I am so enjoying painting this picture. To me, there are some parts that have been less than perfect and it might mean that talking about these will be an additional separate blog. I will see! But, as I have a deadline, I have a good excuse to work on it almost every and all day!
This blog is all about finishing off the black blackberries on the left hand side and some new green ones on the right.
Although I know that many of you are watching the sections as they change so that you know roughly what colours I am using, it is worth mentioning the difference in the colours used with the black, blackberries. Of the three on the left, the nearest is the freshest ripe one and therefore has more remnants of the unripe red in it. The other two are even more ripe and additionally are affected in colour by how far back they are in the picture.
Of course the latter is called atmospheric perspective and affects tone and colour. Typically more distant objects show less detail, colour and contrast. In relation to colour, they are clearer, brighter and warmer when seen close to. As objects get farther away the colours become duller, get colder, paler and eventually turn blue grey.
So what on earth do you do when the ‘native’ colour of your subject is warm, but it is further away? You need to dull the colour as it moves away and hopefully you will see this occur in my light greens and reds. If not, you can smack me over the fingers when you see me!
This is an example of what I am talking about, except, that I don’t think you will actually see it fully until you see the finished painting. As I finish off a painting I will generally check over this sort of thing.
In a couple of weeks I have my next workshop in Bosham; Hedgerow colour. I think that this picture is a good example of the general subject
. I still have one or two spaces on it and it will be the last one before coming back from teaching at the ASBA (American Society of Botanical Artists) conference in Pittsburgh. But the dates for the Hedgerow colour workshop are 27-28 September. Do get in touch if you want one of those spaces. Workshops in 2019
Last Friday and Saturday I had a workshop called Fruit and Veg ; or Strawberries and cream. It is a very popular workshop has happened for several years running. I don’t know if it is the Strawberries and cream that tempts, or the painting. Unfortunately, I didn’t take into account that it was a bank holiday weekend this year, but those who signed up were pleased to have more of my attention..
One student was working on vellum and decided to paint a short branch from our Malus ‘Royal Beauty’ crab apple tree. It has very dark berries and I thought the best way to demonstrate was by doing one of the berries myself. Of course doing it properly also takes time, so as soon as the workshop was finished the first day I went down into the shed and started the berry so that I could demonstrate on it the following day. That was one long day!
But it was a useful exercise and the student got a clearer understanding of how to get depth and darker colours on vellum without laying it in thick layers.
The other students unusually all worked with watercolour this time.
I finished off my Royal Beauty crab apple later on.
My 5 x 7 inch picture of a Blackberry branch on Kelmscott vellum is progressing in-between teaching and demos.
My last blog finished off when I had completed the bottom-most berries on my branch; you could see a ripe blackberry under the stem. In this blog I will show you the layers needed for the berries on the left of the stem. The nearest one is almost fully ripe as you can see by the residual redness of the drupelets. Then there are two more fully ripe ones behind this; I therefore have to take this into consideration when choosing my colours. The slideshow of photos taken at regular intervals is at the bottom of this page.
I promised a picture of my art table as it was in my last blog, but bear in mind that since the very hot weather my subject is deteriorating quite fast.
In this picture the sprig is still fairly OK giving me an idea of the colours of the berries, although I have to get fresh samples to paint from; as you can see, these are scattered on the surface beside me.
Finally and unusually, I have two vacancies in my weekly botanical art class in Bosham. It is Wednesday mornings between 10:00-12:00, starting up again Wednesday 4th September. Get in touch using the contact form below if you want to know more about it or sign up. Before you ask, it is for watercolour and colour pencil artists, including those who want to learn. The class is kept even smaller than the workshops so everyone can develop at their own speed.
You might wonder what this picture on the right is all about! A single blackberry stuck on a piece of Blue-tac!
Botanical art takes time – at least when I do it. I always have to research my subject before I start and then take time. doing each element. But because one leaf might look similar to another, they are not and therefore you cannot use exactly the same method on each of them. The leaf might be facing in a different direction, be in light or shade, have a curl, a hole or different colour. The same is true of the blackberries on my branch.
Each blackberry is in a different stage of development from tight and green to soft and black. Additionally, each drupelet on a berry seems also to be in different stages of development and too can vary through green, yellow, pink, red and black-ish.
As you know our plants live, so how do you cope with the fact that they change constantly? Even what seems to be a dead leaf, changes as soon as you begin to paint it. I take loads of pictures of my plant in the original set-up.
I also take lots of of detailed photos from each element of that set-up. But I do not paint from photographs. I use these pictures to find and replace an element when it changes and dies. But to replace it with the right fruit to fit in my composition, I need a lot of photos depicting the original one.
The berry on the right is a replacement berry, laid on my desk in the same direction to the light source as the original specimen. Sometimes I use the original drawing of that element and just use the colourations and form from my new specimen, at other times I re-draw my new specimen and paint directly from that.
Once, when practicing for the Crab apple series in colour pencil, I drew the same arrangement three different times to put them in slightly different compositions. From afar one thought it was the same picture section, but when looking at them in detail, you could see that on every single one, all the apples and leaves were different.
Below I will create a slide-show of all the pictures taken up to the next blog. It would be helpful if you could let me know if you don’t want the pictures taken so frequently, but I know that it helps some people to see the gradual change in the picture and how I get there.
Next time, apart from showing the different stages, I will also show you the state of my art table!
We have a local village magazine which covers the villages between Chichester to Emsworth and a little up into the Downs. I was really surprised to get an email from them the other day telling me that if I hadn’t looked in the recent issue, there is an art competition. The winner’s artwork will go on the cover in the October issue and the subject is Autumn.
There are a lot of artists in this area and I expect many got the same email. But I need to practice as much as I can on vellum in preparation for when I start my final pictures for the RHS exhibit, so I thought I would see if I could get a small picture finished. Unfortunately the deadline is pretty soon – 10 September, and I have a workshop this weekend, but I have started something.
The blackberries in the garden are coming towards their end for this year, but apparently in the hedgerows they are only just beginning to ripen. The wind and the rain hasn’t helped much, but we have a few days of warmer weather due.
I’m painting Blackberries on Kelmscott vellum. There are two problems: It might not be finished in time and it might not be good enough to put in. There is a third thing – if i finish it and its OK, they might not choose it! But then I will have 5 x 7″ picture.
The berries are gorgeous aren’t they?
I found the actual painting on Kelmscott rather different to painting on natural calfskin vellum. If you make a mistake (which I often do at this stage), it is easier to take out on the Kelmscott. But, as it is easier to take out, it also means that i have to be even more careful with the dry-brush technique, or I lift off what I have already done.
This blog shows my preparation from first sketch before tracing it onto the vellum to the first group of berries.
I have to be honest, but this idea is not mine. I came across it when researching different types of journal. I hope that Lara Gastinger won’t mind me taking her name in vain, but I saw that she had been doing this for years.
Many people try to do a drawing a day, but knowing how I get involved in what I do, I thought I would never get anything else done. My aim was to be quicker with what I do – but that is what everyone wants to be. Many of my students want to paint faster, and I remember I wanted to do so when I first started painting botanical subjects. But I get slower and slower because I increase the detail and complexity of my paintings.
Because each picture takes so long to finish, I am doing very little ordinary quick sketches. I wanted to increase my output and thus increase my ability to make quick sketch notes. How was I going to do it?
I now have an A5 Stillman & Birn Zeta sketchbook and have set off a double page to do one sketch a week, and next year I will go back again to the same page to do another one. I have done this since March this year, but missed three weeks whilst I was sketching and colour matching mountain plants in Norway.
Why does this help me? Well, I have decided to minimise the graphite help marks I draw so that I go straight into it with pen, then do colour washes.
23-24 August this year I am having my annual Fruit & veg workshop (places still available)and I thought some preparation sketches for this would be ideal in my Perpetual diary. This is what I have done today. I took several photos so that you can see the stages. If you want to learn about this – and more, get in touch and sign up as soon as you can.
I had a list of plant detail that I had worked out I needed to complete the composition planning for my series of pictures. My vellum size for each piece is 25 x 31 cm – which I suppose relatively speaking is quite small. But all but one of my plants is very small with leaves varying from 2-6mm long on the Vaccinium microcarpum, to the Rubus chamaemorus where the leaves vary hugely in size.
I decided that rather than work on all seven pictures at once as I have done so far, I would work on half this year and the rest next year. For all of them I needed to do some colour matching on vellum as this will be different to the colours I have used on paper. You have already seen the small piece I did on the Cranberry a couple of blogs ago. You may also have noticed the difference to the actual flower size (tiny) and the painting which I did at twice the size.
Luckily enough although there is a slight difference in the terrain from which each of the plants come from, we have found each species within walking distance of the cottage in which we have been staying. The Cloudberry and the Cranberry can be found intertwined with each other in the soggy sphagnum moss – but not always. The Bog Blueberry (Vaccinium uliginosum) comes from a similar area, but I have seen it reaching up the side of rugged outcrops. The Crowberry can be found all over the mountains although the Ssp Hermaphroditum can only be found at higher altitudes. The Bilberry can also be found pretty well most places, but doesn’t seem to be above the tree-line and doesn’t seem to like really boggy areas. The Cowberry – Lignonberry (Vaccinium vitas-idaea) is spread on ant mounds and rocky outcrops. Common Bearberry (Arctostaphylos uva-ursi) likes much drier conditions and is often found in pine woods. But we did find an example not far from the cottage. Last year Robin drove about 150km to find a spot that I knew about!
Below is the colour sample of the Bog blueberry done this year. The very new new leaves start out quite red and as they get older they become bluer and stiffer. Sorry the photo is a little dark.
Whilst everyone else is suffering extremely high temperatures in Europe, we are experiencing +4 high in the mountains of southern Norway! I believe it is warmer at the North Cape.
However, as there is now no longer a direct ferry from the UK to Norway, we drive here over several days, with our cargo of painting equipment. A necessity for the job I am going to do whilst here.
On the way we stopped off in Amsterdam to visit my son and partner and had a cycle ride to the coast in 37 degrees. It was almost a relief to eventually get to a cooler climate, although the day we arrived it was in the high twenties lower down in the valley.
Since then, the temperature has gradually sunk even lower. Today we are awaiting my daughter who lives on the Norwegian coast, advising her to bring winter woollies. I didn’t dare tell her that it has been snowing today – although it hasn’t settled.
So why am I subjecting my sun loving and warmth seeking husband to todays chill in the Norwegian mountains? It’s the plants of course. I am now back to getting all the plant information to paint my pictures for my next RHS exhibit. I know I have spoken about this for a couple of years or so, but my involvement in the Worldwide Botanical art exhibition last year and continuance with setting up the Association of British Botanical Artists (ABBA), rather delayed things.
Because of the delay, I also lost my right to exhibit at the RHS – this year being five years since I last exhibited. I therefore had to apply again. Luckily, my work in general was again accepted as potentially worthy of a medal place, so now I am going to work through my subjects properly and, rather than rushing it, plan to exhibit in 2021.
This year I am focusing on three of the plants I have chosen and plan to get information I feel is lacking to complete a picture. My first is Vaccinium microcarpum – or Small cranberry. Last year I was able to find ripe fruit and was able to get all the information from that. Previously I had only drawn one flower, so I am concentrating on these now.
I thought you might be interested in my already messy workplace setup at 910 metres over sea level!
If Denise Walser-Kolar sees this blog, I hope she will notice I have taken on board her teaching. As long as I practice what she taught in Vienna, painting on vellum is going much better – even with the tiny leaves! Thank you Denise.
The other two plants I hope to get some more information on is the Vaccinium uliginosum (Bog Blueberry) and a little from the Rubus chamaemorus (Cloudberry). In both instances, it is only small details I need. I have already noticed that the leaf colour of the Bog blueberry seems to change in the sun. New leaves have a red tinge to the edge of the leaves, older leaves don’t, but in the sun they become red to almost a Perylene Violet (for watercolour artists) colour. I didn’t realise that before.
The Cloudberry fruit is only to be found on female plants. Each plant can be quite huge and spread many metres. Around the cottage I have only seen the male flowers of the Cloudberry – no female ones at all. it might be because it hasn’t warmed up very much yet where we are. The temperatures are set to improve, but I doubt we will be here long enough to benefit from it.
Please don’t get the wrong impression of Norway. The summers can be hot and the winters cold. It is a fantastically beautiful country and every area has its own attraction. I like it in the area we are staying as I lived in the valley for several years. Lastly, a picture of the sun rise a couple of days ago. It doesn’t get totally black at night at this time of year, but this was taken at 03:30.
Today is exactly a year since we had the Worldwide Botanical Art exhibition where twenty five countries participated on the same day. The UK exhibition ‘In Ruskin’s Footsteps was held in Lancaster.
On the 19th May several artists demonstrated their skills in botanical art. They were the late Mally Francis painting Gorse, Jackie Copeman on vellum and Sandra Doyle painting Spindle Tree Moth caterpillars.
Sandra’s painting of the Euonymus (Spindle tree) was in the exhibition and for her demonstration she painted the caterpillars showing their strange behaviour on their host plant.
Today I am lucky enough to be in Vienna, participating in the first ‘Get Together’ conference, where botanical artists from around the world are congregating to learn from and teach each other. This is being held at the Vienna School of botanical Illustration. Unfortunately I was not able to be here the whole week, but today we have been on a Field trip to the Donau-Auen National Park.
Apart from seeing at least ten different orchids including my first live Bee orchid.
I also saw the effects of the Spindle tree moth. It was hanging right over the path we were walking and I think if I had reached it first all the wild animals in the forest would have deserted. I do have an almighty scream when I get going!
As it happens I was completely amazed by what I saw. It also helped to remind me about the first ABBA event exactly one year ago.
Tomorrow I am going to a workshop by Denise Walser Kolar. She is teaching painting on vellum. A workshop I have always wanted to do with her as she has encouraged me to paint on vellum for many years. I am so looking forward to being a student and getting to paint all day,
It is an awfully long time since I last wrote a blog! It isn’t because I didn’t want to – it was just the usual problem – Time!
The Worldwide Botanical Art Exhibition held in May 2018 took over my life virtually from the latter part of 2016. Initially it was to put on the UK arm of the exhibition, but this evolved with the development of ABBA.
My last blog post was following the London RHS exhibition in July 2018 when I, as part of ABBA (Association of British Botanical Artists), helped man its stand. We had a great response to the formation of the organisation and found that there was a huge expectation and need for us to continue. That is where all my time has gone!
With a fantastic new team and a lot of hard work, especially from the other members, we have come a long way since then. A new ABBA website, which also opens up to membership, is planned for 21 March. As I write this it is only 18 days away. Read about what ABBA is all about and watch for when the new website is launched by following this link: ABBA
After the RHS exhibition I realised that I had to get my own botanical art life back on track. I knew this would take time as work would continue with the development of ABBA.
I have previously mentioned the preparation I was doing for my own next RHS exhibit. It is a series of plants from the Norwegian mountains. Robin and I travelled to the beautiful Norwegian mountains in early August, where I continued to sketch my chosen subjects. In 2017 I had sketched my subjects in flowers this time I hoped to catch all of them with fruit. As we all know, the climate changes from year to year, so it is difficult to judge when is the absolute best time foreach of the plants. Heat and drought had also struck Norway, but luckily enough after much hunting we managed to find examples of everything. Whew!
Initially I had planned to get the series of paintings ready to exhibit this year, five years since my last exhibit and the last year I am allowed to do so without being re-assessed by the RHS. One has to be able to produce botanical art at a consistent set standard before being allowed to exhibit. The standard is rising year on year! But because of all the commitments already mentioned, I was unable to start on my final paintings and they will not be ready in time. I will not rush them. This means I have to go through the RHS application process again.
Here’s hoping they don’t refuse me! The sketches below were done in 2018 and are fruit, leaves and roots from three of the plants. In actual fact, I could write about my time sketching in the mountains and about each of the plants in detail. Perhaps one day I will. The more I learn about them the more fascinating they become.
There was a heatwave in the UK whilst we enjoyed cooler conditions at 900 metres in Norway. When we returned home for a short period the weather cooled down. In October we travelled to experience Spring in Western Australia with my sister. Again there was a heatwave in the UK whilst initially in WA we were dressing warmly with anoraks, jumpers and boots. My husband loves the warmth, I like it in between!
It was cooler in the southern part of the state, but quite warm by the time we went north. Whilst in WA we saw the most amazing varieties of spring flowers and took nearly 3000 pictures. Imagine if we had done this on the old 35mm cameras! I perspire (as I am a woman) at the thought of getting them all processed.
These pictures are from the northern part of the state near the Pinnacles in WA. It was apparently the worst period for flies. Although we laughed at the idea of wearing fly nets over our hats, it didn’t take many minutes to change our minds. But the flies still managed to get in many nooks and crannies you didn’t know existed.
Since we got back at the beginning of November I have been trying to catch up. Nothing has been straight forward, but I now see this blog as the beginning of getting back to some state of normality – even if the ABBA website launch and membership is only a few days away.
I have decided that my next blog will show you how I have changed the ergonomics of my workplace in the shed. Hopefully it will be of interest as a well adjusted workplace is the best way to keep one healthy enough to keep on painting for many years.