Betty's introduction to botanical painting at our August meeting was packed with information on its history, materials and techniques.
The paper has to be smooth and extra white. The paints have to be archival quality so that they do not fade and the lighting must be even.
She gave us a simple tip for reproducing the exact colour on an object.
Paint your chosen colour onto a spare piece of paper. Then punch a hole in the coloured section with a hole punch. When you hold the paper against the flower/object you will be able to see whether or not it is a match.
Watercolour paint is applied in thin layers with a small brush, taking care to erase pencil marks with a small rubber and keep the paper clean.
Betty showed us how she first drew the hibiscus flower on a piece of tracing paper then transferred the drawing on the paper.
Starting with a very thin line around the edges, she painted petals of the flower (held in a block of oasis) very carefully.
Thin washes of watercolour were perfect to describe the delicate petals.
Masking fluid is used to reserve the paler sections or white areas. Betty would then remove the masking fluid and apply the lighter wash.
The thin stamens were loosely brushed on allowing very fluid paint to meander across the paper.
We could appreciate how much time and skill goes into botanical art.
Many thanks to Betty for sharing her techniques.
She is currently a member of the New Forest Botanical Painting Archive group of botanical artists. Some of their paintings of New Forest plants have been showing in local galleries during 2024. Their botanical paintings are destined to be retained in the permanent archive of the New Forest Heritage Centre in Lyndhurst.
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