Botanical painting with watercolour

112 Pages·2014·0.81 MB·English

by  Daphne Hicks

Botanical
Painting with
Watercolour
DAPHNE HICKS
THE CROWOOD PRESS
First published in 2014 by
The Crowood Press Ltd
Ramsbury, Marlborough
Wiltshire SN8 2HR
www.crowood.com
This e-book first published in 2014
© Daphne Hicks 2014
All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means,
electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without
permission in writing from the publishers.
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library.
ISBN 978 1 84797 801 1
Frontispiece: Delphinium, White Iris, Perennial Sweet Pea and Astrantia. A composition from the garden showing
complementary shades of blue, pink and creamy white. The Delphinium needs the intensity of Ultramarine blue, so
the Perennial Sweet Pea also needs a cool pink containing blue, such as Alizarin Crimson Hue, echoed again with a
more delicate pink tone in the Astrantia.
Verses by Daphne Hicks
Acknowledgements
A Study of a Spray of Withered Oak Leaves by John Ruskin is reproduced by kind permission of the Collection of the
Guild of St George Museums, Sheffield. Anemone Coronaria, Hortus Eystettensis by Basilius Besler (1561–1629) is
reproduced by kind permission of Teylers Museum, The Netherlands. Datura Brugmansia arborea with Humming
Birds by Marianne North is reproduced by kind permission of the Director and the Board of Trustees, Royal Botanic
Gardens, Kew.
Grateful thanks go to my wonderful photographers, Stephen Meredith and Andrew Boid from Visual Evidence–
Fine Art Reproduction, who have so beautifully reproduced my paintings with great care, and thanks to Nigel Walker
from Creation Fine Arts Gallery in North Bar, Beverley, for putting me in touch with them and for his support. I owe
many thanks to my tutors at the Botanical Society, London, where I gained my Society Diploma; without their
encouragement and guidance, especially in the early years, I would not have been where I am today, and this book
would not have been possible. Also a big thank-you goes to all those who have attended my classes so
enthusiastically. I consider it a privilege and a pleasure to be able to teach and guide people, and see the fabulous
results that are produced, and I hope to continue doing so. Last but not least, a big thank-you is due to all those
private collectors who have bought my work to hang on their walls, and especially to Dudley Chapman of Lloyd
Warwick Ltd. I do appreciate your support.
CONTENTS
Preface

1. An Introduction to Botanical Art
2. Getting Started
3. Spring
4. Summer
5. Autumn
6. Winter
Glossary
Further Information
Index
Red Creeper over Acacia. A large painting in a more contemporary style and using a limited palette of colours,
Cadmium red, Alizarin crimson, Cadmium yellow, Yellow ochre and Umber. The flowing red creeper hangs down
over the more structured Acacia giving a curtain of glorious colour.
PREFACE
This book is primarily intended to inspire the beginner to ‘have a go’ at botanical
drawing, but I hope that more experienced artists will also find a little something extra
to add to their skills.
If you are intimidated by the prospect of beginning on a blank piece of paper (as
indeed many artists are), choose your subject carefully. Find a flower or a plant that
gives you a ‘buzz’, whether in its colour, its shape or its texture. Pick a subject that
really speaks to you, that says to you ‘Draw me!’ If you come to love using
watercolours as much as I do, and enjoy the experience of learning, persevere with your
botanical work and you will derive great enjoyment from watching the painting develop
beneath your hands, be it crimson Holly berries against dark green spiky leaves, or
delicate spring flowers such as Primroses, Daffodils and Tulips.
The thrill of producing beautiful pictures with these glowing colours offers immense
pleasure and satisfaction. Happy painting!
Daphne Hicks, 2014
Mouse with Berry. This was fun to do, and good experience at achieving a variety of textures with soft fur,
translucent berry, and shining eyes!
Wild Flowers. Delicate wayside flowers need a light hand with fine lines, but this does not necessarily mean pale
colouring, it is still important to show strong shadows and depths to define the plants. Adding a pencil sketch of the
mouse and grasses adds interest without dominating the study.