This page - and those linked to it - provide
TIPS & TECHNIQUES
​about a LOT of different aspects of developing botanical art. 
Botanical Artists are renowned for sharing their experience and expertise with one another.  
​Many now do so using their websites and blogs or by writing articles for other websites.

Contents - Tips and Techniques​
​

Picture
RHS Botanical Art Show 2015

​On this Page

On Linked Pages
​
GENERAL 
  • Conventions of Botanical Art and Illustration - this highlights the differences between Botanical Art and Botanical Illustration
  • Tips for developing and exhibiting botanical art - covering subject matter, botany, knowledge, skills, planning, style
  • How to become a botanical artist or illustrator
- ​​ PLUS if you want to STUDY MORE:
SUBJECT MATTER: PLANTS AND FLOWERS
  • ​Working with Plants and Flowers - wild flowers and cultivated
  • Wild flowers 
  • How to paint Flowers and Stems
  • How to paint thorns, spines and prickles
  • How to paint roots and storage organs

​See also the Botany Section on this site
​​
​
BOTANICAL ART
  • General Tips​​
DRAWING
  • Drawing from observation / to scale
  • Drawing from Herbarium Specimens
  • Keep a botanical art sketchbook​
​​​
PAINTING
  • Botanical painting with watercolour
  • How to paint a tea wash
  • Brush techniques
  • Using masking fluid
​​
PENCIL
  • Graphite Pencil Tips
  • Coloured Pencil Tips

PEN AND INK​
​Moved to dedicated page
COMPOSITION
Moved to dedicated page
COLOUR​
​Moved to dedicated page
  • Colour - Tips and Techniques​ - covering what you need to know about colour, colour mixing and getting the glazes and mixes right
  • More information coming soon - on my Tips for Artists website
SUPPORTS
  • The Best Paper for Watercolour 
​
  • Botanical Painting on Vellum
  • ​​Vellum covering: Vellum and Art; What is vellum and the different types of vellum; How to paint on vellum including a summary of tips; Suppliers of vellum and pumice in the UK and USA
HEALTH AND SAFETY
  • repetitive strain injury
  • posture
  • eye health and prescription aids
PHOTOGRAPHY & PRESENTATION 
  • Display of Artwork
  • How to photograph artwork
  • ​How to scan artwork
  • How to frame and hang a picture
  • ​Studio and Field Equipment ​- coming soon covering lighting, magnification, specimen set-up, drawing boards etc
Many of the artists sharing tips in articles and blog posts below also provide tuition in workshops, classes and on courses. (Find out more about Tuition and workshops)

Note: The image at the top of the page is from Ehret's illustration of Ficus 

CONVENTIONS of Botanical Art and Illustration
​

There are a number of conventions associated with botanical art. It's helpful to understand what these are and the reasons for their existence

Botanical Illustration
​

  • Botanically typical and accurate - The specimen chosen for the illustration is typical rather than unusual. The accuracy is derived from very close study of the plant, sometimes over the seasons (see below). 
  • Black and white artwork - typically in pen and ink. This facilitates good quality printing at economical cost in learned journals
  • Depicts distinguishing features - the purpose of a botanical illustration is to help a botanist distinguish between different plants
  • based on herbarium specimens - most illustrations are created from dried specimens of a plant. This is typical for those illustrations produced by illustrators working for botanical gardens if no plant exists in the garden
  • Life sized or drawn to scale - Size is an important aspect of identification. Plants are usually sized and drawn at a 1:1 scale - this involves measurement during initial studies. Smaller distinguishing features may be depicted at a larger scale (see magnification below). Illustrations produced for publication on a defined plate size are typically produced larger and must indicate the relationship between the size of the drawing and the size of the published image.
  • Images for reproduction - MUST always include a scale bar rather than a multiplier
  • Bar scales must be precise, informative and visible but discrete. They represent one standard unit of measurement and must always include the unit of measurement. Otherwise any change in size on publication (expansion or reduction) renders the use of a simple multiple (e.g. x3) meaningless.  (The latter method was used in the past but is no longer considered good practice) 
  • Includes dissections and the use of magnification - identifying a plant is based on all aspects of the plant as exhibited on the exterior and interior. The smaller distinguishing characteristics are often identified through the use of a microscope (or a magnifier/loupe in the field).  Illustrations always include a precise scale bar to indicate the extent of magnification.
  • when presented in an exhibition or a publication it is always displayed with the botanically correct name (including the Latin). 

Botanical Art
​

Botanical art has to describe both scientifically and aesthetically what is observed.
Anne Marie Evans
‘The flower painter fails if a work lacks beauty, the botanical artist fails if it lacks accuracy.'
Wilfred Blunt and William Stearn
  • Botanical accuracy is a requirement of all botanical art. However paintings as opposed to illustrations - particularly those of flowers - do not always identify every feature of a plant
  • A white background - typically but not always used for botanical paintings. This helps isolate the subject matter so the focus is on the features of the plant
  • Painted in watercolour - this convention is typical of work produced in the past and is still the dominant media used for botanical art. However other media are now used as well
  • Painted on vellum - vellum is more archival than paper
Hippeastrum vittatum by P.J. Redouté
Hippeastrum vittatum by P.J. Redouté

How to become a botanical artist or illustrator
​

There is very little full time employment for botanical artists or illustrators. Most employment opportunities are not advertised.

Most botanical illustrators are independent professionals who work on commission for a fee - often per piece completed. 
  • botanical illustrators often work for botanists at a botanic garden or in relation to a specific flora project
  • botanical artists can work on commission for clients - who pay want a specific plant or species painted.
You also need to be
  • a self-starter and
  • good at working largely on your own. 

​Botanical artists also
  • sell their artwork via art galleries or direct to clients
  • need to develop art business skills to be a success.
You must love both nature and detail and have a number of drawing skills to be a professional botanical illustrator. Skills required include:
  • - how light works on form
  • - how forms appear as they turn
  • - how plant material looks as it is coming at you or going away
  • - knowing how to represent both form and articulate how it moves in space very clearly - with no ambiguity.
  • - technically realistic in image-making
  • - proficient in use of a technical pen
  • - use of technology and image software.
  • from How to become a botanical illustrator
REFERENCES:

TIPS for Developing and Exhibiting Botanical Art
​

Exhibits of groups of drawings or paintings are assessed first and foremost as botanical illustration. 
RHS Guidelines for exhibiting botanical artwork
Gulnur Eksi GM Feb 2015
Gold Medal winning display of Plants from the Woods and Forests of Chile by Gülnur Ekşi GM (February 2015)
TIPS FOR DEVELOPING YOUR BOTANICAL ART

These are based on the tips I've picked up from my interviews with artists winning RHS Gold Medals and other prestigious prizes (see links to my articles  in the next section) and reading interviews with leading artists. I've tried to summarise here the lessons they've learned and are happy to share.

Your subject - plants and flowers
  • Be really interested in plants and flowers - It's difficult to succeed in any specialist form of art or illustration unless you have a genuine interest in your subject matter
  • Check out National Collections and Botanic Gardens local to you. Finding quality plants can be a challenge.  Two great sources are Botanic Gardens and National Plant Collections.
  • Think about seasons - a series of paintings of plants and flowers in the same season have impact.
  • Cultivate a good grower. While some artists grow their own subject matter, others get their specimens from a grower. If you're planning a series you need to work out in advance with a grower what they can provide. Time and again, artists have emphasised to me how their grower can make or break a series. You need somebody who is reliable and is keen to support botanical art and understands your requirements.
  • Learn how to keep your subjects fresh - most artists use a fridge to maintain the freshness of their specimens overnight - but you need to work out the right temperature to get the best results! Some artists have a fridge in their studio specifically for looking after specimens/subject matter. On the other hand remember all those artists who only had dead specimens to work from!

Botany
  • Do not neglect to learn about the botany of plants and flowers. If you aspire to the top level this is an essential aspect of developing your artwork. It's crucially important if you want any sort of recognition by the societies such as the RHS or the Linnean Society
  • Develop a good understanding of the details before you start to paint e.g. buy a botanical microscope; use dissections; learn how to use the macro on your camera
  • Study how leaves and flowers and fruits overlap one another before you start to draw and paint.


RHS Exhibit - Project management
  • Take your time to work out your RHS project - Working out what plants or species to tackle and then how to approach your project is probably one of the most challenging parts of the process of creating an RHS Exhibit. Don't under-estimate the amount of time needed to think this through prior to making a choice.
  • Plan ahead - If you want to portray a life cycle then you need a complete year to develop your artwork! I vividly remember talking to one RHS Gold Medal winning artist at a botanical art exhibition who was itching to get back to her garden as the long awaited blossom had finally arrived!
Knowledge of this specialist area of art
  • Study the history of botanical art - look at a lot of botanical art! Buy books and visit exhibitions - artists from the past have a lot to teach us. Learn about how other artists have represented a plant or flower
  • Learn what makes botanical illustration different - as a scientific record of a plant​

​Planning your image
  • Work from life and never ever rely on photographs for colour and tone. Colour and tone are always aspects of any illustration or painting which first need to be developed as studies made while observing from life. Photographic reproduction always distorts.
  • Start with the parts that will wilt and die first - it may sound obvious, but you must prioritise on the parts of the plant which will die first. Don't forget to do colour studies and do take photographs to check shapes.
  • Take your time and study the plant and think about how best to represent it before you start to draw - art is about thinking as well as doing. It's not uncommon for studies and preparation to take a long time.
  • Establish a focal point and a way into the image
  • Create a value pattern drawing in monochrome before you start

Skills in drawing and painting
  • Develop skills in careful observational drawing. Being able to observe and recording what you see starts with drawing. Look at junctions, how a plant fills space in 3D etc
  • Learn about your tools and art materials - start your botanical art AFTER you have learned about your pencils, paints and paper and developed skills in their use.
  • Practice, practice, practice - you develop skills in botanical art through drawing and painting plants. There is no substitute for practice.
  • Practice difficult bits on offcuts of watercolour paper. Don't start on your good paper until you've worked out how to paint the difficult bits. 
  • Make sure you use the correct family of greens in your artwork. Don't rely on mixes or colour that you normally use or work from photos. Work from life and observe how light and shade impact on the type of green that is specific to your plant.
  • Preserve the light - tonal values and light create depth and if you lose the light you lose the 3D
​
Developing your own style of botanical art
  • Bring a fresh eye and develop your own style - If you want to do well it's important to create art which people recognise as being yours. Over and above the technical aspects of accuracy and excellent rendering you need to develop a way of representing your specimens in a way which is unique to you. (I know I can walk around exhibitions and instantly tell who produced which artwork without looking at the labels)
"Observation and the three Ps’ Patience, Practice and Perseverance, should be your guiding principles."
Margaret Stevens FSBA author of the Art of Botanical Painting
When making a watercolour painting of a living specimen, I first study the plant from all angles—as a sculptor might study a head when making a portrait—to grasp its character … The sketch completed, I work up the "portrait" in detail, beginning with the fugitive parts such as quickly opening buds. Plants that change or wither rapidly present a very difficult problem to which there is only one answer—speed; and speed depends upon the immediate perception of the essential characteristics of the plant, a thorough knowledge of colours and colour-mixing, and a perfect co-ordination of hand and eye. Drawing from dried specimens has both advantages and disadvantages. The artist gains of course, in not having to work at high pressure for a short period; but on the other hand there is difficulty in creating the illusion of three dimensions. This can only be overcome by a thorough knowledge of botany and perspective.
Stella Ross-Craig (1906-2006) | from Chapter on 'The Twentieth Century' in " The Art of Botanical Illustration (Blunt)" by Wilfrid Blunt and William Stearn

TIPS AND TECHNIQUES
​about Plants and Flowers
​

Working with Plants and Flowers
​

If collecting specimens outside
(ONLY if the plant is not at risk and local laws allow)
  • use a hand lens to study plants in situ
  • check whether you can collect the plant
  • select representative parts of the plant
  • use sharp scissors or secateurs with antiseptic wipes
  • use a flower press if collecting specimens in the wild - see also Plant Pressing for your own Herbarium
  • use an air tight container - preferably a tube
  • use resealable polythene bags containing a damp source for anything that needs to be identified and/or quarantined
  • out twigs, nuts and leaves in a plastic bag to prevent them drying out

​The Life of a Specimen
  • work from plants in season - they will live longer than those forced on out of season
  • know the typical life of a specimen before you start - it helps you to order your priorities for the work you need to do
  • organise your time so you can dedicate maximum working time to the plant when it's coming up to and in peak condition
  • Work according to the life of different parts of the specimen e.g. petals first and stems later 
Make a record of essentials BEFORE you start painting
  • take measurements first - and make a record of 'life-size' elements
  • take photos from 360 degrees to provide a reminder after the specimen had died
  • draw the plant from observation - you will see things you miss when working from a photo
  • make colour studies and create sketches annotated with colour notes (it's what Ferdinand Bauer did!)

 How to preserve plant material  
  • keep the specimen in the shade - too much light makes it develop faster. (e.g. create a Lightbox to prevent too much light getting to your specimen!)
  • work in a cool room to prevent your specimen developing too quickly (you can always wear extra/thermal layers!)
  • use a plant rooted in a pot
  • use a bulb vase for bulbs (but remember to chill them for the required number of weeks first)
  • place cuttings and stems in plastic vials with limited water
  • place flower specimens in a refrigerator overnight
  • place flower heads on cotton wool on top of water
  • See also ​How to record a plant 
REFERENCE / READ:
For holding specimens #1
​Floral Water Tubes/Vials - for single stems
  • Leak free tubes include rubber caps. Simply fill with water, close cap and insert the flower stem
  • Essential for preserving fresh flowers and keeping them alive longer
  • available in a variety of sizes and styles, in either clear or green translucent, comes in packs of approx 100 pcs per bag.
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For holding specimens #2
Magnetic base with 360 degree rotating gooseneck with alligator clamp head 
  • 12" high tension flexible steel arm 12" 
  • base contains magnets to create a strong tight hold to ferrous metallic surfaces ​- can hang upside down
  • lasts longer than similar equipement with plastic components
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​QuadHands - Magnetic Arm 200 12" Third Hand Helping Hand Tool with Size - Fully Flexible with 360 Degree Rotating Alligator Clamp Head and Strong Magnetic Base 

Wild Flowers
​

Research information about habitat
  • The MAGIC website is run by DEFRA and provides authoritative geographic information about the natural environment - covering rural, urban, coastal and marine environments across Great Britain. 

​When developing a project related to wild flowers it's essential to do some research and have a plan.
Seasonal challenges can be overcome:

How to paint Flowers and Stems
​

​REFERENCE:​​
See also Video Tips: Painting Flowers

​
When a flowering stem is to be drawn, and room has to be left for the addition later of leaves and fruit, it may be necessary to consult herbarium specimens to judge the space required.
​
​Stella Ross-Craig (1906-2006) | from 'The Twentieth Century' in " The Art of Botanical Illustration (Blunt)" 

Cultivated Plants and Flowers
​

to be developed 

How to paint patterns in nature
​

THIS SECTION IS A WORK IN PROGRESS.
​You will see references being gradually accumulated prior to this section being written.

How to paint thorns, spines and prickles
​

The predominant function of thorns, spines and prickles is to deter herbivores from eating the plant. However the three terms mean different things and cannot be used interchangeably.
​
You need to do two things
  • understand the botany of thorns, spines and prickles. 
  • study paintings by those who have tackled this topic beforehand - because this is NOT a topic that many art instructors cover!
In the most basic sense, thorns, spines and prickles can all refer to the sharp, stiff, woody defensive appendages found on some plants. Thorns are modified stems, as in CitrusLinnaeus. Spines are modified leaves, as in Echinocactus Link & Otto. Prickles differ in that they emerge from the epidermis, mesophyll or cortex of the plant, as in Rosa Linnaeus. 
​Dangerous Beauty: Thorns, Spines and Prickles 
REFERENCE:

How to paint roots and storage organs
​

Not all roots are the same or look the same and it's essential that you know what you are looking at before you can begin to draw and paint roots. I've provided some brief notes below and references to other sources of information.
Dicotyledons (angiosperms with two seed leaves) have a tap root system. 
  • Taproot - one main root grows deep in the soil in various forms. These include: conical (eg carrot); fusiform (eg radish); napiform / globular (eg beetroot or turnip) form and may develop lateral and branching secondary and tertiary roots. Also used for finding water. A taproot can also serve as food storage eg carrot, parsnip
  • Primary root – root that develop from the radicle of the embryo; normally the first root to emerge from the seed as it germinates.​
Grasses and other monocotyledons (angiosperms with a single seed leaf) have a fibrous root system.
  • a mass of similar sized thread type roots which develop from nodes 
  • Typically not long / just below the surface - and can be very tough and help prevent soil erosion.
Modified stems as storage organs (i.e. NOT roots)
  • Bulb - a short stem with fleshy leaves / leaf bases that function as food storage organs when dormant.  Roots emerge from the underside and new stems and leaves from the upper side. 
  • Tunicate bulbs - papery outer covering (dry, membranous outer scales) protects the continuous lamina of fleshy scales. e.g. Allium, Hippeastrum, Narcissus, and Tulipa 
  • Non-tunicate bulbs lack the protective dry tunic and have looser scales. e.g. Lilium and Fritillaria 
  • Corm - a region of a stem which has swollen to store food. New corms will grow on top of old corms if they are left in the ground. e.g. crocus; gladiolus
  • Rhizome - underground stems e.g. Zingiber
  • Stem Tubers are enlarged structures in some plant species used as storage organs for nutrients. ​ e.g. potato

Practice in painting roots varies
​

​Many botanical artists ignore roots.

​However if the root is a key feature of the plant then it is normal to draw and/or paint the root.
Common practice when painting
  • plants which are grown from bulbs
Essential when painting
  • vegetables which grow below the ground
  • epiphytic plants which grow in the air and use their aerial roots to cling to rocks or trees
Picture
RHS Gold Medal winning display of Tillandsias by Mariko Aikawa (Japan). These are air plants and their 'roots' are always visible.
REFERENCE:
INSTRUCTION BOOKS:

Below I am going to highlight instruction books which have a decent section about drawing and painting roots. (work in progress)
  • ​Drawing and Painting Plants by Christina Brodie - several pages dedicated to explaining roots and some excellent illustrations explaining them

TIPS AND TECHNIQUES
about Botanical Art - drawing, painting, equipment, media etc.

Video Tips
​

General Tips
​
Click to see a separate page with Video Tips for botanical art which include:
GENERAL TIPS: REFERENCE
​
  • How and When To Finish A Painting: A Checklist for Students By Margaret A. Saul | ASBA - Originally appeared in The Botanical Artist – Volume 12, Issue 3 - this is an excellent summary of pointers that both students and artists should be checking as they move towards completion of their painting. The best advice is to put the art away out of sight for a while. It's a lot easier to see what needs doing when you haven't looked at it for a while.​
  • Trade Secrets - tips from Botanical Artists - The Irish Society of Botanical Artists asked some of their members to send us their favourite botanical art tips. 

DRAWING TIPS
​

Botanical observation and drawing does not merely consist of copying what is seen, but explaining what is there. The artist has to exercise his or her judgment on what is to be described, extracting those diagnostic features which characterize the species of the plant pictured. This is the reason drawing still surpasses photography in the field.
Anne Marie Evans

Draw from life and via observation
​

  • you will be most accurate if you get your eye is dead level with your subject.​
  • Place your subject at eye level - ideally using apparatus which means you can move the subject up or down as your eye focuses on different areas (e.g. use a retort stand (the kind used in laboratories)
  • draw to scale by measuring dimensions and use proportional dividers to scale up or down in size
  • draw tonal studies to understand form - but be sure first to develop appropriate techniques for (1) accurate evaluation of different tonal values and (2) rendering tone (eg stippling / hatching)
Picture
Denman Ross Value Scale
DRAWING - REFERENCE:
If possible, avoid using multipliers eg 'x3' or 'x0.5' to indicate the size of features, as this becomes meaningless if the drawing is used in a publication and printed at a different size; the use of a scale bar is accurate regardless of changes to the size of the image.
​Margaret Flockton Award - A guide to scientific botanical illustration

Draw from Herbarium Specimens
​

Alice Tangerini is the botanical illustrator at the National Museum of Natural History. This is a summary of her approach to drawing from specimens.
  • consult with the botanists to understand the particular features of the plant which need to be shown clearly
  • make a full-size photocopy of the herbarium specimen - trace its outline
  • draw several pencil sketches on translucent drafting film of the various parts of the plant. 
  • get approval from botanists for pencil sketches
  • consider digitising the sketches for ease of arrangement as a composite image
  • arrange and compose the various sketches in a 15" x 12" format
  • place a transparent film over the sketches and trace outlines and features in ink
Rosemary Wise is the botanical illustrator at the Department of Plant Sciences, University of Oxford
She published an article about Drawing Plants in Plant Talk (April 1999).  Her tips for drawing herbarium specimens can be summarised as:
  • if tracing from the specimen itself, treat all herbarium specimens with great care; it's possible they cannot be replaced
  • do not dissect any part of the herbarium material without permission; if given permission be sure to reattach the plant material in a packet to the specimen
  • draw the specimen as seen - unless you have other evidence any attempt to reconstruct what it looked like may be misleading
  • she also provides detailed instructions for how to draw a complete leaf on a plate including what to do if it is too big
REFERENCE:
The Guild Handbook of Scientific Illustration, Second Edition
edited by Elaine R. S. Hodges
This handbook is commonly regarded as "the bible" within the scientific illustration community. It covers all techniques for rendering in conventional and digital media although the subject matter is not all botanical. 

It is:
  • Sponsored by the Guild of Natural Science Illustrators
  • the people who contribute to it are the top illustrators, scientists, and industry experts
  • edited by one of the founders of the Guild of Natural Science Illustrators who has been working in scientific illustration since 1965​
The book is professional and comprehensive - as one might expect from a book which covers 652 pages! 

It covers:
  • studio basics and archival considerations
  • lighting of subject matter
  • rendering techniques (152 pages) in a variety of media including: line and ink, pencil, carbon dust, watercolour and wash, gouache and acrylics, airbrush
  • producing murals, models and dioramas and moving from 2d to 3D
  • using computer graphics for scientific illustration
  • only one of the 13 sections relates to how to illustrate plants - but it is 22 pages long
  • technical matters relating to using a microscope, charts and diagrams, photography and the printing process 
  • the business of scientific illustration - including copyright, contracts and how to operate a freelance business
​This book is expensive - however the price needs to be considered within the context of the fact it is a professional manual for people who spend their lives on scientific illustration.

Consider reviewing a copy before making a purchase.

Hardcover: 656 pages
Publisher: Wiley;
​Edition: Second
Publication date: May 29, 2003

Average Customer Rating out of 5 stars:
  • in UK: 4.8 based on 5 customer reviews
  • in USA: 5 based on 8 customer reviews​

BUY THIS BOOK​​

PAINTING TIPS
​

Botanical Painting with Watercolour 
​

Botanical painting using watercolour involves developing knowledge and a range of skills. Indeed botanical painting is not something for the beginner. You need to develop these skills before you can be an effective botanical painter.
REFERENCE:​


Basic Watercolour Skills required for botanical art
​
You "NEED TO KNOW":
  • the properties of different watercolour media e.g. opaque and transparent paint; other paints used eg gouache and egg tempera
  • best brushes for different techniques - one size does not fit all - the type of brush used very often varies according to the technique
  • How to identify the colours you need to use - for a specific plant
  • How to mix paints to achieve the right colours (for more about colour see the section about Colour below)
  • How to apply paint: wet on dry paper; wet on wet paper, dry brush on a dry support - and variations in-between - and how to tell when the paper is wet, damp and dry
  • How to create special effects: e.g. how to control a wash; how to paint fine lines;  how to create hard and soft edges
  • How to glaze - layering transparent colours in such a way as to create an optical effect. Some botanical paintings contain many layers of glazing
  • How to lift watercolour pigment - requires knowledge of pigments and the support used (e.g. paper or vellum) as well as methods for lifting
  • How to scrape out paint AND resurface you paper - using scalpel blades and burnishing tools
  • PLUS knowledge of how your watercolour paper works is essential - not all papers are the same. Some suit some watercolour techniques better than others and you need to get to know a paper to know how to exploit it
Watercolour Paints
Watercolour paints vary a lot! They vary in terms of the quantity and quality of the pigment or dyes used - which in turn affects the intensity of the hue and how easy they are to use.

​It's worthwhile trying different brands of paint. Different tutors recommend different paints - but the one important thing every watercolour painter needs to find is the paint which works best for them and is consistent and reliable over time

Only use watercolour paints with a high degree of lightfastness if you want to avoid your paintings fading.  ASTM Lightfastness Ratings I and II are considered permanent.
REFERENCE:​​
Brush Techniques
There is no shortcut to developing good brush techniques. Mastery of your brush comes from good instruction in how to use a brush and practice

Brushes also wear out fast if used constantly and how they perform depends on how fresh or old they are.

Brushes favoured by botanical artists include
REFERENCE:​​​
“When painting flowers you need a good brush. I predominantly use a fine-tipped, pointed no.6 brush. When you are picking up the paint with the brush, twist the brush between your thumb and forefinger to obtain a beautiful point. Always pull the brush towards you so that the hairs are not broken. A good brush is worth the investment and you should take good care of it by keeping it in a brush-roll when travelling. 
Billy Showell
The most critical tool for artists! I would say a brush is an extension of the artist's hand. It is completely personal and extremely sensitive.
​Heeyoung Kim
Be ruthless! Discard any brushes without good points for painting. Old brushes are useful for alternative techniques.
Helen Allen
How to Paint a Tea Wash
In general, when using watercolour you work from light to dark. So you need to start by laying down a light colour.
​
A wash is a thin mix of paint and water - applied to paper. The Tea Wash is the lightest toned wash you can paint. It's called a tea wash because it has the consistency of weak tea - without milk. It's the most fluid - if you tilt your paper it will run freely. BEFORE you start, you need to make enough fluid of the same consistency to complete the area you need to fill.

The aim is to produce a single consistent even light tone.  The best way to develop skills in developing an even wash is to practice first.
  • draw a line of circles or squares
  • fill each with a wash which is exactly the same throughout the individual square - and exactly the same in every other square in the line
  • to do this you need to load the brush with the premixed liquid wash 

If the area which needs a tea wash is large you can try wetting the paper first and then apply the wash. Practice before using on a 'proper' painting.

Be aware that paints which are rated 'permanent' may not be so when used as a thin wash.
REFERENCE:​​
How to lift paint
You can remove colour by lifting, scrubbing and blotting.

​You can only effectively lift paint with any degree of control if it does not stain - hence the need to know the characteristics of the paints you use.

Use a clean moist brush to remove paint. Wipe the paint removed on kitchen towel/tissue or cloth. Clean the brush in water and apply the brush as many times as required to reduce the colour load on the paper. Do not scrub if you want a soft edge. If the rest of the paint is dry you can also use absorbent paper to blot the area where you re trying to lift paint

Paper towels are effective at blotting paint as they are very absorbent - however they are not very precise. A damp brush is more effective when you need control.
REFERENCE:​
Tips for using masking fluid
Include:
  • Practice using masking fluid before using it in a painting. You need to develop skills before risking ruining a painting through lack of practice.
  • use old brushes and NOT good brushes - and preferably have one brush you use for applying masking fluid
  • you can also use a dip pen, cocktail sticks or anything which enables you to use the masking fluid while exercising control
  • do NOT apply to wet or damp paper
  • make sure the paper has a surface size - which stops the masking fluid being absorbed into the paper
  • if using a coloured masking fluid, test beforehand to see whether or not the masking fluid stains the paper
  • clean your brush in warm soapy water as soon as you have finished applying the masking fluid. 
REFERENCE:​
  • The Fear of Masking Fluid | Eunike Nugroho - drawing and watercolour illustration process blog - TIPS for how to avoid ruining your paper and your artwork. The post shows you a painting in which masking fluid was applied and left for a week.
  • Using the different masking fluids | Winsor & Newton - W&N has two different masking fluids (Art Masking Fluid and Colourless Art Masking Fluid.) and provide some basic tips for getting best effects from them 
  • Using brushes with masking fluid | Winsor & Newton

PENCIL TIPS
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Graphite Pencil Tips
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Click the above link to go to the Slideshare Site where you can download this document for free
BELOW is the Graphite for Scientific Illustrations - Supplement to the free Guidebook with English subtitles ​by Rogerio Lupo, Brazilian winner of the Margaret Flockton Award in 2010 and 2013.  (kindly reviewed by Bobbi Angell, American Botanical Illustrator). This video lesson aims to support the study and practices of the Guidebook: Graphite and its Possibilities Applied to Scientific Illustrations.

Coloured Pencil Tips
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Ann Swan provides links to pdf versions of published articles on her website
Sigrid Frensen provides a series of tutorials on her website about using pencils for botanical art
Susan Christopher Coulson has a very detailed article about How to Paint Botanical Arrangements using coloured pencils
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Coloured Pencils - the medium
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  • Colored Pencil has arrived - an article in the March 2015 edition of the ASBA Journal includes references to favoured brands and media support. ​Originally appeared in The Botanical Artist – Volume 17, Issue 3
Coloured Pencils - the supports

Susan Rubin reviews the suitability of different types of film for artworks in coloured pencil. She recommends Mylar .005 for coloured pencils and Duralar for worn in pen and ink

DESIGN & COMPOSITION TIPS
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This is a link to:

COLOUR TIPS
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This is a link to:

SUPPORT TIPS
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 The Best Paper for Botanical Art & Illustration

See the page dedicated to Paper for Botanical Art and Illustration 
- it covers this topic in much more depth and expands on the tips for working with vellum

This is what it covers...
WHAT YOU NEED TO KNOW ABOUT PAPER TO USE IT PROPERLY
  • Basic paper data - to make the most of paper you need to know how it is made and how it can perform
  • Different types of paper - how they look different
  • Paper-making - how papers are made and why they perform differently


TESTING PAPER: HOW TO TEST A PAPER & REVIEWS OF DIFFERENT TYPES OF PAPERS
  • How to test watercolour paper - tests for watercolour paint, coloured pencils and pen and ink
  • Reviews of different papers - all aiming to identify the best paper for botanical art and illustration
  • Different brands of paper identified as suitable for botanical art and illustration (to follow)
Artists provide tips on which watercolour papers and other supports work best for botanical art. Includes samples of how papers affect different techniques used for watercolour painting.
'Fabriano Artistico' (300 lb) is a paper which is consistently recommended by GM winners.
Katherine Tyrrell (BEFORE recent changes to how the paper is made)

Botanical Painting on Vellum 

See the page dedicated to Vellum
​- it covers this topic in much more depth and expands on the tips for working with vellum
It covers:
  • Vellum and Art
  • What is vellum and the different types of vellum
  • How to paint on vellum including a summary of tips
  • Suppliers of vellum and pumice in the UK and USA
Vellum is a byproduct of animal skins and a very different sort of surface to watercolour paper. There are different types which may or may not be treated. It also requires a particular technique - and you need to know what happens if you use paint water on the paint!

William Cowley is the principal source of vellum in the UK
  • Calfskin product options - this is a useful page highlighting the differences in types of vellum by William Cowley who have been making vellum in the UK since 1870.

The American Society of Botanical Artists has tips from its member artists who paint on vellum
Dianne Sutherland has a number of tips about painting on vellum
Other Artists comment on working on vellum

General Tips from Art Journals
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More tips from other sources which write about botanical art and illustration 

Repetitive Strain Injury
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Artists and Repetitive Strain Injury (RSI) - this a blog post I wrote as somebody who has experienced RSI and developed knowledge about how to alleviate the pain and avoid a recurrence

RSI for Artists generally afflicts some part of the arm - the fingers, wrist, forearm, elbow, shoulders - and can also affect the neck and/or upper back.

​The critical thing to understand about RSI is that if you don't take appropriate precautions and use appropriate aids and generally treat your body well, you will become unable to use your hand for drawing or painting.
RSI Symptoms include:
  • intense pain
  • dull aching or tenderness
  • stiffness
  • throbbing
  • burning
  • tingling 
  • numbness
  • swelling
  • weakness / reduced dexterity
  • cramp
  • inability to grip or lift
Picture
This is my wrist splint which I have to use if I trigger my tenosynovitis (inflammation of the sheath which contains the nerves). It provides compression for the swelling and restricts movement
The most common reasons for RSI injuries are:
  • repetitive strain - overuse of the muscles / tendons in a way which is continued
  • poor posture and/or holding the same posture for too long without a break
  • working for too long without a break
  • poor and/or cold working working environment
  • use of tools which require force or can cause a strain
  • vibration of tools held or used
How do artists make RSI worse?
  • Continue to do whatever created the problem in the first place.
  • Fail to rest
  • Fail to consult a doctor
  • Fail to follow any professional advice
  • Fail to use appropriate supports or exercises

Posture
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Maintaining good posture is critical to the avoidance of all sorts of aches and pains in your back, shoulder and neck.

The illustration to the right relates to typing but the principles are the same for artists when drawing or painting

The best way to achieve good posture is to:
  • maintain your back and neck at 90 degrees to your subject
  • make sure that the subject you are looking at is at the right height - raise the subject rather than lower your head
  • raise and angle your support to make looking at it easy rather than difficult
  • make sure that your glasses or visual aids are appropriate for your own personal optical needs - and do not require you to get your eyes close to your subject or the support you are working on 
REFERENCE:
Break up long periods of sitting time with short bouts of activity and exercise.  Every 30 minutes stop for just one to two minutes. You can get up and walk around and stretch your arms and hands above your head or windmill your arms.  Make the blood flow! 
Artists and Repetitive Strain Injury (RSI) 

Eye health: prescription eye glasses for botanical art

Maintaining your eye health is a combination of:
  • regular check-ups on their eyesight
  • optical aids and magnification using quality kit designed for your personal needs
  • excellent lighting
  • ​proper posture (i.e. your aids work when you maintain good posture to eliminate the potential for other aches and pains!)

Prescribing eyeglasses for botanical art is about
  • how to maintain eye health and
  • how to get prescription eyeglasses which work best for painting detail.
It tells the story of how Susan Tomlinson got new bifocals to address her optical needs with
  • a bottom focal length for working on the painting, and
  • the top focal length for looking at my specimen.
Picture
Susan's studio - with lots of natural light, artificial lighting and magnification aids
REFERENCE:

TIPS - TECHNICAL & PRESENTATION
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Display of Artwork
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These tips are especially relevant to anybody wanting to display at an RHS show - without a frame
See also Tips from RHS Gold Medal Winners - and the section on How to hang and display an exhibit at the RHS Botanical Art Show which provides a lot more detail.
  • create at least one more painting than the six you need for an RHS display - and leave the weakest one at home
  • get the mount board for an RHS display cut well before you need them
  • take a spirit level to get your display aligned properly
  • use wide velcro strips for attached mounted artwork to display boards (make sure the hanging strips can cope with the weight of each exhibit)
  • get business cards and postcards printed in advance
Finishing and fine tuning - reaching that goal - Sarah Morrish looks at the process she adopted for preparing her display at the RHS London Botanical Art Show in February 2016

Photographing Artwork
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Photographing artwork for particular uses
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How to Frame and Hang Botanical Artwork

Information about how to hang a painting can be sometimes hard to find.

How to frame and hang art on my Art Business Info website provides
  • information about framing and hanging art
  • lists of recommended framers

These are my blog posts on the topic. ​
​How to avoid frames eating your profit - about options for keeping control of your framing costs
From my article in The Artist Magazine (March 2016)