Foraging plants in the norwegian mountains – Judges Feedback

June 27, 2023July 4, 2023 | Gaynor's Flora

**Beside my RHS exhibit the night of the preview.**

When the above picture was taken I had absorbed the judges feedback from a few hours earlier.

I had travelled from Norway the night before the exhibition and as soon as the plane landed I was able to access my emails. One of them was from the RHS telling me the results of the judging – a Silver Gilt award.

Before being invited to exhibit with the RHS one has to have ones work assessed by a panel of judges. The work, several pictures, needs to be of a consistent silver medal level.

If one is awarded a medal at the exhibition (this is not guaranteed), it is one of four in this order of merit:

Gold
Silver Gilt
Silver
Bronze

I, like everyone before me, hoped that my work was worthy of a Gold medal. It was not to be this time.

But having not got a Gold I can happily comment that this prestigious exhibition is international and the best artists from around the globe take part hoping to win this coveted award.

**Arriving at the Saatchi Gallery on the morning of the preview.**

I don’t have photos from the morning or afternoon sessions at the Saatchi gallery, but I was kindly and quickly nabbed as I arrived before lunch by someone who had taken the time to study my exhibit and wanted to understand my award. I was glad of this as it helped prepare me for my feedback due in the afternoon as the assumptions were correct.

Well what about the feedback?

Luckily I was well prepared.

I was extremely lucky as I was afraid that the judge(s) might not know my subjects. This was not the case as the judge given the task of my feedback had studied one of the species and had ‘gorged’ on most of the others! Apparently, my paintings were so convincing as to want to pick and eat them!

Therefore, it wasn’t the technical skills or quality of painting that was an issue.

Botanically, I was told that there were no holes in this area and they liked my use of graphite.

One of the judges had queried the nature of my Bilberry leaves as they thought them a little ‘wavy’. I commented that particularly young leaves are quite thin and often the edges were of a rather wavy nature.

Another query had been why I had chosen to paint on vellum rather than paper. I was readily able to say that the colours of the tiny fruit in the mountains are so intense that the way colours are reflected off vellum truly justifies that choice of support.

However, it seems that the issues the judges had with my pictures were my scale bars – again. It was my scale bars that were the issue in my last exhibit in 2014. But this time it was slightly different. Apparently, it was felt I had too many of them and that they had a tendency to dominate the picture making them intrusive.

I was told that the ‘judges decision was not unanimous and that there was gold in there’.

The judge who gave me the feedback felt that with the present exhibit format I was rather ‘hamstrung’. To explain that a little better, this was only in the way I had planned by exhibit without knowledge of the labelling restrictions now in place. I don’t know if I had missed some information sent out previously from the RHS, but as my exhibit took six years to prepare, plan and paint, things have changed as one would expect.

The way an exhibit is hung including the information given about each picture is the ultimate responsibility of the artist. This includes scientific names and common names used and their spelling. Previously, labelling included information about the species referring to parts on the picture. i.e. dissections were described in the legend and there might be additional information of interest. As such I wouldn’t have needed so many scale bars on each picture.

But now there was one overall description of the exhibit with the limitation of 100 words, plus an individual label giving the plant name.

Cloudberry in watercolour on vellum — *Rubus chamaemorus* – Cloudberry

If one is looking at scale bars as a negative, this picture was probably the worst one!! I had three different sizes on the picture; the actual size of the plant to the right, the berry, dissection of the berry and whole flowers were the same enlargement and the dissections of the male and female flowers were enlarged further. Unless this distinction is made, no-one would actually understand that they were different sizes.

As it was, there was nowhere to inform that this fantastic species had separate male and female plants, therefore it also had separate male and female flowers! Furthermore, I was unable to show that the plant grew well in boggy areas.

The name of my exhibit included the phrase ‘ from bog to sand’. There was no indication in the exhibit that the six species grew in either sand or boggy areas and there was no room made to do so either.

Although my scale bars got in the way of the judging process, I was told that each of the pictures were valuable pieces of documentation.

How do I feel about this experience?

I have to say that overall it was fantastic. It wasn’t the same as previously where there was a special relationship between the exhibiting artists who put up their own exhibits – keeping their fingers and toes crossed that nothing would fall down. But it was different. We still developed good relationships as we were all in the same boat and just as unsure about ourselves and our work as we would ever be.

Thinking only of the exhibition and the run up to it, it seemed so well planned and disciplined. There was proper project management and information from the artists was needed in a timely fashion. We weren’t left in the dark about anything. What the RHS and the Saatchi Gallery wanted from us was clearly explained and they did their best to give us what we needed within the boundaries they had set. As an example, except for my pictures, all were on watercolour paper and needed to be framed with a mount. Right from the beginning I had asked for mine to be mounted behind perspex so that the whole vellum mounted block was visible. They did an absolutely beautiful job of this and for me this aspect of the exhibit was perfect.

The feedback from the judges was carried out in a sympathetic way. We were seated in front of our exhibit during this process and as far as I am aware no-one else was in the same gallery at the same time.

The preview was also done very well with speeches and the delivery of special awards.

Will I do this again?

Absolutely! But although I love tiny plants and dissections to discover the hidden life of the plant, I might actually keep it a little simpler next time!

**Chatting with Diane Sutherland – my son absorbed in my paintings**

If you have seen the exhibition, do let me know what you think of it. And, If you have any queries about my previous blogs on the series of paintings or about my experience, also get in touch. I look forward to hearing from you.

Foraging plants in the norwegian mountains – 15. Small cranberry Pt.1

May 7, 2023May 10, 2023 | Gaynor's Flora

**How rich in different flora a boggy marsh area can be!**

When looking for an image suitable for highlighting the small cranberry I came across this one. You can see from the covering of sphagnum moss that this is a boggy area, and although few nutrients has a very rich flora. In fact this photo was taken in the area from which I found several of my chosen species to paint.

This picture was taken in July 2019. The new small cranberry flowers are out but I also found some shrivelled berries from the previous year. You can see clearly both the flowers and the tiny leaves all attached by a very thin stem meandering through the moss. The bog bilberry leaves have a lovely red edge at this time of year and the cloudberry plants show either the red sepals of the male plant or the immature fruit. In this instance the plant we see is obviously male. The mountain crowberry also does well in the same environment.

Vaccinium oxycoccus subsp. microcarpum

Vaccinium oxycoccus subsp. microcarpum a tiny insignificant looking plant – but an even more exciting find.

In norwegian the plant is called Tranebær, which directly translated means Crane-berry – or as we call it in English – Cranberry.

Firstly, why Crane-berry? This is a picture of the flower and perhaps you will get a better understanding of why.

In the USA Cranberries are farmed in huge bogs and this is a significant industry. But the cranberry is slightly different to the one I have painted and is called Vaccinium oxycoccus subsp. macrocarpum. The difference between the two species is that subspecies microcarpum is very tiny and grows wild in the mountains, whereas the subspecies macrocarpum has a much larger berry and leaves. It is generally a larger plant altogether.

As a comparison I thought it might be interesting to show some of my photos from when I was in teaching botanical art in the USA in 2016. My husband and I visited a Cranberry farm south of Boston. It was intriguing, and I learnt quite a bit about the fruit and what happened to it. Note the size of the North American species of farmed berries at 9-14 mm against the small wild cranberry at 5-8 mm.

One of the questions regularly asked at the farm was why the fruit floats. The plants grow in bogs in America and when the fruit is ripe and the area flooded, the plants are shaken mechanically, releasing the loose fruit. The fruit each have four ovaries which are also air pockets, making the berries float to the surface of the water where they are collected. The small cranberry has a similar construction.

We weren’t actually looking for the wild small cranberry when we found it. We were in a very boggy area and tracing roots of a Cloudberrry plant when we found a small, obviously preceding year’s, fruit. We noticed that running through the Sphagnum moss was a tracery of fine hair-like stems with the tiniest of leaves. We started following this until we found a flower. I had no idea what it was so had to find out.

In 2017 when we first found the plant, I had no idea how widespread it was or if it was a fruit that people foraged for. Since then I found out that very few seem to know of its existence and it is rarely picked to make jams etc – possibly because it is so small. Since then I also noticed I didn’t see either flower or fruit reliably every year. Sometimes we were unable to find any at all, although hunting in areas we had seen it previously. 2021 was just like this perhaps due to the lack of rain for the previous eight months.

In two of the pictures above you can see the previous year’s berry. It was these that alerted us to the plant and we went on to find the flowers.

It is a very boggy area but you can see some of the other plants in the series including bog bilberry flowers and leaves and the Mountain Crowberry. The other plants there in addition to the Sphagnum moss are heather, Andromeda polifolia or Bog rosemary, Vaccinium uliginosum (Bog bilberry), and Empetrum nigrum subsp. hermaphroditum (Mountain Crowberry).

I painted the Bog Rosemary before I moved back to Norway and this is now in the Chelsea Physic Garden collection. The Bog bilberry and Crowberry are included in this series.

Although the wild small cranberry is not well known, it is certainly a plant with edible fruit and sometimes we found quite a few. It was amazing to see the marsh dotted with small bright red fruit, making it worthwhile to pick for a dessert or decorate a Norwegian cream cake. Uhmm!

The 2nd part about the Small cranberry will be posted 11th May 2023.

Foraging plants in the norwegian mountains – 14. Cloudberry part 2

May 4, 2023May 10, 2023 | Gaynor's Flora

**Ready to be captured on vellum. Connections are important!**

Rubus chamaemorus – Cloudberry -Multe

Planning the artwork.

The piece of mounted vellum I had ready was 25 x 31 cm and I had seven mounted blocks all the same size. Finished, they needed to look like one series of pictures, but the Cloudberry was a plant so unlike the other ones. The element that linked was the habitat. As an example, I only found the Vaccinium microcarpum when following the rhizomes of the Cloudberry because the roots were completely intertwined.

Once I felt I had all the information I needed for each subject, I scanned the sections and manipulated them with editing software on my computer. I then compared them so that I knew each picture had similar information. The Cloudberry was the only one that was Dioecious. The series was about the fruit, so it was these that were prioritised, although I did include pictures of the flowers.

Because each cloudberry plant was either male or female and had male or female flowers, I needed to show the differences. The male flower is generally slightly larger than the female and the centre of the flower is completely different.

**The male flower. Stamens in a ring at the base of the sepals. the centre is concave.**

**The female flower. A ring of false, white stamens around the centre with several pistils arising from the centre.**

Both male and female flowers have the same number of sepals and petals, but the male flower has a ring of stamens round the base of the petals, with the very centre dipped and smooth. The female flower displays the gynoecium (female reproductive organs) with a ring of white, false stamens round the base of the petals.

From a distance and once you know what to look for, it is easy to tell the difference between a lot of male or female plants.

This sketch page shows more cloudberry sketches (with additional ones from the small cranberry). You will find both the deep red male plant and the sketches of the small cranberry in their respective final pieces of artwork.

In 2018 when these sketches were done, the summer had been hot and tough for the plants. The Cloudberries ripened very early and by the time we arrived they were long gone. All that remained were some dry leaves and soggy berry remnants. But the sun had really worked well on leaves in the open, changing them from lush green to orange and fiery reds.

**More sketches including the two berries we were given in 2018.**

Once I had decided which elements were important for the picture, I did line drawings and moved them around digitally until I felt reasonably satisfied with the arrangement. Of course, in some instances adjustments were necessary and easily done on the computer. The line drawing composition above was almost the last one I made whilst well into the artwork.

In my final artwork I used several sketches as a basis. The sketches are used as a template whilst painting from an actual plant. Having the plant in front of me for the final artwork, enables me to paint its portrait as I see it, getting its botanical detail right at the same time as conveying texture and three-dimensionality. These are all things not easy to do from a photo.

I traced the whole composition to get the placing correct on my mounted vellum block, then each element was traced onto separate pieces of paper.

The vellum needed protection as I worked, and I used one of the old tracings that I had no use for, plus a clear acrylic sheet. All surfaces against the vellum are completely clean.

**Getting the overall composition placed correctly**

Once the image is traced over to the vellum I lifted off much of the loose graphite from the transfer process. I generally start with a pale wash, allowing this to dry completely, then remove the remaining graphite. I continue painting with a dry technique being sure to lay this very lightly.

Sketching was started in June 2014, the final artwork on vellum started July 2022 and finished in August 2022 except for the scalebars.

Cloudberries are a circumpolar boreal plant, occurring naturally throughout the Northern Hemisphere including the UK and Norway, although there is little fruit produced in the UK.
Source: Kew – Plants of the World online

Cloudberry cream recipe

This recipe for ‘Mountain Gold’ is served on very special occasions including Christmas. It is served with cakes/biscuits often made in the period leading up to Christmas. Many of the recipes include almonds .

500ml whipping cream
2 ss sugar
2 ts vanilla sugar (see recipe at end)
300ml Cloudberries

Whip the cream together with the sugar until light and fluffy.
Stir in Cloudberries and sprinkle with vanilla sugar to taste.
Place in the fridge until serving.

Serving:
Extra Cloudberries, Shortcake Biscuits

(from https://www.detsoteliv.no)

Vanilla sugar (vanilje sukker)

2 Vanilla beans

300gm sugar

Split the vanilla beans in half lengthwise and scrape out the seeds.
Put the seeds into a blender with the sugar.
Blend with the blades until the sugar has become completely fine-grained and well mixed.
Put it into a glass with a lid and add to recipes as needed.

The next blog post about the Small cranberry will be on the 7th May 2023.

Foraging plants in the norwegian mountains – 12. My working practice

April 27, 2023May 10, 2023 | Gaynor's Flora

In my last blog I showed you how careful I generally am to cover my artwork as I go along. But in this case I had finished the piece and had it propped up by my computer to scan and print it.

Unfortunately I ran out of pigment in the printer and needed to refill. Once this was done, I sat at the computer to check everything on the screen, looked up and saw this magenta splash across the artwork. I was shocked. How many hours had I used to no avail?

Be careful to keep artwork safe!

In my previous blog I wrote in general terms about the materials I use, including colour. My sketchbook contains notes of the colours used in the sketches, but these are only a guide for the final artwork.

The sketched colours are on white paper and the final artwork is on a warm vellum which can affect the overlaid transparent paint. If possible I try to match up the colours I used in the sketches if I don’t have enough live material to work from. For example, the leaves often change colour over a growing season and if I’m unlucky I might be painting young leaves in the autumn. This happened with the Bilberry leaves.

I try to limit the number of pigments I use in a picture but still have favourites that appear in most paintings.

**Watercolours used to paint the Small cranberry picture.**

As an example, I used these colours in the small cranberry picture:

Quinacridone Magenta PV122
Quinacridone red PR209
Perylene violet PV29
Quinacridone Gold PO49 (I don’t think single pigment can still be obtained)
Winsor Blue Green PB15.

The last three are a must for me, but I might also use a brighter yellow or warmer blue. On this occasion I added a lemon yellow to lift the green in the leaves.

Introduction of graphite

Getting graphite on vellum is normally considered a negative. Graphite does not seem to work in the same way on vellum as it does on paper because of course it is slightly greasy and tends to slide around on the surface.

I wanted sections of graphite in my pictures to try and give some relief to the colour. The compositions are quite small with a lot of detail. To separate details from each other I wanted to allow some of the picture to fall back and behind sections of colour to create focus. I therefore decided that elements conveying habit would be either in graphite, or in graphite with a slight colour wash. But how was I going to get the graphite to go on reasonably evenly and to sit?

I checked out how other botanical artists had handled using graphite on vellum, then tried out various ways of developing a technique on scraps of vellum.

**Bilberry trials on vellum with colour and graphite**

Luckily, as with graphite on paper, the use of water on top helps it to adhere to the surface. I also learnt that using a little mucky pigment/graphite water and allowing it to dry would also help to control use of the graphite on top. But, some of my details were much too tiny to make full use of this technique.

The way forward was to use a combination of graphite pencil for the finest detail and soluble-graphite. I generally used a graphite pencil first – possibly a 2H, then with a very small brush I either went over it with pure water or used the water mixable graphite. I found that the graphite worked much better where I had used a light watercolour wash first.

Process for each picture

Once each composition was complete and transferred to the vellum mounted block, I started with the watercolour sections.

Except for the Cloudberry, the main branch which catches the eye, was enlarged to twice its normal size. I normally started with this so that I could determine how much other elements of the picture needed to come forward or fall back. After this I completed the flower and fruit sections.

Once the watercolour-only sections were complete, I worked on the graphite sections. As mentioned before, the use of graphite means that these sections fall a little into the background and give relief to the eye of the beholder. But the detail in those sections needs to be just as clear as for the remainder of the picture. Each part of the picture needs to give new information otherwise there is no reason to include it. In this case, the graphite sections were done life-size.

Last of all came the scale-bars. To work out the best placements for these, I scanned each picture onto my computer and digitally placed and sized the scale-bars, comparing them from picture to picture. This happened in January 2023 when preparing for professional scanning of the artwork.

Actually drawing the scalebars onto the final artwork caused most headaches. Applying the graphite in even lines on the vellum was more difficult than doing the line drawings, but I got there!

Now I will write about each species individually – starting with the next blog 30 April 2023.

**Life-size small cranberry flower and stems.** Water-soluble graphite being applied with Rafael 8408 size 1 brush over faint graphite pencil lines.

Foraging plants in the norwegian mountains – 11. My working practice

April 23, 2023May 10, 2023 | Gaynor's Flora

**Using a lightbox** to make an overall transfer for the bog bilberry picture.

Transfer process

For this series my transfer process hasn’t been very straightforward. Once I knew which sketches I wanted to repeat in the final artwork, I made line drawings of each, scanned them and arranged them on my computer, constantly comparing and assessing. Once I was happy with each composition, I traced each sketch into its place on a sheet of tracing paper (see picture at the top), then transferred the composition to a vellum mounted block. In some instances, I continued to make further adjustments underway.

Carefully tracing over the image on the wrong side of tracing paper with a fine graphite point.
Rubbing the traced image from the right side of tracing paper onto art paper or vellum.

I also made separate tracings of each element in the design and used these once the overall placement was sorted.

To make a transfer I trace the line drawing onto the right side of tracing paper, and then repeat the process carefully and with a sharp pencil on the backside of the tracing. This allows me to use the tracing several times should it be necessary and leaves only a light line of graphite on my artwork.

This way of transferring reduces the amount of excess graphite that tends to float around. The pictures to the left demonstrate the transfer process.

See links to videos and blogs giving more detail on my ‘Online Tutorials’ page. https://gaynorsflora.com/tuition-2/my-tutorials/. ‘How to trace an image to art paper’ contains links to two blogs and a video.

Painting process

Before I start to paint, I arrange some form of cover so that only the section I’m painting is available to me. I might use a sheet of tracing paper, layout pad or clear acrylic sheet – or even a combination. Its easy for accidents to happen, the slip of a brush or even dropping a laden brush onto the artwork. Accepting this and preparing against there being too much damage is essential for a good result. I have spent time scrubbing out mishaps and I’m sure many others have too.

**Bog bilberry covering to protect rest of artwork from splashes and dropped brushes!**

Here is my covering for the Bog bilberry picture. I have used a combination of acrylic sheeting and layout paper whilst trying to avoid too much taping directly to the vellum.

Painting on vellum

Painting on vellum is very different to painting on watercolour paper as the pigment lies on the surface rather than absorbing into the paper. Therefore except for the very first layer it is important to paint as dry as possible, otherwise any other layers will lift the preceding layers.

**Arctic Tern fired on Ceramic. From an island reserve in the Stavanger fjord in 1989**

In some respects, it is a little like painting several layers on porcelain – as I did in the 80’s. Porcelain is very smooth and carefully layering colour on top of an un-fired layer is paramount, or the lower layers are whisked away.

For painting on vellum I use a variety of brushes depending on the level of detail. My first ‘go-to’ brush is a Rafael Kolinski sable brush with a beautiful point; series 8408. The other makes of brushes I use are DaVinci 1505 and Rosemary brushes series 8 and 66. They are all kolinski sable. To lift out I use various synthetic brushes.

Importantly for all these brushes is a curl free and sharp tip. Brushes wear quickly and the long tip disappears gradually – but the brush still has many useful functions, so they almost never get thrown away.

The watercolours I use are all artist quality but from different suppliers. Most are single pigment and transparent. I have occasionally used Chinese white as an underlay in areas where I need to control ‘lifting out’ as in the Cloudberry flowers. When lifting off it might leave a very slight sheen. If I don’t lift the Chinese white off, it mixes with the other colours and dulls them, therefore I have to lift off very carefully to create highlights.

In my next blog I talk a little about the opportunities I had to learn about applying graphite to vellum – That is planned for 27 April 2023.

This is a very short YouTube slideshow from a demonstration I made to some of my students when they were learning to paint on vellum. I painted the tiniest of crab apples on a vellum remnant.

Foraging plants in the norwegian mountains – 10. My working practice

April 20, 2023May 10, 2023 | Gaynor's Flora

Composition

Do these three pictures have good compositions? It is not easy for you to judge from these as composition is the area within the mount edge – the image and background.

Benton Iris ‘Farewell’ is Watercolour and graphite. The painting is part of the Cedric Morris Florilegium.
Dying Rosa rugosa is in Watercolour. It was one of the first paintings I did after returning to Norway. The sprig was sticking up above the snow, so it shrivelled quite fast.
Rhododendron impeditum is also watercolour and graphite. This picture is part of the Chelsea Physic Garden Florilegium.

Composition in botanical art is not necessarily very straightforward. As botanical art is ‘art’ it should have a main focal point that draws you into the picture. Once your eye is drawn into the picture, something needs to lead it around within that picture and prevent it from being lead off elsewhere.

On top of this, botanical art must be botanically correct.

**The first digital arrangement of my cloudberry sketches**

Combining the art and botany for each picture is hugely difficult particularly when you have different sections telling a story about a plant. Having a series of plants in separate pictures that elaborate the story compounds the problem.

To try and reduce the problem a little I started to arrange the pictures digitally. I scanned some of my sketches and moved them around within a 31 x 25cm area. It gave me something to think about when deciding what to include in each picture and how many more sketches I would need to get all the information I needed.

Scanning and arranging digitally gave me the opportunity to do something similar with my other species and the ability to compare them against each other. This composition looks nothing like the final one, but I kept rearranging until I was satisfied.

I worked hard to compose my set of pictures so that they looked a series. This can be quite difficult when some are from different families

Rubus chamaemorus – Rosaceae
Vaccinium oxycoccus Subsp. microcarpum – Ericaceae
Vaccinium uliginosum – Ericaceae
Empetrum nigrum subsp. hermaphroditum- Ericaceae
Vaccinium myrtillus – Ericaceae
Vaccinium vitis-idaea – Ericaceae
Arctostaphylos uva-ursi – Ericaceae

The first word in each species is the Genus name from which the plant is derived. Four are Vacciniums from the same Genus. Six of the plants are from the Ericaceae (heather) Family and you can see this by the similarity of the flowers. One is from the Rosaceae(rose) family, and the stipules on the leaves (tags at the base of the leaves) is a clear indication of this.

Deciding the enlargement was relatively easy with the plants from the Ericaceae Family where the fruit is comparable. But as everything was larger on the Cloudberry picture, only the scale bars can give the size.

My aim with all the pictures was to let people see and understand the incredible flora and edible fruit available in the mountains. Many look at plants and think them pretty, or know where to pick certain fruits, but not so many study the plant and understand how intriguing it really is. This is an opportunity.

What to include in each composition.

I went through my sketchbook and made sure that I had enough information about each plant to fit on my vellum, mounted on blocks by William Cowley’s. I didn’t want to overcrowd each picture.

The focus was the plant and its fruit, but one can’t do this without highlighting its flowers. I decided to introduce a picture of the flowers and fruit but restrict dissections to the fruit only. That is until I got to the cloudberry which was going to be the most difficult to integrate into the series. But it isn’t called ‘Mountain Gold’ for nothing.

In the end, all but the cloudberry picture included a branch enlarged and branches actual size to indicate habit. Each had an enlarged flower, plus fruit with both longitudinal (LS) and transverse sections (TS). These are the finished longitudinal sections from each fruit; the largest being the Cloudberry.

In the next blog I will be talking about my transfer process. This comes 23 April 2023.

Only Eight weeks until the RHS Exhibition at the Saatchi Gallery in London;

https://www.saatchigallery.com/exhibition/rhs_botanical_art___photography_show_2023

Foraging plants in the norwegian mountains – 7. History of the project

April 9, 2023May 10, 2023 | Gaynor's Flora

Above are the seven plants I chose with trial pieces on vellum offcuts.

The species I chose, with common names also in English and Norwegian

Rubus chamaemorus – cloudberry -multe
Vaccinium oxycoccus subsp. microcarpum – small cranberry – tranebær
Vaccinium uliginosum – bog bilberry – skinntryte
Empetrum nigrum subsp. hermaphroditum– Mountain crowberry – krekling
Vaccinium myrtillus – bilberry – blåbær
Vaccinium vitis-idaea – cowberry/lingonberry – tyttebær
Arctostaphylos uva-ursi – bearberry – melbær

I have listed the plants in the order according to the type of ground in which they grow – from boggy to sandy:

The cloudberry and small cranberry often found intertwined together in the boggy moss of a swampy lake edge.
The bog bilberry is more of a bush and guards the very marshy plants perching on rocks in the marsh.
The Mountain crowberry grows in various areas from rocky outcrops at the edge of a swamp, to tiny examples without much soil, clinging to the rock on mountain tops.
The bilberry and cowberry are generally in a similar habitat in damp woods and forests; the cowberry can be the main plant on an old wood ant heap often with bilberry and mountain crowberry.
Bearberry grows in sandy areas on the edge of forests or creeping down over smooth rock.

The next stage of this blog goes into my working practice for this series. After which I will talk a little about each of the species and how I painted the final pictures. I will use the above order of plants as I would love others to learn more about them, where to find them and their uses.

The next blog will be on 13 April 2023.

An update: life and botanical art

January 27, 2022 | Gaynor's Flora

I have been working on four of my six or seven pictures to go to an RHS exhibition in London. This has been a very long-going saga as the process has been interrupted several times since I decided to do it.

**Mountain area – home to the plant series.**

After the last time I took part in the RHS exhibition in 2014 I decided that I was going to do a series of plants called ‘Foraging in the Norwegian Mountains’. Anyone who has read my blog, which more recently has been rather sporadic, will have heard me talk about the series on numerous occasions.

Whilst living on the South coast of England I travelled to Norway for two weeks each year to sketch the plants I had chosen. This was the only time I had them accessible although I had some similar plants in my garden in Bosham. I have to say that they didn’t flourish there – too warm.

But then other things got in the way;

**Invitation to the England part of the Botanical Art Worldwide exhibition**

2016-2018, I started up the Association of British Botanical Artists (ABBA) and managed the England entry to the Worldwide Exhibition in 2018.

2018. As founder and president, changed ABBA to a membership organisation

Support from Dr Shirley Sherwood who became the ABBA Patron

ABBA logo from 2019

ABBA logo 2016-2018

2019. By the middle of this year ABBA was well on its way as a recognised botanical art organisation and Elaine Allison took over managing the ABBA project completely. I thought, at last I would have time to paint. I had done some, but not as much as I would have liked and working on the Norwegian plants project had been limited to two weeks each year.

December 2019, Covid hit us all.

Before – Bosham in May – South coast England

Mid 2020. My daughter, living in Norway, expressed her anxiety for us if anything happened. What she actually said was that we were too old to live in England by ourselves and that it was about time we moved back to Norway. Robin, who had never lived in Norway, promised to learn the language and his son (who had just moved back to England) gave his blessing. The rest of 2020 became filled with house selling, packing, moving, home searching and buying – my daughter even coped with us living with her!!

Robin started to learn the language, but all the legal stuff in relation to officialdom and applying for residency in an EEC country, plus details in relation to house buying, fell to me. I managed to paint the Fly agaric – Amanita muscaria and a couple of sketches in my perpetual diary (painting cup half-full), plus continued to advise and mark assignments for my Botanical art online course students.

Long shadows at midday, a month after the sun turned.

January 2021 – we moved into our new home with a view of the Oslo fjord in the distance. The year was used to make the house into our home, although we had a lot to learn about what works here and what doesn’t. The garden is mostly rock, so planting is very much an ongoing trial as we battle with little earth and a temperatures that vary between -20˚C to +35˚C (warming climate). Botanical art is not as well thought of as in the UK, but once the lock-downs are over I already have quite a list of people wanting to do a botanical art workshop.

Icy walking is only safe with studs – but the kitten doesn’t care as long as there are laces!

Now I have to plan my botanical art work a little differently living in Norway. We have had snow since November last year but it hasn’t been quite as cold as last winter, although that can change. With recent thaws during the day and minus degrees at night, the snow turns to thick ice. This means I don’t have access to my plants during the winter so I had to change my working process.

‘Foraging in the Norwegian Mountains’ botanical art series on vellum.

NB; I won’t be showing you the finished compositions until they are shown at the RHS exhibition – probably 2023, but will show parts of them.

After all these time delays for the series, all I had was sketches and colour samples in my sketch book, plus some small studies on the vellum I would be using. I had heard the phrase ‘productive procrastination’ and thought I now knew what it meant!

Cloudberry – Multe- *Rubus chamaemorus* sample on vellum

Sketchbook drawing Crowberry – Krekling – *Empetrum nigrum*

I had worked out the composition of all of my pictures and how they would be hung as a group at the exhibition. Each picture will be on mounted vellum and shows the plants both enlarged in colour and actual size in graphite. Last summer I painted the colour part of four pictures so that I would have the actual plants and could match colour at the same time. I planned to do the graphite on those four paintings during this winter and so far have completed three of them – except for scale bars.

Graphite on vellum is not easy and depends upon the vellum, which, as a living material can change from one part to another. In some areas I have been able to use pencils, but in others a brush. My last two paintings have very tiny leaves and the last one, Empetrum nigrum which I will show part of here, has been a bit of headache!

With Empetrum nigrum the leaves actual size are about 2mm long and the unripe fruit is about 4mm. I have had to vary the hardness of the pencil used so that I get clean lines, rather than gritty ones. It doesn’t seem to matter if I use my most expensive pencils or not as it is the surface of the vellum that decides. Sometimes I use the pencil first, if too pale I paint a layer of water-soluble graphite on top, then finish off with another layer of pencil, finally lifting off loose graphite and ’fixing’ it with water. It certainly is not as straight forward as using graphite on paper.

This winter, only one more vellum picture to finish off with the graphite drawing. Spring is on its way, although the sun is still low on the horizon; plants will wake up after their winter rest; trips into the mountains to look forward to and planning for the colour part of the final three pictures.

GAYNOR'S FLORA

Botanical art, illustration, artist, illustrator, teacher, workshops, classes

Foraging in the Norwegian Mountains