Assignment 6 of the Society of Botanical Artist’s Distance Learning Diploma involved painting a fruit of our choosing. I really struggled with my choice of fruit in my head, but as soon as I got out into the farmer’s markerts/farm shops … Continue reading
I loved this assignment. I feel like I have improved since the last assignment, and each element (the drawing, planning composition, painting) all came much more naturally. I chose this rose because my friend has asked me to do a commission, and this rose suited her brief. I thought at this time in my life where everything is very hectic, combining the commission and the assignment made sense…
After many hours studying the rose, photographing different elements and views of each flower head, I settled on the aspects of the rose I wanted to paint and set about drawing. If you’ve read my blog before, you’ll know that I like to draw onto either tracing paper or cartridge paper, and then create an ink version of each individual component on separate sheets of tracing paper (shown in the photograph below). This makes composition planning much easier, and it means I forever have an ink copy of each drawing individually.
Composition planning is made much easier by the process I’ve explained above, but it is still always a challenge to get it right. I had lots of components and so lots of options. A couple are shown in the photos below. I settled on the final composition because it felt balanced, with interest at both the top and the bottom of the piece. I did have to move around some of the leaves in order to make the composition flow naturally and not be too busy.
The next stage is the colour studies, to ensure the colours are botanically accurate. These also give me a chance to have a ‘practice run’ which I am always eternally grateful for, as it always turns out completely rubbish (see examples below!)
I used varying mixes of Quinacridone Rose (Daniel Smith), Opera Rose (W&N), and P. Alizarin Crimson (W&N) for the flower heads.
For the leaves I used a mix of Indanthrone Blue, Quinacridone Gold, and Green Gold (all Daniel Smith).
A really key part of the colour studies are making a botanical grey. This is a really crucial component of the painting, as it’s used to create realistic shadows on the plant. A good botanical grey is particularly important on pale flowers, as it’s really the main way to demonstrate form. To make a botanical grey I take three of the primary colours used in the piece (in this case Quinacridone Rose, Indanthrone Blue and Quinacridone Gold).
I think it’s a bit easier for me to just post photos of the painting process.
I got 8.37 for this assignment, but lowest mark so far in the course. At first I was very disappointed, but the criticism was very constructive and I have a few areas that I can work on. They mark us on a number of different areas, I’ll just go over the main criticisms, as the feedback is very thorough…
Line: I need to make sure that my stem widths are even, particularly where a leave or another stem overlaps. A basic point which I’m annoyed I didn’t get quite right.
Form and Tone: This was generally good but could have hard darker tones in some places.
Colour: According to my tutor this particular rose has some yellow tones in the centre. My particular rose didn’t have this, but perhaps it’s a lesson in doing some research on what the ‘true’ specimen should look like…
Composition: She was pleased with the composition.
Botanical Accuracy: This was also fine!
Technique: Some uneven washes on the stems, and sometimes the veins on the leaves can be more indistinct, particularly where there is less light.
Presentation: There was a small dot of paint on the right which I couldn’t clean up off the paper – I’m always so careful but accidents happen occasionally. Will have to find a way to try and fix it, there are ‘magic erasers’, maybe I’ll try one of those….
Labelling: My labelling with the latin/english names wasn’t quite right… again. I need to spend more than 5 minutes on this at the end.
I hope you all enjoyed reading this post, and it was helpful, especially for those of you on the SBA course or equivalent!
Assignment 4 was a fun assignment, the first opportunity to use a lot of colour after the first two graphite assignments and then all the greens in Assignment 3. Choosing which flowers to use was really tricky for me. I’m … Continue reading
I was really excited for Assignment 3, but for various reasons (including finishing my 4th year at University, moving house and county, and welcoming into the world 7 jackapoo puppies) I only had 2 weeks to paint, rather than 2 months. Those 2 weeks were manic, and unfortunately I couldn’t create exactly what I wanted. Here is a short photographic summary of assignment 3.
For this piece, I really struggled with the composition. A minimum of 8 leaves are required, and I wanted to avoid just plonking down (love that word) 8 leaves on a page. I wasn’t too happy with my final composition, but with time constraints it would do!
Neither of the above compositions are the final piece. It so happened that the Iris instantly found it’s place as the leaf to plan the composition around. I liked the ivy coming down from the corner as in the righthand photo. In the end I decided to keep each leaf as it grows, i.e. the Acer hanging down as it does from the tree, the ivy climbing across the page, and all the other leaves growing upwards from the ground.
I am told with compositions with multiple specimens such as this, it works best to keep the heavier components a the base of the painting. I kept this in mind, with the hellebore in the bottom right.
The Final Piece
One of things I love about watercolour is the way you can build up layers of washes to create different effects. You can lay down really bold colours first, and when other colours are layered on top, everything can soften together and create a really interesting effect. I’ve demonstrated this with an ivy leaf.
I kept my mix for this really simple. Indathrone Blue and Hansa Yellow Light (both Daniel Smith).
I determine first which areas of the leaf are facing away from the light, and which parts are not. This is a general impression, the details of shadows are added in later.
On the areas away from the light I laid down a wash of Indanthrone blue, and areas facing the light I laid down a wash of Hansa Yellow Light.
I then use a mix of the two to add in the details, now adding areas of shadow.
I’ll go and finish painting it now!
So, 6 weeks (or so) later I have completed my Jasmine… And most excitingly I have completed all the art diploma work that I will need to whilst also tackling university work; my next assignment (leaves in watercolour) will have my undivided attention!
I thought I would do a short summary of the process of drawing the Jasmine polyanthum. You can see it grow!
TWO CLOSE UPS:
THE FINISHED PIECE:
Thank you to everyone on here who gave my advice before starting! I hope you are all satisfied with the result!
I’m still struggling with what to draw for my second assignment… If I sit at home and try and decide from scratch what my next subject will be I get absolutely nowhere. I need to be in a garden, or in a nursery, or just in nature to get inspiration.
People often try and give me ideas, and it never works (namely my Mother – love you, Mum) I get a feeling when I see the right flower or plant, I can’t really explain it.
This time is was a new nursery I discovered in the New Forest in Hampshire. I couldn’t make my decision there and then, and came home with a house Jasmine, and an interesting looking Fern.
I’ve had them a week and I still haven’t decided. In fact, I’ve started drawing the Jasmine and I’m still not sure I’ve made the decision, what do you think? Maybe I’ll have time to do both…
To all my wonderful followers,
I have created a Facebook Page!
I am staying here too, though. My plan is to keep my blog for longer posts such as step-by-step pictures of creating a full piece, and to use Facebook for quicker photo updates of work, as well as updates on my assignment marks and feedback etc. ‘Like’ the page if you wish.
I love sharing what I do, because of the support I get from you all, but mainly because I am opened up to a world of art and inspiration from your blogs themselves.
Love to all of you!
This afternoon I went to the post office and dropped off my first assignment to be sent to Guy William Eves, a wonderful botanical artist and tutor on the SBA Diploma. It feels incredibly exciting (and intimidating!) knowing that he will be judging my work. He will also be marking Assignment 2.
In my previous posts I have described the outline drawing required for the first part of the assignment, and the stippled lily for the second part, so I will focus this post on the final part.
I chose to draw a hyacinth, and as I got into planning the composition I realised I wanted to include not just the stem and flower head but also the leaves, and also the bulb and the wonderful roots. Inevitably the piece got far too large and intricate for assignment 1… but I managed to get it finished.
I really liked the composition, and I did enjoy drawing the hyacinth, but I have to say I do find pencils much harder than watercolours (I am dying to reach for my paintbrushes). I struggle with keeping the paper crisp and clean despite all attempts to do so (my drawing board has tracing paper everywhere!)
So below are the final 3 drawings that I sent today, plus a tonal strip and a note to my tutor with a few points, particularly querying the size of my pieces.
And here they are all ready to be sent!
This was such an exciting day for me today. Although I’m feeling apprehensive now, I definitely know that I am going to be completely in my element during my year out from my studies. I can’t wait to see what I can come up with for the next assignments.
Now for a breather whist I wait for my feedback before Assignment 2. Perhaps I can start thinking about my subject choice…!
Stippling is fun, but requires a lot of patience. Only now I realise actually how much detail about the subject you can portray just through lines and dots!
This is only my first attempt, so I’m no expert, but I can hopefully pass on some tips that I have learnt doing this exercise:
- Start with a clean, clear line drawing. Include any details such a main veins, thorns, and any defining features such as small areas of pigmentation. Be happy with it before you start thinking about stippling. Once you have started stippling an area, adding lines on top is risky. It can end up very messy.
- Lay down your dots in lines, not randomly. With randomly scattered dots it can be difficult to keep the form and tone even, and can look chaotic. Lay down lines of dots, varying in lengths and varying the distance between them to create your darker and lighter tones.
- Take breaks. Laying down those tiny dots takes a lot of concentration. It’s very easy to want to power through, but you’ll soon realise your dots are becoming little lines, and your neat rows of dots are weaving all over the place and looking untidy. I reckoned 10 minutes stippling at a time was plenty! Lots of tea breaks…!
My next post will be of my completed SBA diploma Assignment 1. I will break down exactly what I have had to do, and show you the finished pieces!