Matilda Smith and John Nugent Fitch, Curtis’s Botanical Magazine, Vol. 140, Viola gracilis, (1914)
This is my first contribution to the Sketching in Nature group and I'd like to introduce myself. The main medium I've worked in for many years is gouache. For a full size painting (a full sheet of watercolor paper) I spend anywhere from six to ten weeks. For some of my botanical studies, done strictly from life, I work off and on during the plant's life cycle and if I happen to miss a phase I put the painting away until that phase comes around the next year. Needless to say, after doing that for many years I began to look around for an alternative way to record the things around me that didn't require such a committment of time. That's when I was lucky enough to run across Kate's watercolor pencil workshop in early 2008. I will never give up gouache because I'm an addict when it comes to detail, but I've also developed a love of watercolor pencil and pen and ink. I had to give up art entirely for well over a year because of near blindness, and as my vision began to return and I reconnected to the internet, what was one of the first things I ran into? -- Kate's Journaling class! What an inspiration she and my classmates have been. Starting January 1st, 2010, I began a journal dedicated to nature subjects and these three images are selections from it. I've enjoyed browsing through all your posts here and I'm looking forward to seeing more.
Heidi Willis is an entirely self-taught Natural History watercolour and acrylic artist who has been painting since 2003. We interviewed her in the run up to our competition ‘Plant Life: Botanical Illustration’, opening on the 6th October, Jackson’s interviewed Heidi to give our audience an opportunity to read about Botanical Painting from one of the world’s leading specialists.
Curtis's botanical magazine.. London ;New York [etc.] :Academic Press [etc.]. biodiversitylibrary.org/page/432276
Explore cate edwards' 519 photos on Flickr!
Nike trainers sprout plants and French perfumiers inspire by mysterious scientific icons in Katie Scott’s visions that take botanical illustration into the digital age
Flora Londinensis, or, Plates and descriptions of such plants as grow wild in the environs of London :. London :Printed for and sold by the author ... and B. White,1777.. biodiversitylibrary.org/page/40966480
M.P. Verneuil Nasturtium 1896
This art print is designed in the style of Polish wycinanki, a folk art that involves intricate, layered papercutting. I am of Polish descent, so I thought it would be both meaningful and fun to create artwork based on this craft. Each design is originally hand drawn, scanned to my computer, then digitally colored. The actual print size is 8" x 10" (20cmx25.5cm) or 11" x 14". Paper is 100% Cotton rag content and Acid free - Lignin free. :::::::::::::::::::: HOW TO ORDER :::::::::::::::::::: Please provide your choice of color and size in the drop down menu. (see pictures for selection and detail). The colors are rich and vibrant and it looks much better in person. Each print is carefully packed and shipped and comes with an artist's statement which you can attach to the back of your frame for reference. My prints are printed with Claria® Hi-Definition Ink. Fade Resistance / Print Longevity: Up to 98 years under glass Up to 200 years album storage Each print is carefully packed and shipped. Please note, that the color of the image above depends on your individual monitor settings and may be different than the actual color. Print comes unframed. This print will be shipped in a bubble mailer, with a sturdy backing board and clear plastic sleeve. 11" x 14" size will be shipped in a sturdy mailing tube. If you have interest in a larger size of this print, please let me know :) CARE OF YOUR ART PRINTS Prior to framing, prints should NOT be handled very much. If you need to hold the print, do so by edges only (with clean dry hands). They should be stored in the clear plastic sleeve and backing board that the print has been shipped with, and kept away from water, damp environments, bright light or acidic materials. Artist retains all reproduction and copyrights Thanks so much for stopping by my shop :) https://www.etsy.com/shop/Groovity
Design for woven silk from the 'Leman Album', pencil, pen and ink, watercolour and bodycolour on laid paper, by James Leman, Spitalfields, 1707
Lathyrus grandiflorus -The Two-Flowered Everlasting Pea The everlasting pea is a species of the genus Lathyrus (pea plants) that’s indigenous to Great Britain. It doesn’t set down seed well, and is...
Assignment 9. The Botanical Illustration. Pulsatilla vulgaris. Playing a bit safe really because I've painted it a few times. Again this assignment is worth more in marks with 15 marks. This one is all about accuracy, not that the others aren't but there's more to measure. All assignments are marked with the same criteria, including on botanical accuracy but also on technique, composition, line and form, tone and colour. labelling of course has to be accurate too. This one will be scrutinised no doubt! My turor Reinhild Raistrick who I had met at the SBA seminar in London and discussed the plant choice, she told me that Pulsatilla grow wild in East Anglia, where she lives and that she has painted them in situ many times, so perhaps I set myself a hard task choosing a plant she is very familiar with! I wanted to paint a native species, it makes labelling compared to all those difficult to identify cultivars, but that's not the real reason, I just prefer native plants I guess..... and they're pretty important! Detail showing all the fine hais on the flower stem and leaves, to add hais use a pale botanical grey mix against the white of the paper and add titanium white for hairs against the plant I included side view opening bud, front view, seedhead leaves and enlarged reproductive parts and individual enlarged seed. Reproductive parts are lined up along the bottom and labelled neatly with pecil using a 'x' rather than a scale bar. I think I could have included a rear view and closed bud but it's not essential. The complete illustration, showing different aspects My tutor said that the hue on these flowers is difficult particularly with the hairs but felt I had an accurate match. The drawing she said was accurate and showed off the nature and shape of the subject to perfection! She thought the botanical accuracy was 'professional' For technique the washes and hairs she said were excellent...I've got a red face and big head now! Composition well balanced and clean with labelling kept to a minimum on the front, as it should be. The only suggestion was a possible light wash on the leaves to reduce the business. Wow I was pretty pleased with that feedback and a good mark! To be fair this is mypreferred type of work , and I should be ok with dissection, measuring and the likes with being trained in Biology. When it comes to mixed florals and card designs I will be in a bit more trouble!
Flora Londinensis, or, Plates and descriptions of such plants as grow wild in the environs of London :. London :Printed for and sold by the author ... and B. White,1777.. biodiversitylibrary.org/page/40966416
See This Resource Used In Schools…
Sarah Graham, artist, botanical works on paper, 2008 to present...
The published artwork of Haeckel includes over 100 detailed, multi-colour illustrations of animals and sea creatures (see: Kunstformen der Natur, "Artforms of Nature"). This collection is currently available through public domain and we have uploaded a copy here for ease of viewing. Kunstformen der Natur
bibliodyssey.blogspot.com/2008/07/scrapbook-florilegium.html
by W. Keble Martin
PLEASE NOTE: All artworks are created digitally. The artwork is printed on matte, archival paper and the "textured paper" look is printed onto the paper. © 2021 High West Wild. All rights reserved.
Un tortino di riso thai con edera terrestre per portare sulla tavola i colori della rpimavera e un riso particolarmente colorato e sano
Eugène Delacroix Study of Flowers 1845-50
