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44 DECEMBER 2019
Line & wash
To help keep the right proportions I often make a little mark at the top and bottom to Step 1
keep the size I’m working to in mind. This could be done in pencil, and you could even put the cone on the page and mark the top,
Sometimes I leave a drawing at this stage, or continue to add tonal detail Step 3
with just a pen, and sometimes I’ll scan this stage so that the drawing can then be used by others to colour in. (I create
a free botanical drawing to print and colour in each month in my newsletter and on my website.)
(^1) drawings at the top or top left and work down I am right-handed so I often begin my Step 2
to avoid smudging. Uni Pin pens are good, however, and don’t smudge so it’s less of an issue here. Keeping your hand quite high
off the page also helps, but this is hard to maintain without arm ache! I look at each shape in turn and how they join onto the next
one. In this stage it is just about the shape outlines and detail rather than shading.
DemonstrationPine cone
You 140gsm watercolour paper A6Uni Pin 0.5 penwillneed
Watercolour: please use your own colours closest to the swatches you see in the illustrations
To begin, study and measure your pine cone
(^2) confusing to draw – I fi nd it easy to lose my place in the drawing. In the past I’ve Pine cones can be
coloured in or put dots on the cone scales so I know that I’ve drawn it. This can be done with a coloured pencil, permanent
pen or acrylic paint. Try not to obliterate that scale as you need to know what colours are involved if you want to paint
it after producing the line drawing.
bottom and each side, or do a light outline to help keep to that scale. You’d just rub this out before it comes to painting. The whole
of this next stage can be done in pencil if you prefer to work that way.
DECEMBER 2019 45
AliceFind out more about Alice and her work by visiting http://www.AliceDrawsTheLine.co.uk Savery
and in her shop at Etsy; look for Alice Draws The Line. If you’d like to colour in one of the botanical line drawings she has
made, they are accessible for free at http://www.AliceDrawsTheLine.co.uk/downloads
(^1) joy of having a subject you can hold, turn and really examine. It’s hard to see even The next stage is to add watercolour. For this I looked at the cone closely. This is the Step 4
in the photographs the colours involved on the cone, especially with light from the window casting dark shadows and so it is useful to look at the cone carefully. From the start of the drawing to the end of the painting I
held this cone in the same grip and position, as it can easily becoming confusing with which part you are drawing if you spin it around too much.
(^2) on the detail of the cone scale. I left this until last and began with the next lightest colour, which was On this cone the lightest colour is grey, which is
ochre. I added a small paint swatch on the top of the page, showing the order I used the colours from left to right.
Step 5 For this part of the picture I worked colour by colour. Where possible I like the watercolour to dry
before painting the adjacent area to it to prevent the colours bleeding across the lines. I painted the main colour in each segment first with a pine cone;
it’s a little bit like painting by numbers with so many distinct sections to fill. Following that I added darker shade and the deepest shadows.
Step 6 This is the finished drawing. As I mentioned at the beginning, I often draw my subjects in
isolation or floating on the page rather than having context or shadow. This works best for the next stage of my work, which involves
scanning the image then creating a composition with a series of studies for use on my product range, greetings cards or bespoke wedding
stationery.
Line & wash
TIPhas a lot of light shining off it, those bright areas might be left white, If I’m drawing something that
have a very faint wash of colour or, alternatively and sometimes in addition, I might add a highlight with
a white gel pen, or white ink and a dip pen. This works more effectively than the white watercolour I have.
This is a good method if I am drawing fur on an animal, using a range of those techniques and sometimes a
white pastel.
on 140gsm sketchbook watercolour paper, A6The finished study Pine Cone, line and wash
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