A single lime. So simple, yet so many decisions. I had made an artist’s first decision: subject matter, but next came choices about style, composition, materials. I knew that once begun, each line or stroke would narrow some possibilities and open others. More decisions would follow: color, value, precision. At long last, I chose two paths—one botanical, the other more abstract. I worked on both at the same time, alternating between them as paint dried, until finally, I had only one final decision: when to stop.
And now, you decide: which appeals to you more?
Tips and Techniques– I did the botanical lime using a combination of colored pencil and watercolor, building up many layers to tone the lime and achieve subtly in the greens. I used negative painting techniques for the other, using mainly phthalo blue and nickel azo yellow. Both paints are fairly intense, transparent, and staining, so the blue did not overwhelm the yellow, as it might have with weaker yellows. This technique works well when there are layered shapes, so I added the suggestion of leaves, stems, and fruit to give it more dimension.
A spark of red. Bold color after months of winter. Unfortunately, my poor bouquet of tulips drooped within hours of when I purchased it, and well before I had time to paint it. Alas, the grand wilt gave me the perfect opportunity to create this herbarium page inspired by Wendy Hollender’s wonderful book, Botanical Drawing in Color: A Basic Guide to Mastering Realistic Form and Naturalistic Color (2010). It turns out that Emily Dickinson, too, kept an herbarium. Her poem, numbered 978, conveys the essence of may be missed when you think you have another chance, another day, but don’t.
It bloomed and dropt, a Single Noon—
The Flower—distinct and Red—
I, passing, thought another Noon
Another in its stead…
Tips and Techniques– Precision, accuracy and beauty are the hallmarks of natural science illustration. Botanical illustrators like Wendy Hollender, who works in colored pencil and watercolor, provide great insight into techniques used to make highly accurate renderings. While a journal hardly needs to be so detailed, I find it instructive to paint this way on occasion. I began the tulip with a pencil drawing, followed by a very loose wash of watercolor. From there, I used an increasingly dry brush (sizes 2 and 0) to apply more layers of watercolor. Getting a full range of values from light to dark is essential to making the petals take shape.