An Exotic Commission.

I have not painted many exotic (non-Australian native) plants. You get so used to creating certain textures and shapes from studying them so closely. Just the other day I heard botanical art described as problem solving-  the more I do, the more I get to know how to solve some of these 'problems', so it is good for the grey matter to be challenged by something a bit different.

I was commisioned to paint some Helleborus, at first glance it seemed straight forward enough but it was only when I started to paint and really started looking, I relised that the leaf structures and vein patternations are quite different from the gum leaves and similar native leaves that I have been used to looking at.

The flowers are delicate with almost translucent petals and there is alot going on in the flower centres.

My neighbour was kind enough to let me snip a leaf specimen from her struggling plant. There wasn't much to chose from, It is very dry in Canberra at the moment.

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Work in progress, Hellebore

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Helleborus orientalis

I am reminded why in times past I chose to avoid painting white flowers, however I have discovered that problem also has a solution. I just have to keep really looking and keep painting, after all I can't solve a problem if I'm not prepared to try!

New and Challenging.

Early this year I was commissioned to produce a series of illustrations for a one off childrens book. It is intended as a personal gift and so won't be published.  The brief was; an adult male, a girl and a rabbit, an Easter story set in a local snowplay area called Corin Forest.

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This was an interesting proposition. Last year I participated in The 52 Week Illustration Challenge, which was founded by a childrens book author who wanted to extend her drawing/ illustration skills. Participating in this challenge meant producing an illustration each week to a different one word topic. I found it was a way to get me drawing subjects and styles I may not otherwise tackle. Drawing people for example is not something I do regularly, so this commission presented me with an opportunity to work further outside my comfort zone and explore the possbilities.

Story book illustrators have their own unique set of problems to solve. The drawings are there to complement and help tell the story. Continuity of both characters and the environment to put them in was an interesting challenge. As someone not used to drawing people I am now faced with drawing the same person repeatedly, doing and expressing something different from one page to the next! Tricky!

It was quite fun letting go of the constraints of Botanical drawing wherein you have to be acurate and true to the subject, in this my imagination got a look in. Guided by the authors story it was up to me to provide an environment on the page for the three characters to inhabit.

I am reasonably happy with how it turned out, given that I had very limited time and I am a first time book illustrator. I learnt heaps and found I quite enjoyed the experience plus my client seemed happy- what more could I ask for?

To see the full suite of Illustrations click here.

The finished product.

It's a team effort.

My partner in life is a committed woodworker. He is a lover of old hand tools and traditional techniques. He  also makes my frames. All the frame mouldings are handplaned and in keeping with my work we source Australian timbers including Red Cedar, Rosewood, Huon pine and various Hardwoods.

Hand planed framing angle ready for assembly.

A few planes and chisels.

The hide glue pot, warming up ready to glue up my frame.

I like the point of difference that having handmade and therefore one off frames gives to my work. I also like the fact that we are doing our bit to keep traditional techniques and processes alive in a world where things are becoming ever increasingly disposable.