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Pen and ink illustrations of plants are found most often in field guides. They convey a great deal of information and are attractive works of art, even though being a “work of art” might not be their primary purpose.

Learning how to draw in pen and ink can be a challenge. Figuring out how to make marks in the proper order to create the intended effect takes some thought. After all, ink is so, so …… permanent.

One can easily find a nice selection of instructional books about working in pen and ink. Resources dedicated to drawing in the sciences, however, are a little more difficult to find but they are out there. Take for example Biological Illustration: A Guide to Drawing for Reproduction by Claire Dalby and D. H. Dalby.

This 14-page paper is a helpful introduction to drawing in pen and ink. Don’t let its age (32 years) cause you to doubt the value of the information it has. While today there may be more convenient pen and ink tools at our disposal, not to mention technologically nifty ways of creating pen and ink-like drawings with apps, nothing beats learning from people with years of experience behind them.

In their paper, Dalby & Dalby (1980) address many interesting topics. Topics such as creating diagrammatic and naturalistic images, working from dried or preserved material, and reproducing line drawings for publication. They include in their paper a 9-page guide to drawing in black and white where they discuss: dots, lines and tones; pure line drawing; tone; dots; hatching; artificial tones and tints; pens; pencils; brushes; paper; spare paper; ink; white paint; light boxes and tracing tables; linen testers and proportional dividers. I think you will find the section about hatching of particular interest. In this section, Dalby & Dalby (1980) present the fruit of the opium poppy drawn seven different ways. Here you can learn how line drawing, stippling, hatching and a combination of dots and lines can affect the appearance of a specimen.

I think you will also enjoy the troubleshooting section in which they address drawing challenges. Here Dalby & Dalby (1980) offer suggestions about how to create smooth surfaces, thin subjects, hairy subjects, small subjects, complicated subjects with too much detail, colored subjects, spirals, and intricate symmetrical subjects.

Another helpful section is the one in which the authors address printing techniques and their limitations. In this section, they provide invaluable insight that will help you plan line drawings for publication.

This paper is a wonderful addition to any drawing library. It is available online for free from the Field Studies Council. Click on the link below and scroll down to Volume 5, Number 2.


Literature Cited

Dalby, Claire and D.H. Dalby. 1980. Biological illustration: A guide to drawing for reproduction. Field Studies 5(2):307-321. Web. <http://www.field-studies-council.org/fieldstudies/date.htm> [accessed 20 November 2012]



Related

Cambridge University Botanic Garden has announced its schedule of classes and events for 2013.

The Garden’s schedule can be viewed online, but if you are close enough to pick up the new What’s On program for 2013, I recommend picking one up. The color-coded “Year At a Glance” calendar provides an easy way to view the complete schedule of classes and events. The program is available at the garden and at locations throughout Cambridge.

Here is what’s new at Classes Near You > England:


Cambridge University Botanic Garden

www.botanic.cam.ac.uk
The botanical garden at Cambridge University offers classes in beginning botany, plant photography, garden writing, woodblock printing, knitting flowers, garden history, gardening and botanical art. More than 50 courses will be offered in 2013; thirteen of these courses are about botanical art and related topics.

More news from Classes Near You > England!


University of Oxford Botanic Garden

www.botanic-garden.ox.ac.uk
The University of Oxford Botanic Garden is a collection of 13 distinct gardens and seven display greenhouses featuring over 5,000 species of plants. The garden offers educational programs for the public and for teachers. Together with the Harcourt Arboretum, the University of Oxford Botanic Garden forms the Museums and Collections department at Oxford University.


Botanical Illustration with Rosemary Wise

Rosemary Wise, botanical illustrator for the University of Oxford since 1965, will lead these courses. Come along to benefit from her expertise and experience in the beautiful surroundings of the botanic garden. Each class costs £60. Click on the links below for more information about each class and to register.


Introduction to Digital Photography and Botanical Photography
with John Hunt

Saturday, May 18, 2013
10 Am – 4 PM
This is a practical course designed to let you take pictures and learn while you take them. It will cover the basics of digital photography, including learning about macro and close-up photography. With such a wide variety of plants and flowers you will be spoilt for choice. We will also introduce the first steps in post-production, using Adobe Photoshop Elements where you will learn how to start optimising your images. This course is designed to get the best out of the beautiful surroundings of the botanic garden and the best out of you as a photographer. Cost: £60. View Details/Register


Art Workshop with Chloe Fremantle

Saturday, May 4, 2013
10 AM – 4 PM
Artist, Chloe Fremantle, will lead a creative painting workshop, sharing with you her techniques and the inspiration for her work. Examples of her work can be viewed at www.chloefremantle.com. Cost: £60. View Details/Register


More from the University of Oxford Botanic Garden

View the complete schedule of classes to be held at both the Oxford Botanic Garden and the Harcourt Arboretum. The wonderful selection of classes address topics such as: invasive species, bees, woodland management, willow weaving, tree climbing, plant identification and the Winter Lecture Series, Gardens, Plants and Design: A Historical Perspective

View Oxford University’s Public Education Program 2012/2013

The Field Studies Council has announced the details of its 2013 course schedule.

Here is what’s new at Classes Near You > England!


Field Studies Council

www.field-studies-council.org
Founded in 1943, the Field Studies Council (FSC) provides learning opportunities about the environment for all ages and abilities. Visit their website to learn more about interdisciplinary fieldwork opportunities, classes for individuals and families, publications and profession development courses. Courses are held across the FSC network of UK Centers, from the Scottish Highlands to the south Devon coast. The extensive schedule of classes for 2013 includes:

Botany Courses – Courses include studies of flowers, trees, grasses and grass like plants, ferns, freshwater and wetland plants, lichens, fungi, general plants, mosses and liverworts. View Details/Register

Natural History Courses – Courses include studies of the natural world, birds and other animals, habitats and conservation. View Details/Register

Art Courses – Courses include painting, drawing, crafts (e.g. bookbinding), traditional skills (e.g., basketry), photography, archeology and botanical illustration. Below is a list of botanical illustration classes that will be offered next year. Click on the link below for complete details:

  • Botanical Illustration – March 2013
  • Botanical Illustration for Beginners – May 2013
  • Botanical Illustration Using Colored Pencils – June 2013
  • Botanical Illustration and Painting – July 2013
  • Botanical Illustration for More Experienced Painters – July 2013
  • Illustrating Birds, Bees and Butterflies – July 2013
  • Drawing and Painting the Flora at Malham Tarn – August 2013
  • An Approach to Botanical Illustration: Drawing and Basic Watercolor Techniques – August 2013
  • Botanical Illustration – August 2013
  • A Botany Workshop for Artists – August 2013
  • The Art of Botanical Illustration – August 2013
  • Botanical Illustration for Improvers – August 2013

View all details about FSC botanical illustration courses online.

The Eden Project in Cornwall, England announces a three-day drawing class with botanical artists Mally Francis and Ros Franklin.

Don’t miss the latest at Classes Near You > England:


The Eden Project

www.edenproject.com
Located in Cornwall, England, the Eden Project is a non-profit whose focus is connecting people to the natural world through educational programs, social programs, music and art. See how the Eden Project was transformed from a clay pit to an international institute for learning.

    Botanical Illustration
    March 15-17, 2013
    10 AM – 4 PM
    Introduction to botanical illustration for beginners and improvers. Tour the garden with Eden’s horticulturists and learn from botanical artists Mally Francis and Ros Franklin. Picnic lunch and refreshments included.
    Cost: £180 View Details/Register

Children’s picture books contain more illustrations of built environments than natural environments.

This is the finding of Williams et al. (2012) in The Human-Environment Dialog in Award-winning Children’s Picture Book.

J. Allen Williams Jr., Christopher Podeschi, Nathan Palmer, Philip Schwadel and Deanna Meyler evaluated 296 Caldecott award-winning books to investigate how the environment was portrayed in children’s book illustrations. Williams et al. (2012) evaluated titles winning the award between 1938 – 2008 and explain they chose to study Caldecott winners because the American Library Association considers these titles to have the best illustrations and because these titles are circulated widely among libraries. The authors explain they chose to study illustrations in children’s books specifically because they “play an important role in childhood socialization” (Williams, et al. 2012). The Caldecott award was first issued in 1938 (Williams, et al. 2012).

During their investigation of 70 years’ worth of titles, the authors evaluated 8,067 images. When evaluating images, Williams et al. (2012) recorded the following:

  • The presence or absence of natural, built or modified environments.
  • The presence or absence of domestic, wild or anthropomorphic animals.
  • The presence of interaction between humans and the environment.
  • The negative portrayal of nature or animals.
  • Story themes and objectives

Here is a summary of the main findings resulting from the authors’ statistical analysis of illustrations:

  • Built environments are present more often than natural environments. While both environments were represented more or less equally between 1948-1958, the presence of natural environments began a dramatic decline after 1960.
  • In 1953 built environments began to be depicted as the primary environment more often than natural environments. Prior to this, natural environments were more likely to be the primary environment.
  • Wild animals are more likely to be present in an image than domestic animals.
  • Wild animals are more likely to be the subject of a story than domestic animals.
  • The probability of either wild or domestic animals being depicted in an illustration declined over the 70-year study period.
  • Human interaction with nature or animals of any kind is not common and became even less so during the years 2000-2008.
  • Negative images of natural environments began to increase in the 1950s and peaked in the 1980s.
  • Negative images of built environments increased in the 1980s.
  • Negative images of domestic animals increased throughout the study period.

You might be asking yourself, “What made negative images ‘negative’? ”

Illustrations were coded as negative if they mostly showed “unpleasant or potentially dangerous natural conditions” or served “as critical commentary on environmental problems” (Williams, et al. 2012).

In discussing the findings above (and many others), Williams et al. (2012) conclude that children’s understanding and appreciation of nature is not being nurtured through the children’s books they studied. Neither is children’s understanding of the role human’s play in the environment.

The authors are concerned about illustrations in children’s books because children’s books reflect what is going on in society (Williams, et al. 2012). The authors hypothesize that two factors may be contributing to they way the environment is presented in children’s books: 1) the public’s indifference towards environmental issues and 2) the public’s declining exposure to natural environments. They make a strong case for both in their paper citing independent research and Gallup poll data. To read more about their analysis of these issues and to view a full account of their findings, get a PDF of their article
(24-hour access costs $35) or look for a copy at your local college library.


Literature Cited

Williams, J.Allen and Christopher Podeschi, Nathan Palmer, Philip Schwadel and Deanna Meyler. 2012. The human-environment dialog in award-winning children’s picture books. Sociological Inquiry. 82(1): 145-159

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…