This page is about processes related to preparation:
Design & Composition can now be found on a separate page |
This page is NEW and is currently being developed.
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Keeping a sketchbook and doing studies and working drawings before you commence your final artwork is an essential process for all those who are serious about their botanical art. This is the best way to work out how to represent the features of the plant and how best to represent these on paper.
I always try to do a study or sketch page because it’s the best way to learn about the plant by deconstructing. |
The processes of working out:
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What's unique about this book is that it provides an insight into the working methods and sketchbooks kept by various different important and/or famous names in botanical art - as well as a few who are less well known - what they recorded and how they chose to make and annotate their records.
It's an amazing collection of colour images - many of which have never been seen before - because they are in sketchbooks |
Hardcover: 296 pages
Publisher: Thames and Hudson Ltd; Publication date (1st edition): 13 April 2017 RECOMMENDED UK: rated an average 5 out of 5* by 4 customer reviews BUY IN THE UK Botanical Sketchbooks
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The sketchbooks cover:
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Hardcover: 288 pages
Publisher: Princeton Architectural Press Publication date: May 9, 2017 Language: English Product Dimensions: 8.4 x 1.4 x 10.9 inches RECOMMENDED USA: rated an average 4.8 out of 5* by 13 customer reviews BUY IN THE USA Botanical Sketchbooks
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Other processes also playing a role in developing a botanical artwork include:
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The third book (see below) produced for the Distance Learning Diploma Course run by the Society of Botanical Artists is based on a sketchbook developed by a student (Mary Ann Scott) who was awarded a Distinction at the end of the course.
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Botanical Sketchbook
by Mary Ann Scott with Margaret Stevens One of the things the SBA Diploma students have to do is keep a sketchbook. This book provides both an inspiration and a guide If you'd like to know more about the book and how it came about |
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Sketchbook Tips: REFERENCE:
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Sketchbooks allow artists to research their subjects and to fine tune observational skills. They facilitate drawing and painting practise without the pressure of producing a finished work. They allow compositional ideas to be formulated. A large body of study material can be created without the commitment of a final piece. |
Recommended: I like this sketchbook a lot. It provides a heavyweight smooth natural white paper (270gsm) inside a quality heavyweight binder. The paper is ph neutral and lignin and chlorine free. It works well with both dry and wet media eg pencils and coloured pencils, pen and ink and watercolour or inks. It would also work well with water based marker pens.
It's very suitable for pencil drawing, pen and ink drawing and studies in watercolour. The bound book also lies flat making it easy to work across a double page spread. |
This is a link to an example of a study of daffodils painted by Shevaun Doherty in a Zeta Sketchbook |
Metric Dimensions of the A4 size: 30.7 x 21.6 x 1.8 cm
There's also a smaller version. Plus you can also get in a spiral bound version if you prefer to tear pages out of your sketchbooks. BUY NOW |
Burnishing is a process by which the surface of the paper is rendered less fibrous and spongy in appearance. This is accomplished by means of pressure applied by rubbing sized paper. This can be accomplished by machines, but was historically done by hand. Dry sheets of sized paper are placed on a flat surface and pressure is applied by rubbing a smooth, hard object across the surface of the paper. Typical objects that are used for burnishing include agate, glass, bone, and horn. Burnished paper is typically used for manuscripts or stationary work, where bleeding inks are a concern. |
I use an agate burnisher, after the main tonal washes and before I add fine details. I only burnish the painted areas, not the whole page. This suits my technique, which is lots of washes and detail dry-brushed on afterwards. |
Burnishing is a traditional method for preparing paper for calligraphy. A smooth polished non-absorbent surface allows writing implements and ink to move smoothly across the paper. This enables the creation of a smooth line of ink that flows across the support. This can be achieved through burnishing.
Burnishing is also a technique used by watercolour painters who want a very smooth plate surface on which to paint. Burnishing works by compressing the fibres of paper. In paper manufacturers this happens when the paper fibre is run between rollers. The effects of burnishing are threefold. The paper becomes:
Tools used for burnishing include anything very hard, without edges and completely smooth. Examples include:
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A video about Glazing, Burnishing and Polishing Paper through time - a lecture given by Jane Colbourne, Conservation Department, Northumbria University. It's nearly an hour long and is about the history of and context for methods used for preparing paper in the past.
REFERENCE:
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Professional Glass Muller
Agates are fine if you are burnishing a small area. However if you want to burnish a larger area, this glass muller measures 7cm across and also provides an ergonomic grip. These two features help make the whole process easier and speedier. It's designed for grinding pigments but works just as well smoothing paper. |
Weight 360g
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Transferring the Image
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I know the thought of transferring seems an utter waste of time, but think of it as another chance to check the drawing, go at the process with a peaceful heart, do it slowly, thoughtfully, and NEVER lose sight of what the image is. |
Dianne Sutherland provides a quick guide to transferring a drawing to paper from you preparatory study.
This is one of those things that we often assume that everybody knows! but it's not always the case. |
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This is a How-to video by Mindy Lighthipe on transferring drawings and sketches onto watercolor paper. Learn to make your own transfer paper with step by step instructions.
The subject matter is natural history rather than botanical art but the principles are the same. Plus comments on commercially available transfer papers |
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Tracedown Paper
This is very good quality wax free tracing paper. The sort of product where paying more really pays off in practice. You can do several tracings from one sheet. The tracing is also easily erased without smudging or making a mess of the paper. |
This is the graphite version but you can also get it in assorted colours if you prefer.
Recommended: rates and average of 4.7 out of 5 stars on Amazon UK BUY NOW Tracedown A3 Graphite - Pack of 5 Sheets
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How to trace an image to art paper - without creating indentations by Gaynor Dickeson
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Huion® Tracing Light Box L4S
17.7 Inches A4 Size LED Adjustable Light Lightboxes of old used to be quite chunky affairs making them difficult to find space for. Now they are powered by LED lighting and have become super slim - making them much easier to accommodate. This particular lightbox has the following features:
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Dimensions: 36 x 0.5 x 27 cm
BUY NOW Huion L4S LED Light Box
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