Presentation Boards

Summative Statement

This research project has provided me with the means of investigating an area of my practice which I have a great passion for. Botanical illustration has been explored entirely throughout various means of investigation. My knowledge on the subject greately improved, hoping to be an area I can explore further in my future practice.

For the practical element of this project, exploration of media, process and theory informed by an extensive body of contextual research, has been crucial in my understanding of the validity of this profession and its purpose not only throughout history but having advanced much of the scientific concepts we see today.

Practical techniques I have attempted include accurately observing an array of living plants, which can be seen throughout the accompanying visual journal to this project.

In addition to live observation, the collection and preservation of specimens has been critical when attempting the process of dissection and analytical study of plant life. Through creating a personal herbarium of collected plans from around and local to the Leeds area, this method has enabled me to feel informed through this investigation whilst experience almost becoming a scientist first hand.

Secondary research has provided me with insight into the extensive array of traditional and contemporary media processes used within the genre of botanical illustration and wider arts. The processes explored include paper cut and collage, gouache, pen and ink, digital editing software, flatbed scanning techniques and photography to name a few. What originally began as an investigation into which media best conveys botanical and scientific subjects, this very quickly grew into a large body of practical work of which i am proud of.

The proposed outcomes aim therefore encompass research and theories and my growing skill in being able to depict the plant form. My herbarium specimens have provided me with subject matter for the Leeds Winter Garden poster, created from reference using gouache. The aim of this poster attempts to not only appeal to a creative audience, bringing the specimens to life, it also intends to inspire the audience to document their own local plant life.

In addition,  the Rare & Fascinating Flora botanical poster aims to practice the important role of illustration in educating a non-expert audience on environmental topics such as the ‘fragility’ of plant species. This poster has enabled me to adhere to technological illustration processes, such as stippling and accurate composition of varying botanical elements. i have also been able to apply relevant research and reference material such as that found in the ICUN 2017 ‘Red List’ of critically endangered plant species. The purpose of this poster is therefore is educational, which appeals directly to my practice and how I see myself as an illustrator. 

The practical resolutions created for this project, combined with the visual journal and herbarium specimens, i consider successful, achieving synthesis of theory into practice whilst providing a comprehensive analysis of botanical illustration from a variety of critical and contextual perspectives. I would have liked to achieve a lot more throughout this work, collating further imagery into additional pieces - the proposals of which have been included in my physical submission.

Overall I have thoroughly enjoyed this subject and COP3 module and feel it has greatly impacted the direction of practice which I hope to carry forward throughout the remainder of my lime at LAU.

Practical Primary Research - Herbarium Specimens

I have great fun collecting my own plant material to inform my practice and practical outcome. Through the pressing of plants found around Leeds, I have been able to employ a variety of practical approaches and theories found within my research - such as dissection and scientific observation. What I like most about my personal herbarium is the ability to study a specimen in close detail with no limits of time or pressure - often experienced when observing and creating artwork out in nature. Also the shapes of each plant are really inspiring and I hope t be able to make use of the specimens in future projects.

Further Practical Research - Kew Gardens Report

Final Artwork and reflection

In reflection upon my artwork created for this project, I consider the full body to be my final outcome as it is difficult to ignore the breadth of different approaches I have investigated. I consider the work in my visual journal to have contributed greatly in my understanding of the diversity of the genre of botanical illustration and its ability to adapt to many different mediums and purposes. 

i had a lot of fun creating my own personal herbarium of plants found around Leeds. I have never dried specimens as purposefully as this before and being able to preserve a plant for proper artistic scrutiny has something magical about it - aside for the value gained observing a living specimen in nature. 

Finally the posters created for the outcome of the project aim to bring this body of work - and the focus of this research, into our modern day. I see a great potential for botanical illustrators in their ability to break complex theories down into easily manageable and aesthetically pleasing parts. The aesthetics of botanical illustration seems unrivalled as the profession chooses to depict the most popular visual subject. Saying this I do feel there can be a deeper more urgent purpose to the field, and through creating the Rare poster specifically, I wanted to draw attention, through accuracy and detailed depiction, to the problem that is our loss of floral wealth and habitat.

i find a lot of pleasure creating a deeper meaning or message within my work, and this project has provided the platform for me to do so. I look forward to putting into practice the variety f processes and theories I have learnt, in future practical projects.

COP3 Extended Essay

Practical proposal and synthesis rationalle

I have had a think about the imagery I want to create for this project. Although extensive and diverse, considering each outcome and how it relates to my research has been beneficial in determining where I want to take this project.

Practical research

Artist and Botanist - Todays relationship

Artists and illustrators along with botanists at KEW - keeping the tradition of the genre and this close relationship alive today

Embedded slides (below):

from: https://www.botanicalartandartists.com/scientific-botanical-illustration.html

Lucy Smith "Joseph Hooker and his Artist Walter Hood Fitch: the continuing tradition of botanist and artist collaboration". Joseph Hooker bicentenary conference, RBG Kew. from Virginia Mills

The Herbology Room Exhibition

The Herbology Room
@theherbologyroom
@theplantroom
@leedslibraries



Today I finally found the time to visit Leeds Central Library and their 'Herbology Room' exhibition. Part of the wider 'Harry Potter: A History of Magic' installation, The Herbology Room is a beautiful space put together in association with the lovely curators in everything botanical: The Plant Room. This installation and exhibition aims to celebrate the power (and magic) of plants and creates a super special environment to escape and get back to nature.

What I really loved about the Herbology Room, aside from the beautiful exotic and poisonous plant installation, the carefully placed hanging dried plant specimens and the atmosphere created by the low lit succulents in terrariums - the carefully chosen botanical illustrations were in particular stunning. Hanging from the walls, or as posters or prints for sale, the curators had chosen to showcase intricate and traditional botanical works by William Curtis, picked out of his illustrated herbal "Flora Londinensis" - 1777. Not only this, the original 6 volume publication of the "Flora Londinensis" was also presented in a cabinet which was really special to see in the flesh. 
Much of the botanical illustration we see today is often showcased as isolated works appreciated as pieces of art and taken out of their original context (herbals, medicinal publications, agricultural works etc). Flora Londinensis, along with many original herbal publications and botanical compendium works (housing the array of illustrations which most of my research project is centred around) - have remained prized items - rarely touched or seen by the public, therefore viewing this publication gave me a real sense of the importance, beauty and value of botanical illustrations sat alongside their scientific text as originally intended by both artist and botanist. 



At this stage of my COP3 research project, it was really rewarding and reassuring to undergo some primary research and see works by botanical illustrators and botanists being celebrated. More importantly however, it was amazing seeing key figures who synergise with and who I recognise from my research project and essay - being showcased. I truly believe we are currently experiencing a renaissance in the appreciation for botanical art and illustration (both vintage and contemporary) as well as a new found love for all things nature and plant based, something which this exhibition and installation is a key example of.



Artists works on show in this exhibition

Modern day, contemporary illustration:
Katie Scott 

Historical, traditional, vintage illustration:
William Curtis
James Sowerby 
Sydenham Edwards
William Kilburn

Practical Response - Research: Amy Stewart

When researching into plant varieties and potential categories and groupings of plants for my series of botanical visual compendium prints, I have come across the following author and her series of charming publications. 


Amy Stewart and her book "Wicked Plants: The A-Z of Plants That Kill, Maim, Intoxicate and Otherwise Offend" has many similarities to my own practical rationale, ideas and aims for this project. Whilst remaining scientifically accurate, Stewart describes, provides key history and fun (or tragic) information about some of the most dangerous plants ever encountered. The book communicates this useful information using beautiful woodcut illustrations for each plant as well as language understandable to the layman - helping it appeal and reach a far wider audience than just the scientific community. What really stands out about this book is how the design and use of illustration helps to create intrigue about science and our worlds flora  for the audience. It is a great example of how the universal language of illustration can be used to communicate scientific ideas and information as well appealing to the the artistic community. The artwork is also functional - for the illustrations in this book can be used to identify the dangerous species of plants. The beautiful illustrations in this book which work along side the arrangement of fascinating facts have no doubt helped it to achieve the many book awards in the last year and it would not have the same appeal if it just contained text alone.

In reading about Stewart and her other publications, I can see a lot of myself in what she finds interesting and fascinating about the natural world and how she approaches communication and inspiring her audience. Exploring nature as a subject has never proved dull for me and throughout my practical work I have always wanted to create artwork that not only looks aesthetically pleasing and interesting, but also communicates an idea, moral or can educate and inspire the audience and challenge perceptions of truth.

Throughout this project I have gained a new found appreciation for how our worlds flora has influenced every aspect of our lives as humans - from key building materials, food, medicine, technological and scientific advancements, to the make up of the materials used by artists. Plants continue to surprise and inspire me the more I learn about them and I want to pass this inspiration on whilst educating the audience viewing my work. For me, creating artwork for this project is a celebration of how amazing plant life is and how it needs to be preserved and respected, in order for us to gain and learn from what they have to offer us. This publication by Stewart is an example of everything I want to achieve with my series of prints and the practical response to my project research. I can also see value in the cleaver use of intriguing subject matter and categorisation to create interest - such as poisonous & deadly plants where the audience wants to know more. Through choosing to showcase plants with certain effects / uses / intriguing history - the audience can be inspired and educated not only on plants found deep in the heart of the jungle - but also on the plants commonly seen in our back gardens.

The categories of plants covered in 'Wicked Plants' are as follows:

• Deadly
• Painful
• Offensive
• Destructive
• Intoxicating
• Illegal
• Endnotes: Antidote

Etchings by Briony Morrow-Cribbs

Illustrations by Jonathan Rosen

The Artwork

The artwork used throughout this publication is an example of how botanical illustration remains a popular medium with a purpose and application within contemporary society. Here the artwork is being used to educate, inspire and echoes the traditional scientific illustration style and woodcut print process of the botanical artwork dating back to the 1500's - like Leonhart Fuchs and Albrecht Meyer - as covered in my essay (fig. right)

What is important about this publication is that the illustrations have remained in their intended context - within a scientific style publication working alongside the text describing it. Much of the botanical illustration we appreciate today has been taken out of the 'Herbal' texts or scientific journals they originally appeared in - to then be appreciated and enjoyed as stand alone pieces of artwork separate from and often without scientific annotations. This publication therefore is a refreshing modern take on the past illustrated herbals and shows the success of using text and image together to educate and appeal to a wider audience - those who appreciate biology and plant life (science) as well as those who appreciate art.

Other Amy Stewart Publications:

Georg Ehret - My New Favourite Illustrator

Probably the happiest artwork has made me in ages, is delving into the works of Ehret. Aside from wishing I was gifted with skill to depict plants in this way, just being excited about his works fills me with confidence that spending my time reseraching all day about plants and botanical illustrators - is not a wasted day.


I'll just leave this here :)

Visual Journal: Scan & Play

Inspired by the cyanotype process and beautiful results using exposure and plant placement to record a specimin, I have had a little play with a process which I consider to be quicte similar.

Flatbed scanners use light to record information fed back to a computer where it can be copied, edited and manupluated. A cyanotype was of sorts an early natural light scanner, recording the exact details of the specimin placed on the light sensitive paper.

The process of recording using light has advanced somewhat since anna atkins and the early days of cyanotype photography, with scanners able to record minute detail, often microscopic, as well as colour.
Botanists today make use of flatbed scanners when documenting and making additional records of dried plant specimins which feature in the herbariums worldwide. Botanical illustrators are known to scan in specimins from herbariums to then work from away from the museums archives. Especially in use today as many of the natural history museums are eager to digitise their collections, each dried specimin which has been arranged and labelled is scanned then added to a digital archive. This has obvious benefits. The more a dried specimin is viewed and handled, the more likely it is to diminish and time is also a key factor to how well a specimin is preserved. Unlike soecimins pickled in vinegar which can last hundreds of years, dried specimins in herbariums will last a long time - but in order to popularise a collection - the specimins need to be seen and what better way than having an onine archive.

The scanning process is a great way to accurately record size, shape, colour (when the specimen is fresh not dried) and intricate details of a plant and its makeup such as the veining in a leaf. It is ofcourse still a flat record, meaning the specimin being scanned and recorded is not in its natural positioning and is ofcourse taken out of its habitat and often without the remainder of the plant as a whole. This is still down to the illustrators to bring to life through their scientific artwork - however scanning is still pretty cool.

examples of digitial herbariums being assembled today are:
- KEW
- Natural history museum 

With this in mind I have had a little play with my own scanned in specimens. This may be moving away from the focus of botanical illustration however after my last post on Anna Atkins - I just couldn't resist.

Practical Contextual Research

http://www.katielochhead.com/#our-story-1

Beautiful pieces focusing on botanical illustration and trauma through the drugs they people are addicted to.

This could be a cool focus for a botanical publication!

Collection 1: "A Brief History of Complex and Delicate Situations"

Collection 2: Two Faced Men
(Drugs as botanical plants and how they have affected important men/philosophers in history)

COP3 Sketchbook Development

Botanical Illustration Sketchbook Development

Since changing my topic focus from colour to botanical illustration, I have been using my sketchbook as a way to experiment and gain a better understanding of various mediums and natural 'botanical' subject matter for my new project. It has been a lot of fun and through experimentation I am able to see what styles, processes, approaches to media are best for me to work in; have the best results (in terms of depicting subject matter) and what I enjoy using most (process).

Sketchbook

Key Notes & Reflections from this process and media exploration so far:

• Copic Marker
- Surprising how working in Copic marker turned out. (pg x) 
- Really realistic effect outcome
- However is this the aesthetic i want? 
- Time consuming and maybe looks too traditional in aesthetic?
- what would this kind of work be? - botanical illustration // botanical art?  - Both?
- Traditional vs non traditional botanical illustration? what style do I want to make for this project?

• Pen & Ink
- Too simple? (pg x)
- I like the minimal aesthetic - is this enough information for a botanist? is this still scientific?
- what would this kind of work be seen / used for? - botanical illustration // botanical art - Both? 

• Paper cut
- can see value in the interactive / tactile depictions of the plants
- fun media to create plant details with
- gives another dimension to the artwork
- can still be scientifically accurate - just made from paper
- relates to Delaney's papercut collage flower work
- what would this kind of work be seen as? - botanical illustration // botanical art - Both?

Brief ideas for practical outcome (at this stage):

• Series of botanical art prints / pieces (paint, digital, screenprint, lino?)
• Illustrated paper cut botanical specimins (my own papercut herbarium)
• illustrated / educational book (series of artworks)
• proposal for further stationary pieces - based on designs for wither the prints or the book
• proposal for pins of the botanical pieces, scarves

Aims of practical outcomes

• Educate and inform
• Promote interest in the sciences
• Promote botanical institutions and current research into plant kingdom
• A celebration of the natural world

Content: 

Artwork could be...

• based on a group of plants housed at the Sheffield botanical gardens (Primary research: location is close, can work closely with the gardens, have a florilegium society, smaller collection of specimens to work with at this time of year).
• based on a group of plants housed at Tropical world, Leeds (Primary research: largest collection of tropic plants outside of KEW Gardens, close location, could work closely with them, inexpensive entry.)
• based on a group of plants housed at KEW botanical gardens ( Primary research: best collection of plants in country, both living and taxonomic, has a herbarium. Problem is location and cost if i wanted to make a visit)
• based on a group of plants housed at the Cambridge Botanical Gardens ( Primary research: links with home, memories growing up, large and diverse collection, close to home - inexpensive to visit, lead in areas of botany...)
• based on endangered plant species (kew does research into this)
• based on new species of plants (discovered 96 new species of flora this year)
• based on plants in and around Leeds
• plant group specific to a botanical garden, i.e: Hortus Botanicus, Amsterdam - Cycads

Notes to self:
Have noticed that as long as my work remains an accurate depiction of the subject and follows the aesthetic and scientific rules of botanical illustration (accuracy, colour theory, dissected view, correct to life aspects of the plant depicted, life like size, etc) - the artwork can be used for a wider variety of purposes across science and art. Also, even if the illustrations aren't exactly accurate (like a lot of mine) and they would not be appropriate for botany...they could however still be used to gain interest in the sciences and natural world via educational routes and publications. As well as scientific and educational purpose, this work also has the potential for decorative purposes, formats, distribution (screen print collection, stationary, apparel, textiles etc).  Scientific purpose, educational and decorative. 


Practical Tasks / To Do:

• Research / decide on subject content (plants species)
• Research KEW herbariums specimens
• Contact Kew for a visit?
• Create a dummy book - papercut herbarium
• Experiment creating herbarium specimens out of paper (Ref. Kew Gardens )
• Try tissue paper?
• Continue to play with media - start making decisions / narrowing down approach
• try lino cut piece?