I delight in sharing special botanical art pieces by special botanical artists as a source of inspiration and pleasure. On this occasion the spotlight is on coloured pencil artist, Christiane Fashek of New York. The release of my two latest e-booklets, Going...
Isn’t it ironic that the prevalent colour in the plant world is also the toughest for many botanical artists to capture accurately in their paintings? As more and more artists rely on digital devices nowadays, this struggle for a natural-looking interpretation of...
Selecting specimens at a Going Green workshop in Mahone Bay, Nova Scotia. “Botanical art instruction” is in one particular way an unfortunate term. ”Instruction” implies “command”, that is, being commanded or instructed to do something in a particular way. And...
Yellow is the most problematic primary pigment. So much so that many botanical artists avoid painting yellow subjects entirely. It’s problematic for a number of reasons. It’s tough to get yellow to look just right in the layering process because the full colour...
Matching colours accurately is a key component of botanical art, so why is it controversial? For decades I’ve taught accurate colour matching, first in an industrial setting to the staff of printing companies and, more recently in the past almost twenty years,...
