Tools of the Trade

Modern Tools for a Traditional Art

 by

Winnifred B. Hebb

            When composing a botanical illustration, we have a multitude of resources that we can use besides a living plant, our paint brushes, and paints.  At exhibits this past spring at the New England Wild Flower Society and also at the Arnold Arboretum of Harvard University on the Flora Novae Angliae (Flora of New England) I noted that both botanical artists, Elizabeth Farnsworth and Gordon Morrison, used all the tools of our modern society just as artists of the past did. 

            The live plant, herbarium specimens, hand lens, microscope, and the camera.  The camera?  Absolutely!  There are many times when we are very limited with our living specimen.  It is short lived or it may be on the endangered species list, such as orchids in the wild.    With today's digital cameras it is fairly easy to get a good  photo. However, the  better camera,  lens and photographer can make a difference in what we see in the resulting photograph.    To compensate for what our camera will not pick up, meticulous notes should be taken, as well as accurate sketches.  Color, hairs, textures and other small, miscellaneous structures  need to be noted via sketches and notes.  Use and hand lens or good magnifying glass for this.  The more accurate your work is the better the identification of your specimen will be.

Scientific Illustration Class at the USBG: WOW

The class in the United States Botanic Gardens classroom with our teacher, Mary Ellen Carsley, at the head.

I (JT) was foiled by a zig zaggy, "plaid" cactus!

By Judy Thomas, Celeste Johnston

On January 12th and 13th, 2013, CJ and I took a class at the United States Botanic Gardens/Corcoran entitled "Scientific Illustration."  This introductory course, taught by the excellent Mary Ellen Carsley,  included the basics of scientific illustration. In the course we learned the conventions of this type of art, one that involves visually portraying accurate scientific information about a subject (generally a plant or animal) so that scientists can clearly communicate to one another in printed form.

First, we learned about the basic materials, than spent some time learning about measurement.  Obviously, measurement (and accurate counting of repeated features) in this field is critical.  Mary Ellen shared that scientific illustration(SI)  is a collaborative process between scientist and illustrator and should answer these questions: What is my subject? What am I trying to say, specifically? And, lastly: How can I communicate this clearly and concisely? The four elements of this method are line, value, texture and color, though most of these illustrations are black and white line drawings and value does not have the same meaning as in botanical illustration.  SI uses no cast shadows, no interior shadows, does not really depict depth, nor is it concerned with shading or intense value gradation.  

Next we learned about the "hierarchy of the line," that has three basic levels, though there can be many more: the profile, or thickest, line at the outer edges (which thins as it crosses behind another part of the object); a mid- or medium-weight line, the next level inward, and; a detail line, often drawn using a fine, crow-quill dip pen or technical pen.  Contrary to the way we usually draw, the thickest, darkest line is the outer line, and the line thins as you enter the interior of the object. Lastly, texture and some minor sense of depth are achieved by using a broken line or dashes, and stippling, which also vary in size as you proceed inward.  In some cases, the profile, mid-level and detail lines may become "lost and found," or break up, when there is something (not air) behind it.  Below is my (JT's) humble attempt at an illustration of a bell pepper.

Two basic (draft) scientific illustration sketch attempts of a bell pepper.  The top is the vertical section view (entire object from the side, cut)(in technical pen) and the bottom is the horizontal section (dip pen with India ink) (by JT)

There are other views in addition to the two depicted above.  The plan view is the entire object, uncut, viewed from above. Elevation is the view from the side, uncut. The top of the object can be called a roof plan to continue the use of architectural terms. A reflective view includes two, sectioned halves. Another important view is the habitus view is how the plant appears in nature, with the fruit, flowers, leaves and stems drawn in correct relation to each other, and sometimes in color.  The habitus view, distinct from the others, does include a greater sense of depth and movement and can be seen as more "artful" than the other views.

The greatest benefit to me (JT) of taking this class was the reminder to measure. Like many people, I just want to get down and draw, but drawing a plant without measurement leads me into trouble. During the class, and afterward, I tested myself by drawing first and measuring afterward: each time I found I was off, drawing the object at least 20 to 25% too small!  And that was when I thought I was being careful! One good tip from the class about measurement:  never mark more than three points that you have measured without connecting them, or you lose track of what it was you measured.  I will invest in a pair of calipers and a gridded, transparent ruler to make measuring easier.  Another valuable lesson to me was the value of being able to render a subject down to its simplest components.  This helped me to see the object in a "macro" sense and give me an idea about the overall "presence" of the object transferred to paper.

Mary Elen is an excellent teacher, explaining the process and theory with clarity and moving the class along through different skills.  She offered some great ideas, and here are two:  to plant a "forcing bulb" (paperwhite, amaryllis, etc) indoors and draw it each day, even just a quick sketch, to improve observational skills and; to draw from many master botanical artists (copy even) to learn how they did it.  She taught us much more, and this is but a bit of it.  I am so glad I ventured to DC and took this class!

Link to the USBG schedule:  http://www.usbg.gov/programs-and-events

"Take the attitude of a student, never be too big to ask questions, never know too much to learn something new."
Og Mandino

USBG/Corcoran Classes

Two of us are taking a class in scientific illustration at the United States Botanic Garden/Corcoran this month (January, 2013) (and will report back here after the class).  We thought that the membership would be interested to know about the classes offered this year, and here is the link:
http://www.usbg.gov/programs-and-events

Botanical illustration is a type of scientific illustration and we hope the class will help us see, understand and depict plants and flowers with greater accuracy.

"Look deep into nature, and then you will understand everything better." Albert Einstein
 

Spotlight: Judith Towers

Happy One Year Anniversary, CVABA, with thanks to Judith Towers, who got us started!

Rosa 'Mrs. R.M. Finch' by Judith Towers

From Judith:  Rosa ‘Mrs. R.M. Finch’ is a delicate pink polyantha rose popular around 1900. I’d like to think that Grace Arents, Lewis Ginter’s niece, might have planted this very rose right near her home, Bloemendaal, where you still may find the rose today. In the early 1900’s Miss Arents lived in the modified Lakeside Wheel Clubhouse built by her uncle in the 1880’s. She must have considered the translation of Bloemendaal, “valley of flowers”, when she willed her property to the city of Richmond with the provision that it would become a botanical garden.¹ 

¹ www.lewisginter.org/about/history.php

Rosa 'Grimaldi' by Judith Towers

Rosa ‘Grimaldi’ is a floribunda rose found in the terraced rose garden at LGBG. Its color ranges from bright red-orange often striped with white, to salmon pink with purplish tones as blossoms age. Over a three-year time period I waited to study blossoms at just the right stage in order to complete this work. Being able to capture buds opening, petals curling, leaves dancing, and colors changing is at once the most compelling and challenging aspect of botanical art. It is almost as if we grow and change along with each plant.

                                                                                                Judith Towers

Just living is not enough, said the butterfly.

One must have sunshine, freedom, and a little flower.
                                                            ~Hans Christian Andersen

Blog Managers Note:  Judith Towers is primarily responsible for the founding of our Artists' Circle, the CVABA,  She has been involved for years in the arts, as a teacher, fiber artist, spinner and botanical artist.  One of our members found this "blast from the past" regarding Judith:

This is from a 1994 "Spin Off" magazine article on Judith!

Thank you Judith, on behalf of all our members, for getting us started!