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2
DRAWING AND
WATERCOLOUR
TECHNIQUE
Drawing and painting materials
Botanical painting need not be an expensive pursuit; what is most impor-
tant is the ability of the materials to perform their task well, and the skill
of the painter. Good results can be achieved with a minimum of invest-
ment and refined technique. Even if used on a constant basis, many of
the materials, such as watercolour paints or pens, should last for years.
The illustration below suggests some of the media with which you
may want to experiment. Beginners may prefer to start with watercolour
or dip pen, whereas painters with a moderate to advanced level of skill
may wish to progress to using opaque media such as gouache or acrylic,
a command of which is necessary to portray some of the more challeng-
ing subjects shown in later chapters.
Your first investment should be in an A3 or A4 pad of smooth-
surfaced heavyweight cartridge paper (220 g/m2), such as that available
in the UK from Daler-Rowney. Botanical painting requires an artist to

Some of the materials used in botanical

painting; heavyweight cartridge paper;
dip pen and ink; watercolour, gouache
and acrylic paints; variously sized round
synthetic watercolour and acrylic
brushes.

14
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DRAWING AND WATERCOLOUR TECHNIQUE 15

render the subject in a fine degree of detail; the rough or textured sur-
faces of many watercolour papers will scatter light and obscure fineness
of detail. The surface of watercolour paper also absorbs paint like a
sponge, so does not make it easy to work quickly. It also does not easily
support media such as ink or pencil. Therefore, it is best to use smooth-
surfaced general-purpose papers and boards, such as the cartridge paper
mentioned above, or hot-pressed illustration board that is suitable for
line and wash work. These surfaces are designed to support a wide range
of media, such as pencil, ink, watercolour, gouache and acrylic, and do
not need to be pre-stretched.
The heavyweight cartridge paper used for the illustrations throughout
this book is inexpensive to purchase and has an attractive, smooth, cream-
coloured surface. It is not suitable for wet-in-wet technique; those who are
accustomed to working in this manner may find that some adjustment to
their painting technique is necessary, as cartridge paper does not have the
absorbency of watercolour paper, and the smooth surface will be spoiled
and disintegrate if over-wetted. Some control will therefore be needed
over paint consistency and the application of paint layers.
Conventional standard copier paper (not coated or specialist) may be
used for ink drawings that are intended for reproduction only and not
display. If intended for display, an investment should be made in the
luxury of hot-pressed illustration board. Illustration board is pure white,
has a beautiful smooth-textured surface giving a ‘professional’ finish, and
allows for an even laying down of washes. Also, paint on this surface will
stay wet for slightly longer than on cartridge paper, so that colours diffuse
into each other. (A description of board types and suppliers can be found
in the Appendix.)

Drawing and watercolour technique

For drawing, a propelling pencil with a 0.5 mm HB lead is preferable to
a traditional wooden pencil, since it does not need sharpening and will
not smudge as easily. A plastic eraser is also preferable to a kneadable
eraser since the latter becomes oily and will leave a residue on the paper.
The best palette to use is a glazed white china plate, since it is easier to
clean than a plastic palette, particularly if using acrylic paints, which are
themselves a form of plastic and will set hard when dry.
Brushes should be wholly synthetic, as sables and sable/synthetic
blends are not robust and are liable to be ruined within a very short time.
The brushes I use are of a ‘round’ type (Daler-Rowney Series 111); I
would recommend sizes 4 and 7 for laying down large areas of colour,
and size 0000 for detailed work. Watercolour brushes should be used for
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16 DRAWING AND PAINTING PLANTS

Watercolours with watercolour

brushes and propelling pencil.

watercolour painting; acrylic brushes for gouache and acrylic painting.

The finest size of watercolour brush can, however, be used to paint fine
detail in gouache and acrylic paintings. If painting is your full-time occu-
pation, you can buy fine brushes in bulk; each one will have a life
expectancy of two or three weeks.
Watercolours are supplied in tubes or pans; both are equally suitable
for beginners, although tubes allow fresh paint to be used each time and
do not soil quickly, as pans do. It is advisable to purchase ‘artists’ quality’
watercolours, since these are usually provided with a longer guarantee
against fading.
Prior to commencing work, with a set-square I rule a faint border
inside the edges of my sheet of paper, between 1 and 21/2 inches wide

Ruling a border.
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DRAWING AND WATERCOLOUR TECHNIQUE 17

Draw horizontal and vertical

lines to help with construction

How a drawing can be constructed depending on the paper size. This provides a ‘frame’ within which to
from basic shapes. work on the painting, gives a guideline for mounting or framing, and pre-
vents soiling of the painting through handling.
It is essential to draw your subject in full detail before painting it, for
the reason that subsequent painting is likely to be easier, quicker and
more accurate. Provided pencil marks remain sufficiently light, they can
be gently erased or covered with paint or another medium at a later stage.
Drawing the subject accurately is fundamental to your painting; the accu-
racy of a foundation drawing will invariably affect the finished work.
Plan your drawing on the sheet of paper, using a light pressure so that
your pencil marks can be easily erased later and will not blemish or
groove the surface of the paper. Use straight or curved lines to plot stems
and leaves, and basic shapes – circles, ovals, ellipses, diamonds, trapezia
or kidney-bean shapes – to plot subjects such as flowers. Horizontal and
vertical construction lines will also assist in the alignment of parts of the
plant, so that the final drawing is in proportion and appears visually
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18 DRAWING AND PAINTING PLANTS

Plotting the drawing.

correct when paint is applied. Awkward shapes can be obtained from the
amalgamation of several basic shapes, and drawings of subjects that
change shape according to viewpoint can be constructed from different
basic shapes.
Using the construction lines and basic shapes of your sketch as a
guide, begin to refine your drawing. Each individual part of a plant has
a shape or form of its own, which must be accurately defined. At the very
least, the aim should be to define all forms comfortably visible to you
with the naked eye. For example, all petals, or all leaves, should be dis-
tinct from each other and clearly defined, but certain floral parts may
sometimes be insufficiently large to be shown in this manner. Your
drawing should be as crisp and as clear as possible, so that the plant
species it represents can be clearly identified from it.

Refining the drawing.

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DRAWING AND WATERCOLOUR TECHNIQUE 19

Erasing construction lines.

The finished drawing.

Block in an entire margin

Continuity should be present in complicated margins such as those

Use the construction line to
help draw a serrated margin found along a carnation petal or serrated leaf. Sketch in the outline of a
margin, then work over it, drawing in any serration or crenellation. This
Drawing complicated margins. will create a smooth, definite flow of movement, preventing the line of
the margin from meandering or being drawn off scale, which is often a
problem if guidelines are not used.
Only draw outlines; do not draw in shadows of any type at this stage,
since pencil marks may show through light washes when paint is applied
later. If patterns or markings are present, lightly indicate the edges of
these. Erase your construction lines on completion of the detailed drawing.
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20 DRAWING AND PAINTING PLANTS

D E
Colour wheel.
F KEY
C A – Lemon Yellow J – Mauve
G B – Winsor Yellow K – Dioxazine Violet
B Oranges C – Cadmium Yellow Hue L – Ultramarine
H D – Cadmium Orange Hue M – Cerulean
E – Cadmium Red Pale Hue N – Prussian Blue
A F – Winsor Red O – Viridian
I G – Alizarin Crimson P – Hooker’s Green Dark
Yellows Reds/Pinks H – Permanent Rose Q – Hooker’s Green Light
I – Quinacridone Magenta

Greens Purples
Q KEY COLOURS
J
A B C
Blues Yellows
P
K
O D E
Oranges

N L F G H I
M Reds/
Pinks

Colours Purples
J K

The colours suggested below are only a guideline, since colour recipes L M N
and qualities will vary from range to range. These are the basic colours Blues

that I use personally, that I have found to be adequate for my needs and
O P Q
which fall within an affordable budget. However, there should be no Greens
restrictions on the colour range you choose to use. It is perhaps best to
Earth R S T U
buy a standard set of tube or pan watercolours and augment your colour Colours/
range gradually by purchasing individual tubes or pans. Neutrals
It is important to have good ‘cool’ and ‘warm’ versions of your various Suggested paint colours, from the
colours. ‘Cool’ in this instance denotes a colour with greener or bluer Winsor and Newton ‘Artists’ and
overtones, whereas ‘warm’ describes a colour with overtones of yellow or ‘Cotman’ ranges.
red. It is a good idea to spot your colours on a colour wheel to assess their KEY
relative warmth or coolness to one another. A – Lemon Yellow
B – Winsor Yellow
To appreciate the qualities of your individual colours and familiarise C – Cadmium Yellow Hue
yourself with your palette, it will be necessary to make colour charts D – Cadmium Orange Hue
E – Cadmium Red Pale Hue
using groups of colours within a certain range. For example, colours with F – Winsor Red
G – Alizarin Crimson
yellow overtones are mixed with colours with blue or green overtones in H – Permanent Rose
the chart below, to create a variety of greens. It can be seen that the I – Quinacridone Magenta
J – Mauve
clearer and more vibrant colours produce the brightest greens, and that K – Dioxazine Violet
L – Cerulean Blue Hue
cooler colours produce cooler greens. Warmer colours such as ultrama- M – Prussian Blue
rine (a warm blue) or light orange, or earth colours such as yellow ochre, N – Ultramarine
O – Hooker’s Green Light
will produce more muddied greens. P – Hooker’s Green Dark
Q – Viridian Hue
These colour charts can subsequently be matched to any subject that R – Yellow Ochre
you are painting and an accurate colour blend picked out; for this S – Burnt Sienna
T – Burnt Umber
purpose they prove an invaluable time-saver. U – Ivory Black
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DRAWING AND WATERCOLOUR TECHNIQUE 21

Colour matching and shading in colour

Some artists advocate the use of a complementary colour, or grey, to
shade; whilst this technique can be used to some effect, I find the bright-
ness and purity of flower colour is best preserved in watercolour
paintings by using a darker, or less dilute, version of the same, or a
similar, colour. A little grey may be used in shading pale-coloured
flowers, however, though some caution should be exercised when doing
so, as shading may be very easily overdone.
YELLOWS AND ORANGES White flowers can be shaded and outlined using a very pale grey
A B C D E
mixed from Permanent Rose and Viridian. Alternatively, a similar red-
pink and blue-green, which are opposite each other on the colour wheel
and will therefore produce a grey, may be used. White flowers are rarely
F
completely white; many have a hint of some colour present (see also
Chapter 9). In white flowers, and in some paler-coloured ones, coloured
G reflections are likely to occur. The sources of these may be either internal
BLUES AND GREENS

to a flower (patterning or colour on the inner petals), or external (the

H coloured petals of another flower). The reflections may range in colour
from yellow through to pink, blue and pale green. Look for these reflec-
I
tions in white or paler-coloured flowers and endeavour to include them
in your painting. An example is present in the painting of the rose shown
on page 25. Representation of these reflections breathes life and warmth
J
into the painting, imbuing it with a three-dimensional quality.
Yellow flowers should be shaded with the grey mix used for shading
K white flowers, adding a touch of yellow ochre. Special care must be taken
not to ‘over-grey’ yellow flowers. Red flowers may be shaded with alizarin
Colour chart: mixing yellows and blues
crimson, or a mixture of cadmium red and permanent rose. Mauve may
to create greens. be very occasionally used in the darkest areas. This same method of
shading with a darker colour may be applied to blues, greens and earth
KEY
A – Lemon Yellow colours in turn.
B – Winsor Yellow Certain colours can be matched to the base colours of certain flowers.
C – Cadmium Yellow
D – Yellow Ochre For example:
E – Cadmium Orange
F – Hooker’s Green Light
G – Hooker’s Green Dark Lemon Yellow – Primrose Ultramarine – Grape hyacinth
H – Viridian Hue
I – Cerulean Blue Hue Winsor Yellow – Celandine Dioxazine Violet – Violet
J – Prussian Blue
K – Ultramarine Cadmium Orange – Wallflower Permanent Rose – Rose
Winsor Red – Quince Quinacridone Magenta – Cyclamen
Cerulean – Gentian
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22 DRAWING AND PAINTING PLANTS

Watercolour painting – technique OPPOSITE This painting shows how certain

colours can be matched to particular
flowers.
The following technique is the basic painting technique that I use when
working in watercolour. However, its underlying principles can be just as CLOCKWISE FROM LEFT Lemon Yellow –
easily applied to other painting and drawing media (see Chapters 5 and 6). primrose; Cerulean – gentian; Winsor
The basic technique consists of laying progressively darker washes Yellow – celandine; Ultramarine – grape
hyacinth; Cadmium Orange – wallflower;
down using the largest brush that is appropriate for the task: for
Winsor Red – quince, Dioxazine
example, a size 4 for general work, or size 2 for smaller flowers. Paint Violet – violet.
consistency is very important; neither a wet- nor dry-brush technique is
used. Instead, the paint consistency should fall somewhere in between
the two, so that it covers the paper easily without over-wetting. With
practice you will find the consistency becomes easier to assess; it is
recommended that you test it first on a swatch of spare paper.
The painting is then shaded using the fine 0000 brush and small,
hairlike strokes that blend into one another; the short bristles of the
brush make it easier to control than liner or rigger brushes. Using pro-
gressively darker shades of paint will result in an area of graduated tone.
With an appropriate brush size and colours, the painting should then
be further enhanced to achieve a simultaneous naturalism and a crisp
clarity. Outlines should not be uniform; instead, the outline thickness
should vary. In darker areas, shading should be blended from the outline
to achieve continuity of the surface’s form.
I sometimes work over parts of the painting with permanent white
gouache, which in a dilute form can emulate a whitish ‘bloom’, as well as
highlighting specific areas, and emphasising solidity and reflectivity.
These areas are then reworked in colour to give a clear final result.

The qualities of watercolour

Watercolour, unlike some other paint media, has a translucency that Make
outlines
lends itself especially well to the depiction of flowers. Flowers have an uneven in
thickness
ethereal quality, and simultaneously a vibrancy and a softness that water-
colour appears to be the best medium for expressing. Watercolour is the Shade using
most popular and widely used medium in botanical art, and most botan- fine strokes
that blend
ical artists use it exclusively. Also, it does not dry as quickly as gouache into each
other
or acrylic and thus is easier to use, particularly when applying washes.
Single washes of watercolour will tend to be less intense than single
washes of gouache or acrylic, since the pigment is less concentrated. This
quality can be exploited through the very sensitive use of shading.

Shading using fine hairlike brushstrokes.

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DRAWING AND WATERCOLOUR TECHNIQUE 23

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24 DRAWING AND PAINTING PLANTS

Painting a rose

1 Draw the rose in detail, in pencil. 2 Mix up a wash of the lightest colour 3 Mix up progressively darker versions
present, using a swatch of paper to test of the same colour, and shade darker
the colour and paint consistency, and areas using the shading technique and
paint the relevant areas using a size 4 your fine 0000 brush.
brush.

4 Paint in any other colours or reflec- 5 Use a pale grey (a mixture of 6 Intensify and deepen the shading
tions visible, such as the intense yellow Permanent Rose and Viridian) to apply over all areas of the rose.
glow towards the centre of the rose. shading to almost-white areas and give
the rose form.
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DRAWING AND WATERCOLOUR TECHNIQUE 25

7 Use Permanent White gouache in 8 Further intensify the colour over the
highlighted areas to give the petals whole flower.
solidity and form, working over the
whole flower.

The finished painting.

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26 DRAWING AND PAINTING PLANTS

Blue spring flowers.

CLOCKWISE FROM TOP
Forget-me-not (Myosotis
sp.); Chionodoxa; sweet
violet (Viola odorata);
grape hyacinth (Muscari);
periwinkle (Vinca major);
Viola cv.; rosemary
(Rosmarinus officinalis);
Anemone blanda; Primula cv.

Red-purple spring flowers.

CLOCKWISE FROM LOWER
LEFT Clematis cv.;
Helleborus cv.; snakeshead
fritillary (Fritillaria meleagris);
Daphne odora; auricula
(Primula sp.).