MATERIALS
• Paper: 175gsm Skytone Text Pewter (finished size 26 x 17 cm).
• Propelling Pencils: Staedtler 2H and HB, 0.5 leads.
STEP ONE
Because it provides an interesting background, I selected a sheet of softly marbled pewter coloured paper for my drawing of a Mophead Hydrangea. Carefully examining the specimen from all angles, I determined its shape would best suit a landscape format.
I began by very lightly marking (so lightly that the lines were hardly visible) where the main elements would be positioned – the large flower head, the stem and the leaves. I deliberately decided to chop part of the flower head off at the top of the work, and also allow three of the leaves to disappear behind the mount. Using a 2H pencil, I then drew an outline of each flower, the leaves and the stem (at this early stage, lines needed to be clear but not too dark).
By closely observing my specimen, I discovered that flower size differed considerably, and the petals on some flowers were not all the same size. There was only a moderate amount of detail in my drawing at this stage, and I had not recorded everything that was happening behind the scenes.
STEP TWO
Still using a 2H pencil, I began at the top left-hand corner and, using a variety of small elliptical and directional strokes, shaded in the subtle tonal gradations on each flower; adding (where appropriate) stamens in the centres of the flowers as well as the stalks and petals of flowers positioned behind the top ones.Detailed drawings such as this cannot be rushed. I had been working on this stage for two hours and the flower head was only half done.
STEP THREE
Another one and a half hours had passed, and I had just finished the mophead of flowers.
STEP FOUR
The first two leaves and the stem: Each vein in these ever-so-slightly cushioned leaves gave a focal point from which to note the changing depth of shadow. I continued to use a combination of directional and elliptical strokes.
STEP FIVE
The remaining three leaves were worked using the same methods as in Step Four, but I applied less pressure to the pencil point and did not apply as many strokes.
STEP SIX
To give depth to my drawing, I very lightly added the leaf at the back with my 2H pencil. This leaf had been almost hidden behind the other leaves but, because a botanical drawing should show the characteristics of the plant (hydrangeas have paired leaves), I altered its position slightly. Then, changing to a HB pencil, I went over the whole drawing – strengthening the shadows and defining shapes wherever necessary. Finally, I signed my work.
MASTER HINTS AND TIPS
• Studying your specimen carefully, and from all angles, will help you to decide how best to place it on the paper.
• Select your paper with care as different papers will affect your drawing. Experiment with different types and weights of paper. You will soon learn which papers best suit your style of drawing.
• Draw what you see; not what you know (or think you know).
• Avoid rubbing out, especially during the latter stages of your drawing. However, if you make a mistake, dab out rather than scrub out. Experiment with different types of soft eraser. I like Staedtler’s Mars Plastic® which I clean frequently on a sheet of scrap paper. If you need to remove a tiny area of your drawing or a highlight, slice a wedge from the eraser.
• Because you will be sitting at your drawing board for long stretches at a time, make sure you have a comfortable chair and desk and a board that is at the right height and angle. It is a good idea to take a break every hour or so. Move around, stretch your legs, rotate your neck and shoulders, make yourself a cuppa or go and check the mailbox.
• Pay special attention to leaves; they are equally as important as the flowers. Remember that the midrib is the prime structure of the leaf and the veins spring from the midrib. Many flower drawings are ruined by misrepresented leaves.
• Insufficient attention to tonal values often spoils a drawing of a plant.
