Botanical Illustration III: Advanced Techniques

An introduction video for Botanical Illustration III: Advanced Techniques. This short video was created by Marcia Eames-Sheavly, who taught this course for many years, but all of the information is still applicable.

One other addition is that we will be having 2 or 3 Zoom sessions to discuss work. They will be optional, and at times convenient to you.

What can I expect from this course?

What can I expect from this course?

What we hope to achieve in the lessons.

How we approach the botanical illustration instruction and what we'd like you to keep in mind as you progress.

This addresses the content for your journal each week. Your journal should not be merely a descriptive listing of what happened, as in a diary, but should also include some reflective analysis of what happened. Entries should reflect your evolving experience in this course as you learn to observe the world and gain some proficiency in technique. 

Please be sure you have access to the following materials. It is not necessary to purchase the most expensive supplies in each category- student grade is just fine for beginners in a medium.

This document will help you understand what is expected from you with each unit and gives instructions for submission of course assignments.

Getting to know Moodle

A sample piece of writing from Botanical Illustration I: Basic Drawing Techniques, submitted by a student, and offered as an example.

This brief history dates back to the first botanical illustrations to show its evolving role in both the science of botany and the arena of fine art.

This page contains resources designed to keep the labels on your artwork from detracting from the appearance of your artwork.

A resource for going further with plant morphology

Lesson 1.1 Review of Materials, Techniques, Elements and Principles with Botanical Observation

Important guidance for multiple files.

In which the artist demonstrates basic blending of primary colors. Notice that the pencils used were quite soft (Prismacolors). The paper also has a strong tooth, so that soft pencils will be necessary to fill the tooth of the paper and avoid the white of the paper showing through. A paper with a smoother texture, such as hot-pressed watercolor paper, will not require such great pressure.

Working as an advanced artist it is important to organize your various art tools.

A portfolio -- what would you like me to create?

Students often ask: what are you looking for, in terms of portfolio development? I turn it back to the student: what is it you'd like the portfolio to do for you?

Some students go with a simple powerpoint presentation, and others, as their work unfolds, create fairly elaborate online portfolios.  There is no right or wrong way.  This is for you.

One student put considerable research into her portfolio -- so much so, that I asked her permission to share with others.  You'll find Tarja's work here -- hope you benefit from her findings!  (On my screen, it appears above this text).

This shows a range in complexity of portfolios.

This lesson addresses other techniques that will be helpful as you progress with pen, quill and ink.

In which the artist demonstrates three different pen shading techniques. Please observe how each technique creates a different texture.

In which the artist demonstrates coloring a leaf using Prismacolor markers. Note how the work goes from light to dark, and how a blender is used at the end.

In this lesson you'll become familiar with the different forms and shapes found in nature.

This lesson takes the techniques and theories we have learned to this date to apply them to creating colored illustrations.

In this lesson, we will focus on plant identification and their characteristics.

This lesson we will focus on the final project.

There are many resources available -- so many, that it can be overwhelming to know where to begin.  Below are three of our favorites, and you will likely find many more.