VdFi_EyqUWM5VzBd5wAoRDbbWQNg-mXTWT6oX_B3B2mAYZvmOibq/s1600/20150822_144755.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGV1QH_3HWXKlw2-aPC22X_w3UMPa8mB0bfVHcWXOd7UXhyiOkizz58RkqI8c3qPA8mMZfYilWXYrkD6RSYr7lT6g7VdFi_EyqUWM5VzBd5wAoRDbbWQNg-mXTWT6oX_B3B2mAYZvmOibq/s400/20150822_144755.jpg" width="225" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The two green circles/ovals seen above in the first picture of course indicate the approximate shape of the body and head.<br />
I have always found it easier to draw the body shape first, rather than the head. If drawing the head first it is very easy to make it too large. <br />
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Once these two circles are accurate the outline of the bird can be drawn in. Dependant on the position of the bird, some of these lines may be quite angular, so be aware of the outer shape and be careful not to make a bird look too rounded.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf-xh3vajSqeLT7tZz6g-Bj1Chzb7RK4xiVe5jm9HuJdj69wR2AOqH-yMjAqooI5TWUp0r-zKGldoel34Xsz-5-uA5soEgoIXN4N0fKC6n7Xq_EFFkawzuO0LOFz9ZLon0Urs949nYVSfq/s1600/20150820_124326.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf-xh3vajSqeLT7tZz6g-Bj1Chzb7RK4xiVe5jm9HuJdj69wR2AOqH-yMjAqooI5TWUp0r-zKGldoel34Xsz-5-uA5soEgoIXN4N0fKC6n7Xq_EFFkawzuO0LOFz9ZLon0Urs949nYVSfq/s400/20150820_124326.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">For the other details look closely at the groupings of the feathers and the direction that they may take. These groupings can sometimes go across several areas of patterns, according to what bird species it is.<br />
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For this drawing of a Wren there was not a great deal of colour and pattern variation when comparing it to a Great tit for example, but I still needed to observe the directions and groupings of the feathers.<br />
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The next stage is to ensure that the wing and tail feathers are accurate. In addition the angle of the tail needs to look realistic too.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVsWi9Da1I6NxHOEai7cWWlvRqXfohSg_D9WwNGNagNfJgdJKX61ig3ZuTm_aa8GtjE_Z5if_UUqUjywJGpLiUtbVGAny1UvVSV3Vg6C0LoKiRvEM2IYAhGkeJJQqzoF7JoG_j2er7xy4j/s1600/20150821_084400.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVsWi9Da1I6NxHOEai7cWWlvRqXfohSg_D9WwNGNagNfJgdJKX61ig3ZuTm_aa8GtjE_Z5if_UUqUjywJGpLiUtbVGAny1UvVSV3Vg6C0LoKiRvEM2IYAhGkeJJQqzoF7JoG_j2er7xy4j/s400/20150821_084400.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Next we moved onto painting our drawings using artists quality gouache on coloured mountboard.<br />
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I'll be talking more about using gouache for bird paintings in a later blog post</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjHKRPlL6c6RD8ns5q8D_4tNQdAd928IY-4c12PnfY6GBWTUxzHeEy41GvcDXomLl9h7KM4uj5gNg8JxU2hgbYn1gzDZgI0eOJwG9UZt5D7iQL2lWx94qY57KBsjUMZQe4x3L8oFYxfGLa/s1600/20150822_133408.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjHKRPlL6c6RD8ns5q8D_4tNQdAd928IY-4c12PnfY6GBWTUxzHeEy41GvcDXomLl9h7KM4uj5gNg8JxU2hgbYn1gzDZgI0eOJwG9UZt5D7iQL2lWx94qY57KBsjUMZQe4x3L8oFYxfGLa/s400/20150822_133408.jpg" width="333" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Can you guess what bird this paint palette was for ??</td></tr>
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The bird illustrations taking shape as the we moved through the 2 days of the course.</div>
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We also had a visitor that stayed around for the second day of the course.</div>
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The final pieces. Everybody worked so hard and really enjoyed discovering more about their bird species and how versatile gouache can be - more about gouache in a later blog post !</div>
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The next course will be even more exciting as we will be using live birds as our subject matter !</div>
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Cherry and her beautiful owls Beebo and Eddi from the <a href="http://www.newforestowlstudio.com/196897067" target="_blank">New Forest Owl Studio</a>, will be paying us a visit in October for the 'Sketching the beauty of Owls' course</div>
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Sarah Morrishhttp://www.blogger.com/profile/05198273023728084037noreply@blogger.com4tag:blogger.com,1999:blog-8998307820194466026.post-66838542021669919402015-07-27T15:30:00.001+01:002015-07-27T23:18:04.047+01:00'Deeply Dippy' & Meeting the Devon SketchbookAfter spending a lovely week in Devon, I thought I would share with you some of our revisits and discoveries and how I documented them in a small concertina sketchbook that I made especially for the trip.<br />
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You may wonder why this blogpost is called 'Deeply Dippy' (copying the name of the song by Right Said Fred !) Well, it kept coming into my mind when we had several opportunities to see one of my favourite birds - the Dipper.<br />
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I had previously seen Dippers in Snowdonia, but it had always been my wish to see them in Devon, slightly closer to home and their characteristic dipping movement. I knew that they were often seen on the River Dart, which flows from Dartmoor down to Dartmouth and Kingswear, on the south coast of Devon.<br />
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We were lucky that the Dart flowed through the land belonging to the cottage of where we were staying, <a href="http://www.devoncottagefortwo.co.uk/gallery/" target="_blank">Apple Loft Cottage</a> adjacent to <a href="http://www.kilburymanor.co.uk/" target="_blank">Kilbury Manor</a> near Buckfastleigh. On our first evening my wish was granted and we saw 2 Dippers as well as several Kingfishers that flew at speed past us.<br />
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The 'golden' waters of the River Dart<br />
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Looking southwards along the river. In the evening the Kingfishers would come from this direction and I presume return to their roost sites further up stream.<br />
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The South Devon Steam Railway was nearby and one evening we watched several Dippers use a log below the bridge to perch on and occasionally go into the water looking for food. We also noticed a couple of them fly in and perch on the brick work at strange angles, very much like a Nuthatch. Perhaps they were on the look out as they came into roost before they went to the overhanging roots on the opposite bank of the river.<br />
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My only image of a Dipper. Unfortunately the light was going.<br />
This particular evening we saw 6 birds. 2 of them seemed to be flying to another territory whilst the other 4 were a family group that looked to be 2 adults and 2 juveniles. We sat there for near on and hour as they fed at the waters edge and went in and out of their tree roots roost.<br />
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When we got back to the cottage I did a 'memory' sketch, as I had stupidly forgot to take my sketching kit down to the river.</div>
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The 'Dipper' page from the sketchbook (I used a reference photo) to complete the sketch. The small sketch above the bird is of the perch that they used under the railway bridge.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJRPqJSv0Mlsy_nYpBCIPdtPXB3PewL78fYvR9cjQLAXvoPZFHIi4zyLnyDVzoWqggAGVJCjRqBwgTG53qBlM8BlayZVep-gnq3j9gpYSI5p6d4y-kgTFEkN_nLgg_J_mZQOl8v32VFKFQ/s1600/20150721_121143.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJRPqJSv0Mlsy_nYpBCIPdtPXB3PewL78fYvR9cjQLAXvoPZFHIi4zyLnyDVzoWqggAGVJCjRqBwgTG53qBlM8BlayZVep-gnq3j9gpYSI5p6d4y-kgTFEkN_nLgg_J_mZQOl8v32VFKFQ/s400/20150721_121143.jpg" width="400" /></a>Another favourite place that we visited was Wistmans Wood. A small upland Oak woodland where the trees are hundreds of years old and grow stunted and twisting between the granite rocks on the valley side.</div>
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Left: Wistmans Wood can be seen on the right of the valley in the distance of this image.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiCaMEXXdeBZayQcZs_bCnbVIT2yQdYFv2_AKhnNz2ysMi7r8b6r0H6OC6zvHw8LOmM5l3EbV6ZFjMfupA9tKfdd1zQRo5bzaWmVB2Cv9hyphenhyphenGFGpYGiBsElE6SBJDshyrC0i93QF_PPVPam/s1600/20150721_132647.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiCaMEXXdeBZayQcZs_bCnbVIT2yQdYFv2_AKhnNz2ysMi7r8b6r0H6OC6zvHw8LOmM5l3EbV6ZFjMfupA9tKfdd1zQRo5bzaWmVB2Cv9hyphenhyphenGFGpYGiBsElE6SBJDshyrC0i93QF_PPVPam/s400/20150721_132647.jpg" width="400" /></a>Once inside the woodland there is something very special about it. Some people call it 'spooky' but I definitely don't consider it this. There is something about it though, and when there are no other visitors around you certainly feel at one with nature and landscape history.<br />
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Sunlight through the trees. The branches are 'dripping' with lichens, ferns and mosses. <br />
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The rocks are also covered with numerous mosses and on this visit some of them were home to English stonecrop, a delicate whitish pink flower with succulent type leaves.<br />
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Sketching in Wistmans Wood</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8m0hxuYnjffa9VSJoLEMpFQQGqHCkqM6h5s4g_M30mdV89vXFwQHXos_IxY-V3EMXelvI-IxR8eZmfQ221jfRzmcYpZ6f-ApZzu8oWAIZus8KFMw67nr6wLmJ4yurIlWF3YpEQ8QhlPoI/s1600/20150727_130108-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="336" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8m0hxuYnjffa9VSJoLEMpFQQGqHCkqM6h5s4g_M30mdV89vXFwQHXos_IxY-V3EMXelvI-IxR8eZmfQ221jfRzmcYpZ6f-ApZzu8oWAIZus8KFMw67nr6wLmJ4yurIlWF3YpEQ8QhlPoI/s640/20150727_130108-1.jpg" width="640" /></a></div>
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Left: The Dartmoor bog page and right: The Wistmans Wood page in the sketchbook.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOGFR1noHiUt6Dy8rnu-INyAf5tui732_dcmaO-Q-ybx8pXi7cKLzRjlpUqmLg4xKTb0FCvcHxCTIqb5pPyJrHGvE-M7fpaTshAVvWft6MNyJBzUuYhO85QnKeQZSUOmJxcc9mD0X1JTSo/s1600/20150722_135301.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOGFR1noHiUt6Dy8rnu-INyAf5tui732_dcmaO-Q-ybx8pXi7cKLzRjlpUqmLg4xKTb0FCvcHxCTIqb5pPyJrHGvE-M7fpaTshAVvWft6MNyJBzUuYhO85QnKeQZSUOmJxcc9mD0X1JTSo/s400/20150722_135301.jpg" width="400" /></a><br />
One trip we were really looking forward to was going out on a rigid inflatable (RIB) from Dartmouth and out to sea to the Mew Stone, a rocky outcrop where a variety of seabirds roost and Grey seals can often be seen hauling themselves up on to it as the tide changes.<br />
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It was very tricky to take any photos as we were perched on the inflated side of the boat hanging onto a rope to ensure that we didn't fall in ! We motored gently out of the harbour and noticed several Barrel jellyfish, but once in the open sea we moved at speed, which I must admit was very exhilarating !</div>
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As we reached the Mew Stone you could see the zones on the rocks of where different lichens grew and therefore produced these bands of colours in some areas. The rocks almost glowed in the sun as the golden lichens shone out. Seabirds were perched in several places and the rocks were bleached by bird guano.</div>
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A Cormorant perched on an area of the Mew Stone.</div>
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Just before we started to head back to Dartmouth husband spotted a Grey seal. It was near the base rocks and then we noticed it playing with a bouy which it actually seemed to detatch from its rope. It was great fun to watch as the boat bobbed up and down and I think it is good not to have photos of everything you see, memories are so important.</div>
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The Mew Stone sketchbook page. As we docked at the quayside there was a small jellyfish in the waters known as a Compass jellyfish, so that made its way into the sketchbook too.</div>
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<strong><u>A bit more about the sketchbook</u></strong></div>
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It was created using scraps of mountboard covered in coloured paper.</div>
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The internal pages were made from a sheet of Fabriano Artistico HP 140lb watercolour paper, folded into the chosen size. This was great to use as it took a good amount of paint without buckling.</div>
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The end pages were then glued onto the covered board using an acid free glue.</div>
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A ribbon was attached to the back cover so that it could be held together when not in use.</div>
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There's not too much time to sit back and reminisce as next week I am teaching a Natural History Illustration Course at the <a href="http://www.kingcombe.org/" target="_blank">Kingcombe Centre</a> in Dorset. I'll be blogging daily from the course and you can catch the blog posts on my other blog <a href="http://art-hedgerow.blogspot.co.uk/" target="_blank">Art & the Hedgerow</a>.</div>
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Just a polite reminder that all images on this blog are protected by Copyright and are the property of myself Sarah Morrish at Natures Details. No images may be reproduced or copied in any form, unless permission is sought from myself.</div>
<br />Sarah Morrishhttp://www.blogger.com/profile/05198273023728084037noreply@blogger.com1