LITMIR.BIZ

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including a battery-operated one as well as plastic and kneadable erasers. A scalpel and eraser shield are also essential.

      WHICH SIDE TO WORK ON?

      Hot-pressed paper is made in a mould and in the manufacturing process it is pressed by rollers against a soft wire mesh, which can leave the often quite clear impression of the mesh on one side of the paper. This is not a sympathetic surface for coloured-pencil work, so always use the other, more uneven, side to work on. The manufacturer’s watermark will usually read on the right side, with the exception of Fabriano. Paper presented in blocks or pads needs to be checked with a magnifying glass as it varies depending on the manufacturer as to which way up the paper is presented.

      ERASERS

      For correcting graphite pencil work use a plastic eraser that is quite firm and so tends not to damage the paper surface or leave any unwanted residue on the paper surface.

      Cut off a small triangle from your plastic eraser and put the rest safely away in a polythene bag to keep it clean. This way you always have a clean piece, with sharp edges, to work with. When this small piece is dirty throw it away and cut a new piece.

      For lifting off areas of tone or highlights and generally cleaning the paper, use one of the soft, malleable types of eraser such as Maped’s dark grey kneadable eraser, Blu or White Tac or a piece of kneaded putty rubber.

      PENCIL SHARPENERS

      Invest in a good quality pencil sharpener for your coloured pencils. Whether it is electric, battery operated or hand cranked, choose one with a spiral metal sharpening core and not the type that just has a revolving pencil sharpener. This latter type quickly becomes blunt and only sharpens to a small conical point. Pencil sharpeners can become clogged with waxy residues, but regularly sharpening a graphite pencil in them helps to keep them clean.

      Always sharpen your pencils from the un-named end so that you do not lose the name and reference number of the colour.

      STORAGE

      There are many ways to store pencils, but it is a good idea to have a safe and convenient way to carry your pencils should you wish to work away from home. I use strong zip-up cases that hold the pencils firmly in slots and travel well. Pencil rolls and wooden boxes also provide good protection.

      The cheapest and simplest container for your pencils at home or in the studio is a cardboard wine-bottle carrier with six compartments, easily available from the supermarket or off-licence, with a large plastic pot placed in each compartment to contain a separate range of colours: one pot for greens, one for reds, and so on. Easy and organized!

      BLENDERS AND SOLVENTS

      Blender pencils are used for mixing the colours together on the page and for burnishing: that is, pushing the colours together and smoothing them into the grain of the paper to give a paintlike effect. These specialized pencils can also be used for resist work (see here).

      ∆ Useful extra materials include blender pencils, solvents and embossing tools. A handheld magnifier is invaluable, as are a lightbox and a clamp.

      Solvent melts the binder that holds the pigment in all forms of dry media and because it is not affected by any size or sealant in the paper it takes the pigment straight into the paper, in effect staining it. This then provides a good base for drawing as the solvent does not change the texture of the paper as water can.

      There are various types of solvent on the market that can be used with coloured pencil. You can use any substance that will dissolve oil or wax, such as white spirit, but this is not ideal for studio use. There are alcohol-based solvents available that come in felt-tip pen form or in a container. There is also a turpentine substitute called ‘Zest-it’; this is lemon based and less toxic, but bear in mind that it can dissolve masking fluid. You can also buy empty felt-tip pens, which can be filled with a solvent of your choice. Always use solvents in a well-ventilated space.

      ADDITIONAL MATERIALS

      You will need a drawing board, preferably A2 or larger, to work on, propped up at a slight angle.

      A magnifier is essential for use both on the plant material and on the drawing to help with the smooth laydown of colour, fine detail and crisp edges. Use either a handheld one or, preferably, a clamp type with a flexible arm that can be attached to the drawing board, leaving both of your hands free.

      Other useful extras include Frisk film or sticky-backed plastic, fixative, masking fluid, a scalpel, a sanding block and embossers.

      Small hobby clamps with jointed arms are a good way of holding specimens.

      A cheap icing turntable or ‘lazy susan’ will allow you to revolve your plant material and view it from every angle.

      Feathers are useful for cleaning debris such as broken pencil tips and eraser dust from your work. Use a feather or large soft paintbrush regularly to prevent accidental smudges and marks on the paper.

      A lightbox will enable you to trace your layouts more easily onto decent drawing paper or to place additional elements in your composition.

      ∆ AMARYLLIS TRIO

      29 x 50 cm (11 x 20 in)

      WORKING ENVIRONMENT

      The best place to work is near a north-facing window, with the light coming from the opposite side to the hand that you draw with, so that you are not working in your own shadow. The north light means that you will get a more even light distribution and avoid the constantly changing shadows that strong sunlight can produce.

      It is always best to work in natural light. Tungsten light bulbs give a yellow caste, fluorescent lighting flickers and can result in a strobe effect when you are colouring in rapidly, and daylight bulbs give a very cold blue light, all of which make colour matching tricky and frustrating.

      You will need a stable surface to work on as you will be applying strong pressure at times. Sit on a comfortable chair with good back support and use a board to rest your paper on, which you can prop up at an angle so that you do not overstretch your neck muscles. Do not sit for long periods without getting up and stretching your legs.

      Place your plant material in front of you at eye level, so that you only have to move your eyes back and forward, thus avoiding too much head movement. Your eye muscles also need stretching, so look up from your work regularly and stare out of the window at the horizon.

      Most importantly, make a space that works for you, and preferably one that is not cramped, where you can keep your work and materials out all the time so there is nothing to deter you from working.

      PROTECTING WORK

      Use a piece of similar paper to rest your hand on while working to avoid smudging and to try out colour mixes on. Always cover your drawing completely when not working to protect it from dust and insects. When completed, cover it with acid-free tissue paper or another sheet of paper and store it out of the light in a folder or drawer. If you are framing your work, the extra expense of UV glass to screen out UV light that fades colours is well worth it to ensure the long life of your work. Additionally take care not to hang your work in direct sunlight or strong reflected light. After all, your drawing has taken a lot of time and effort to complete.

CHAPTER 2

       GETTING TO KNOW YOUR SUBJECT

      AS BOTANICAL ARTISTS we accurately record the growing habit, structure and colour of the particular plant we are drawing. Even if your work is not for a scientific purpose, if it falls into the botanical category then it should be botanically correct. A looser interpretation, even though still fairly accurate, would qualify

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