Adapting to new ways of teaching has been my focus for the past two months. Yesterday was the first Zoom workshop in Botanical watercolor. It went amazingly well. It was not as difficult as I had imagined. This could be a very good way of teaching for a number of reasons. For this first workshop, the participants were artists I had worked with previously, so their styles were all familiar.
Yellow flowers were the best option for this trial because they required fewer glazes of color. The workshop was held to a two hour format. Two people were able to completely finish their paintings except for some minor finishing touches. The other two were more than halfway to completion. For future workshops, I believe the 2 hour format is probably best but depending on the type of flower and whether or not the artists are beginners or advanced. More complicated flowers could be a series of 2 hour workshops. Beginners could be offered a series as well.
All in all, the zooming was a great platform for teaching botanical art. I am excited to set up some more. Additionally in the works, is a gallery page for workshop attendees to showcase their work here! The guide to daffodil painting will soon be available, as well.
Looking forward to this new adventure! All suggestions welcome!!
For years my favorite book for teaching Botanical painting has been, Botanical Illustration Course with The Eden Project, by Rosie Martin and Meriel Thurstan. The ease of following the book’s guidelines, the abundant illustrations, and demonstrations have made it my go-to textbook. Sadly, I have just found that it is no longer in print and will soon be very difficult to get.
Barnes and Noble found two copies for me. Amazon still has a number of them available in new, used and hardcover. British bookseller, The Book Depository also has some copies available. Get one while you still can. It’s a great book for methods and materials of botanical watercolor painting in a simplified and easy to follow format. Currently, I am in the process of finding a substitute that will work in its place. In the meantime, I’ll keep using it until all available copies are gone.
One of my dreams has been to visit The Eden Project in Cornwall in the U.K. with a group of botanical artists. From all accounts it is truly a remarkable place. The amazing story as told on the website is of the transformation of an abandoned porcelain quarry repurposed to provide habitat for an array of plants from all over the planet. Biosphere domes shelter the plants in two basic climates: rainforest and Mediterranean.
Along with the plant life, The Eden Project provides educational opportunities for all ages in wide ranging topics from gardening tips to university degrees in subjects such as Horticulture, Land and Ecological Restoration and Sustainable Tourism. Many recreational opportunities are also available. You can opt for a Zip wire adventure, a visit to the Myth and Folklore garden where you might encounter a fairy or two, or spend time taking in the scents from the perfume garden. Concerts and festivals are held frequently throughout the summer months. A trip to The Eden Project includes lots activities for the kids and even an adventure for you and your dog.
Someday I may make it to The Eden Project. If you are fortunate enough to go, please share your adventure with me. I’d love to hear about it. In the meantime, happy painting!
In the ongoing process of making a better rose, at least in painting one, new tools are always being sought, tried and incorporated into the technique. Art supply stores are the garden where new tools are harvested. On one particular scouting expedition, I was overjoyed at what I thought would be a wonderful new tool for streamlining the under-drawing portion of the painting.
My favorite method of painting flowers is based on one of the techniques outlined in Botanical Illustration Course with The Eden Project. In this technique, a complete pencil drawing is made that can be used as part of the layers of paint-washes speeding up the time to the finished piece. I have experimented with different pencils and mark making applications and have come to a place where I am happy with that process. But I still find it necessary to use a white eraser until I get the shading where I want it. (More on erasers in another post.) Occasionally, I’ll use the eraser to clean up the edges, as well.
While perusing the feast of erasers at the art supply store, my eyes hit on a battery operated power eraser complete with white eraser inserts. My heart jumped with excitement imagining faster and more productive painting. I couldn’t wait to get home to try it out. As soon as I got home, I pulled out watercolor paper and started what would be a red rose. The eraser worked so well, I used it more. I became almost careless with the drawing because I could clean it up so much more quickly. And then my newfound excitement began to shrink.
The first thing I noticed was the paint was pooling up and not spreading smoothly. As it dried, I started to see splotching. As the painting progressed, it became evident that the eraser had erased large portions of the “tooth” of the paper. This particular tool would not be as useful as I thought. It would be great in drawings not intended for painting, but would not be helpful in making an under-painting drawing. It’s back to the drawing board to start over.
Moral to this story: there is just no substitution for good drawing.
Follow the link here for more on The Eden Project.
Fall appears to be taking its sweet time this year. The colors have been changing for about four weeks or so, as far as I can tell. I picked up the first red leaf I saw weeks ago and brought it home to press in my favorite leaf presser book, Art Through The Ages.As the weeks have progressed, more and more leaves have found their way into the pages of the book. Fall leaves are like seashells. You can’t pick up just one. There is always another beauty to be brought home. I keep going until the book won’t close well anymore. Then I have to switch to pine cones, acorns and other fall treasures. My intent with all of these treasures is to make paintings and drawings of them. Some of them, I actually get the time to make the painting!
The leaf painting above is one of my favorites but each leaf presented a different issue to be worked through. The yellow maple leaves had green still bleeding through the veins and bits of brown in odd places. The red maple leaves were slightly testy in achieving the right shade of red-orange. But the Bradford pear leaves were undoubtedly the most challenging. I prefer using a complimentary color for shading in most cases, but the pear leaves were just not getting there with green shadows on the deep, dark red. Finally, in desperation, I resorted to phthalo Blue. Bingo! It was the right color for shading the strong red of Bradford pear leaves. Usually, I stay away from any of the phthalos except in extreme circumstances because their strong staining color is so unforgiving. Once it’s on, it’s on to stay! If the phthalo ruined the pear leaves then the whole painting was gone because they were the last leaves. This felt like that extreme moment! I took a deep breath and dove in. Risks can be so fun when they work! When they don’t, not so much. But then you can’t have the fun without the risk!
As fall fades into winter, the last of the leaves will be dropping. I took the camera out for one last sweep of the fall colors since the art history book is now overstuffed and there’s no more shelf space for pinecones. Soon it will be time for the winterberries and glossy holly leaves. I think I’ll take another risk or two with fall treasures before starting on winter.
Happy treasure hunting for “risky” fall paintings!