LITMIR.BIZ

      ∆ A watercolourist recently described coloured pencil as being of no use for depicting fine detail. Maybe this butterfly, which repeatedly tried to land on my drawing of beetroot at an exhibition, had not read those words!

      TRADITIONAL BOTANICAL ART

      Traditionally botanical painting has been the realm of the watercolourist, but more and more artists are discovering that coloured pencil can be a very effective alternative to watercolour. If you find painting difficult, then this is the ideal way to achieve colourful and detailed botanical studies. The quality of materials is improving all the time and, with several ranges of pencils being rated as lightfast, work created now in coloured pencil will last as long as paintings executed in watercolour.

      People are often dismissive of coloured pencils because they are associated with the poor quality crayons of childhood. Well yes, my pictures are effectively ‘done with crayons’, but with materials of very high specification and quality. Too often coloured-pencil work can appear grainy and too obviously pencil, but this may be because the paper used was not smooth enough, the pencil was not sharp, or the pencil was applied too lightly and not layered or blended. However, by using the techniques I will show you it is possible to achieve brilliant, lively colours and a painterly effect.

      The use of coloured pencil as a medium for botanical illustration is a relatively new phenomenon and there is still some resistance against it. I hope to dispel outdated ideas and show that coloured pencil as a medium for botanical painting is very much here to stay. Equally there is some debate in horticultural circles as to the subjects that should be covered by botanical art. My own remit is wide and includes fungi as well as plant material.

      I teach my methods around the UK and Europe, and also in the USA and New Zealand, and I am constantly surprised by the wealth of talent already emerging in this medium and the huge enthusiasm to learn this technique.

      WATERCOLOUR vs COLOURED PENCIL

      If you do not like using brushes, but love drawing, as I do, then coloured pencil could be the medium for you. Unlike watercolour, coloured pencil is a very forgiving medium. It can be lifted off and reapplied, mistakes can be rubbed out and colours can be layered and re-layered to achieve pure, vibrant tones. A major advantage of coloured pencil is that once you have some knowledge of the techniques and the way different colours behave when layered, you can be sure to reproduce exactly the same effect over and over again, whereas watercolour mixes can often be rather hit and miss.

      Another advantage is that coloured pencils are very portable, so with a selection of maybe 20 to 25 colours, some paper, an eraser and a sharpener you are ready to hit the road, and there is no washing of brushes and palettes afterwards.

      We are all used to handling writing implements, so using pencils comes much more naturally to us. Brushes can be frustratingly difficult to control and sometimes seem to have a life of their own; a stray hair can spring out and ruin a clean line whereas coloured pencil is much easier to control.

      I hope this book will introduce you to the wonderful world of coloured pencil for botanical painting and will encourage you to make your own explorations and discover new ways of working in this very versatile and exciting medium. Enjoy!

      ∆ BEETROOT TRIO

      50 x 36 cm (20 x 14 in) Coloured pencil and graphite pencil.

CHAPTER 1

       MATERIALS

      THE WIDE ARRAY of coloured pencils available to the artist can be daunting and confusing, especially to the beginner. New colours are constantly coming onto the market, and the names of existing pencils change or colours are discontinued, sometimes returning in a different form. Additionally, good quality materials are not always easy to obtain and may need searching for, while poorer quality alternatives seem to be in every shop. In this chapter I will endeavour to guide you safely through the materials’ minefield and introduce you to the full range of equipment that you will find useful.

      In order to ensure good results, as with any form of artistic work, try to use the best quality coloured pencils you can afford. Sometimes bargains can be had, but most good quality art materials are a bit more expensive. You generally get what you pay for, but do not be put off by the huge choice of materials as you can get up and running for a relatively small outlay in terms of cost.

      Do not rush out and buy full sets of coloured pencils. You will find that many colours in these sets are not needed in botanical work, in particular many of the more lurid greens, turquoises and blues. It is better to buy single pencils and build up a collection of colours that you know you will use. Especially avoid the small tins of 12 or 24 colours as at least half of them will be no use for botanical work.

      ∆ SPANISH POMEGRANATES

       Punica granatum

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