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Today Mariella Baldwin shares her thoughts about learning the botanical art.

As always, you are free to join the conversation at any time. Mariella will be taking questions the rest of this month.


ArtPlantae
:
You state that your primary objective for writing your book is to help build confidence with drawing and to create an enjoyable painting experience for anyone interested in botanical art. Drawing upon all of your years of experience explaining the drawing and painting process to beginners…

  • How do you think individuals new to botanical art learn drawing best?
  • How do you think individuals new to botanical art learn painting best?


Mariella
: The answer to both these questions is continual and ongoing practice. One never stops learning.

When it comes to drawing I recall a couple of sound pieces of advice I have gleaned over the years. “Draw what you see, not what you think you see”, and “If you haven’t drawn it, you haven’t seen it.” I would recommend drawing something every day – no matter how small – and make it simple. It is very easy to be carried away with the complexity of detail. It is easy to have a sketchbook and a pencil to hand at all times – they take up little room and are easily portable. I also recommend not using an eraser. Just drawing and making corrections as errors present themselves. Filling a page with loose sketches and gradually honing in on the subject makes for an interesting page. Any errors fade into the background as the page becomes an interesting study in itself – the demonstration of a learning process.


Mariella’s continues her discussion here…

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If you’re new to botanical art, you have many resources at your disposal to help you find your way. There are websites, tutorials, professional organizations, certificate programs, classes and of course, books! Many more than what existed 15 years ago. I have had the good fortune to share many books on this site and today I have the pleasure of sharing one more.

Botanical Painting by Mariella Baldwin is a rich resource for those who have a growing interest in learning how to paint plants.

In her introduction, Mariella explains she wrote her book to show people how to paint plants without fear. While she does not stress a technical, scientific approach to drawing and painting plants, Botanical Painting is definitely not a book about expressive flower painting. Far from it. It is a book about drawing with accuracy and painting for pleasure.

The thoughtful and patient conversation Mariella has with readers who lack prior painting experience made a big impression on me. Mariella clearly cares about connecting with her readers and provides confidence-building advice at just the right moments during the drawing and painting process. Always supportive, Mariella is respectful of the path each individual takes to a finished painting.

Novice botanical illustrators will appreciate Mariella’s thoughtful instruction about how to begin a

Click to enlarge, image courtesy Crowood Press

drawing. Through her guided instruction, beginners learn how to use graph paper to take measurements, how to create a mask around their work, how to approach investigative sketching and how to draw the form of their subject.

When it comes to painting, beginners are shown how to turn the painting process into manageable tasks. The instructions Mariella provides for her practice techniques are as clear as her instructions for the “official” painting steps she outlines. Throughout, photographs of her own sketches and painting studies support the written text.

Some of the topics Mariella addresses in her book are:

  • How to work with specific colors (white, yellow, orange, brown, red, pink, green, blue, purple, black and silver).
  • How to paint bi-colored flowers.
  • How to paint roots, bulbs, stems.
  • How to draw and paint leaves.
  • How to draw and paint leaf surfaces and textures.
  • How to draw and paint buds and flowers.

Click to enlarge, image courtesy Crowood Press

In a chapter both new painters and experienced painters will appreciate, Mariella reviews special techniques that will help them paint velvet flowers, hairs, bloom, cacti, sheen and shine on fruit, reflected light, aerial perspective, shadows and those ever-popular dewdrops.

Want to learn more about
Botanical Painting?


Let’s ask Mariella …

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When ArtPlantae participates in educational events, garden shows and other venues, I bring a traveling Guest Sketchbook with me and a sign that reads, “Please doodle in the Guest Sketchbook. Chicken scratch preferred. Words not necessary. Select any page. Thank you.”

All day long I invite people to doodle. Adults are the first to shake their heads no and to walk away. The usual response is “No. I can’t draw and I don’t doodle.” One man said, “Oh no. Not without a straightedge!”

The response I receive from children is very different. They are all over the sketchbook. Some return to draw again. Others lose track of time and space and draw for a long time. While most children respond in a positive way to my invitation, there have been some who have politely declined.

At an outdoor event where everyone is out enjoying a sunny day, having my invitation turned down is no big deal.

But what if you were using drawing as a learning tool for specific reasons and had a room full of students who groaned at the thought of having to draw for an assignment? What do you do then?

In Drawing Out the Artist in Science Students, science teacher Al Camacho, mechanical engineering professor Gary Benenson and Patricia Rosas-Colin, a graduate student in mathematics education have an answer to this dilemma. Their answer is quite simply, teach these students how to draw.

Not in an assertive “Draw or else!” sort of way, of course. But in a way that encourages them to become visual thinkers.

In their paper, the authors present five exercises designed to make students thoughtful and inquiring observers. Here I provide only a one-line description of each exercise. For all the juicy details, please see their paper.

In Camacho et al. (2012), you’ll find exercises about:

  • Sci-a-grams: What are they and how they can be used to demonstrate the value of simple sketches.
  • Basic Shapes – How to see shapes in everyday objects
  • Creating with Basic Shapes – How to create representational images
  • Information Through Labels – An exercise in communicating information
  • Diagram Design – An exercise in explaining how things work

You will also find in this paper a scoring rubric teachers can use to evaluate student drawings and assess student understanding.

The exercises presented in this paper do more than help students use drawing as a learning tool. They train students how to communicate information visually and equip students with a new way of thinking and expressing ideas (Camacho et al., 2012).

To obtain a copy of Camacho et al. (2012), you can buy this article online from the National Science Teachers Association (99¢).


Literature Cited

Camacho, Al and Gary Benenson, Carmen Patricia Rosas-Colin. 2012. Drawing out the artist in science students. Science and Children. 50(3): 68-73.

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Here is the latest at Classes Near You > Northern California!


Filoli House and Garden, Woodside

www.filoli.org
Located in Woodside, CA, the only certificate program in botanical art and illustration in California offers classes taught by exceptional award-winning instructors. View the course schedule for 2013 for details.

In addition to courses about drawing, watercolor, pen and ink and colored pencil, the botanical art program offers a long list of classes addressing specific techniques and business-related skills of special interest to botanical artists. These classes include:

  • Techniques Class: Understanding Foreshortening
  • Techniques Class: Textures in Depth
  • Designing for Success: Composition for Artists
  • Beginning Photoshop for Botanical Art
  • Portfolio: Presenting Your Artwork
  • Labeling, Matting and Framing

View the entire course schedule and learn more about Filoli’s botanical art program online.

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Natural Forms in Black, White & Gray

Learn how to capture Nature’s forms in black and white in this five-week class with Rose Pellicano.

Get the latest at Classes Near You > New York!


Rose Pellicano

Rose Pellicano’s career as a botanical artist spans 20 years. Her work has been exhibited widely and is in the permanent collection of the Hunt Institute for Botanical Documentation. Learn more about Rose by visiting her profile in the ASBA Members Gallery. Rose is represented by Susan Frei Nathan Fine Works on Paper, LLC in New Jersey.

    Drawing Flowers and Plants in Graphite
    Fridays, October 26 and November 2,9,16,30, 2012
    10 AM – 1 PM
    Learn the basics of drawing flowers and plants in graphite. Create the illusion of depth and three dimensionality to your drawing by learning to apply even gradations of values. This course is for beginning and intermediate students. Flowers will be provided. Cost: $205, plus $10 materials fee. Location: Southampton Cultural Center, www.scc-arts.org.

    To register, contact Kirsten Lonnie or call (631) 287-4377.

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Instead of exploring drawing and learning as it applies to young learners, today we’re looking at drawing, learning and teachers.

How teachers view the environment influences how they make meaning about it. To investigate how teachers view the world around them, Christine Moseley, Blanche Desjean-Perrotta and Julianna Utley field-tested a scoring rubric assessing teachers’ perceptions of the environment as revealed through their drawings. Their findings are discussed in The Draw-An-Environment Test Rubric (DAET-R), Exploring Pre-Service Teachers’ Mental Models of the Environment.

Drawings have been used as a research tool for many years because they provide insight into an individual’s beliefs and how they make meaning about the world around them (Moseley et al., 2010). Because there has been little research into teachers’ mental images of the environment and how these images influence how teachers think about the environment, Moseley et al. (2010) made this the focus of their research.

To make it easier to quantitatively assess teachers’ mental images as revealed through their drawings, Moseley et al. (2010) created a rubric that enabled them to assign a score to specific elements (or “factors”) in a drawing. The rubric they designed was used to evaluate pre-service teachers’ replies to two prompts in the Draw-An-Environment Test (DAET). Teachers were instructed to draw a picture of what they thought the environment was and then were asked to provide a written definition for the environment. The two prompts pre-service teachers responded to were “My drawing of the environment is ___” and “My definition of the environment is ___”.

Moseley et al. (2010) designed this study to address two research questions:

  1. Is the Draw-An-Environment Test Rubric a valid assessment tool?
  2. What mental models (i.e., images) do early childhood pre-service teachers have of the environment?

The quick answer to their first research question is, “yes”. The rubric they created is a valid and reliable assessment tool. A thorough statistical analysis of the DAET-R can be found in their paper.

As for their findings regarding their second research question…

One hundred eighteen pre-K to fourth grade pre-service teachers (average age 26.9 years) participated in this study. The participants were enrolled in senior level science and math courses.

The drawing portion of the DAET was evaluated using the DAET-R. The evaluation focused on “the degree of evidence in the drawings of interactions” (Moseley et al., 2010). Scores were assigned if a factor was present, if a factor was not present, if a factor interacted with other factors and if two or more factors interacted with each other (Moseley et al., 2010). The research team assigned “degrees of evidence” using a scoring system of 0-3 points, with the highest point score assigned to drawings in which “the participant was trying to indicate an interaction among factors with an emphasis on a systems approach to the definition of environment” (Moseley et al., 2010).

The drawings they received revealed that the pre-service teachers do not consider humans to be an integral part of the environment. Sixty percent of the participants completing the DAET did not draw humans in their pictures and only 31% drew humans interacting with the environment in some way (Moseley et al., 2010). The drawings also revealed the pre-service teachers’ lack of understanding about interactions occurring between factors in the environment (Moseley et al., 2010). Participants included many factors in their drawings and while they labeled them with identification labels such as “cat” or “tree”, they did not assign conceptual labels like “pollination” or “growth” (Moseley et al., 2010). Only two of the 118 drawings scored represented an understanding of how systems are dependent upon each other in the natural environment (Moseley et al., 2010).

The research team observed several drawings of homes, bedrooms, schools, classrooms and urban neighborhoods — scenes suggesting to Moseley et al., 2010 that the word environment did not bring forth images of nature in the minds of their participants. Citing the work of several other studies, Moseley et al. (2010) concluded that their sample population of pre-service teachers had an “object view” of the environment instead of a view in which humans interacted with the environment.

Before I continue, I need to point out that, prior to participants completing the DAET, Moseley et al. (2010) asked participants about their “residential experiences” (i.e., where they have lived for most of their lives). They found out that 21% of their sample population had lived in a rural environment, 32% in an urban environment, and 46% in a suburban environment. It should also be pointed out that prior to their participation in this study, the pre-service teachers had not received any training in environmental education (Moseley et al., 2010).

The results of the drawing section of the DAET are consistent with the results observed in the written section of the test, an evaluation that Moseley et al. (2010) described in a separate paper. The research team evaluated the drawing and written portions of the DAET separately so that the DAET-R could be evaluated for its validity as an assessment tool.

The results of their study prompted Moseley et al. (2010) to call for teacher education programs “that support pre-service teachers’ development of a conceptual model of the environment that integrates humans and the abiotic and biotic factors within the environment” as this would better prepare teachers to teach children about organisms, the environment, and biodiversity.

Read more about the research team’s recommendations and see how they used the DAET-R to evaluate drawings. Purchase a copy of this paper online or
search for this article at your local college library. A copy of the DAET and the DAET-R are included in this paper.


Literature Cited

Moseley, Christine, Blanche Desjean-Perrotta and Julianna Utley. 2010. The Draw-An-Environment Test Rubric (DAET-R): exploring pre-service teachers’ mental models of the environment. Environmental Education Research.
16(2): 189-208.



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Begin your studies in botanical art! Here is an opportunity to study drawing and painting well into Spring 2013 at the University of Bristol Botanical Garden.


University of Bristol Botanic Garden

http://www.bristol.ac.uk/botanic-garden
A four-acre garden founded in 1882 by Adolf Leipner, professor of botany at Bristol University College. Plant collections address the following subject areas: plant evolution, Mediterranean plants, local plants, rare native plants, and useful plants. This garden was founded on an initial budge of £104!

    Traditional Botanical Painting and Drawing
    October 8, 2012 – May 6, 2013
    1:00 – 4:30 PM
    Establish a foundation in botanical drawing and painting in this 21-week course taught by artist Jenny Brooks. Students will learn how to use line, how to create form and textures, how to mix colors, and how to create botanical paintings in watercolor. Cost: £360. View Details

Information about this course has been posted to Classes Near You > England.

Visit this page to also view information about many other classes that will be taught in England through the end of the year.

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