Glossory of Botanical Art Terms & Sources of Information
The following definitions, terms, and references are a collection that I have accumulated over the time I have been pursuing my education and certification as a Botanical Artist.
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Matrix Theory
[ Reprinted with permission from:
Ten Steps - A Course in Botanical Art & Illustration by
OM Braida © 2002-2010. Ver. 6.10 – Volume 1
www.omartdesigns.com
]
Since our true success in creating a three-dimensional image
on two-dimensional surfaces is dependent upon illustrating all
five elements: line, value, shadow, cast shadow, and reflected
light, our first objective, then, is the task of converting the
true-life three-dimensional object onto our surface.
Here’s one way to do it following classical techniques.
We convert three-dimensional objects (objects with height, width, and depth) onto a two-dimensional paper or canvas surface (a surface of only height and width) and achieve a “realistic” three-dimensional image, when we include the missing element of depth. I must sound like a broken record by now, but stay with me. To translate depth, we measure the true depth by height and width.
It is best to imagine that a sheet of glass is in front of your subject so that your measuring tool cannot pierce this imaginary plane. Against that plane, we measure how wide that portion we know as depth reveals itself, and also how high. The calculation will provide us with the accurate depth shortened in perspective – a concept known as “foreshortening.”
The process of creating our three dimensions leads us to the natural understanding that this arrangement creates foreground, middle ground, background, and far ground. This spatial platform is what I refer to as the “Matrix Theory”. The Matrix Theory contends that all images take up space, and when that space is confined in a three-dimensional grid box we are able to decipher spatial arrangements. Further it states that when light appears on the subject in the box, the components of the subject will reflect their appropriate value in relation to the light and their spatial arrangement.
Images within this spatial environment that recede in the background and are seen as far away are obscured by the atmosphere and thus lose their light and color value and the subject’s detail loses its light and color value as well. This concept is Leonardo’s explanation of Aerial Perspective. The Matrix Theory contends that by using the changing values of light, shadow, and detail, we create a story within our story. Thus, our composition is enhanced by all elements of form and light and since detail follows form and light, it, too, enhances composition. - Botanical Drawing I Getting Started with Drawing Basics Volume 1 of Ten Steps - A Course in Botanical Art by OM Braida © 2002-2010
A
how-to book on the fine art of botanical illustration with
historical background and art and book supply information. This
five-class study format is perfect for all levels as it lays the
foundation for a wonderful study of the French Court Tradition of
botanical art and illustration.
Click here to visit authors website
- Botanical Drawing II Nature: Up Close and Personal Volume 2 of Ten Steps - A Course in Botanical Art by OM Braida © 2002-2010
A
how-to book on the fine art of botanical illustration with reference
to Monocotyledons, Dicotyledons, and including
Composite Flowers and more all together in a five-class study
format.
Click here to visit authors website
- Botanical Drawing III Botanical Exploration for Botanical Reference Volume 3 of Ten Steps - A Course in Botanical Art by OM Braida © 2002-2010
A
how-to book on the fine art of botanical illustration with preface
on historical relevance and structured four-class
study of orchids and one class devoted to butterfly illustration.
Click here to visit authors website
- Botanical Drawing IV Composition and Expression Volume 4 of Ten Steps - A Course in Botanical Art by OM Braida © 2002-2010
A
how-to book on the fine art of botanical illustration with
historical background and reference to botanical art mastery. This
exciting class will help you express beautiful botanicals and more
in a five-class study format.
Click here to visit authors website
- Botanical Watercolor I Tools and Techniques Volume 5 of Ten Steps - A Course in Botanical Art by OM Braida © 2002-2010
A
how-to book on the fine art of botanical watercolor with
introduction to pigments, application, and beginning techniques in
the style of the French Court. Perfect for all levels as it lays the
foundation for this beautiful art form.
Click here to visit authors website
- Botanical Watercolor II Form and Detail Volume 6 of Ten Steps - A Course in Botanical Art by OM Braida © 2002-2010
A
how-to book on the fine art of botanical watercolor. Includes a
more in-depth study of the medium and prepares students for level
three - all together in a five-class study format.
Click here to visit authors website
- Botanical Watercolor III Transforming Composition Volume 7 of Ten Steps - A Course in Botanical Art by OM Braida © 2002-2010
A
how-to book on the fine art of botanical watercolor painting that
will develop the way you use your pigments for more sophisticated
paintings. This important class is the key to understanding the O.M.
Braida Matrix Theory and is filled with exercises to help develop
your skills in a five-class study format.
Click here to visit authors website
- Botanical Watercolor IV Advanced Watercolor Techniques Volume 8 of Ten Steps - A Course in Botanical Art by OM Braida © 2002-2010
A
how-to book on the fine art of botanical watercolor painting
complete with an abundance of techniques that will add to your
repertoire and advance your skill to even higher levels - all
together in a five-class study format.
Click here to visit authors website
- Botanical Pen & Ink I & II Pen & Ink Drawing for the Botanical Artist Volume 9 of Ten Steps - A Course in Botanical Art by OM Braida © 2002-2010
A
how-to book on the fine art of botanical pen and ink illustration
with historical background, reference to tools, and simple to
advance ink techniques that will help you prepare your work for
publication or exhibit. All this together in a TEN-CLASS format.
Click here to visit authors website
- Plant Morphology for Artists Plant Structure Volume 10 of Ten Steps - A Course in Botanical Art by OM Braida © 2002-2010
A
how-to book that introduces the structure and function of plants,
botanical terminology for these structures, and how the scientific
botanical artist must portray this information for the scientific
community. This information is brought to you in a TEN-CLASS format
of combined illustration, research and study.
Click here to visit authors website
The practice of perspective in botanical art
may appear non-existent. Often we view a simple object like a rose
or an apple. Without a complex arrangement it is not obvious that
perspective is at use. When we view old 17th century botanical
paintings, we often see subjects that are flat, with an arrangement
that spreads across the paper with no apparent composition.
The truth is that the old early records of botanical subjects were
drawn from subjects that in many cases were pressed and this is
still a standard and widely used technique today. The composition of
placement was itself an art form. Although geometric perspective was
not overtly used by scientific and nature illustrators, there was an
effort to show color and value change, cast shadows from overlaps,
and some size and variation to establish a viewpoint. A study of the
paintings from the French court between the late 1500’s to the early
1800’s reveals accomplished draftsmanship, beautiful watercolor
technique, and one, two, and three-point perspective for the subject
and its resulting cast shadow.
For more, visit the
Academy of Botanical Art store to see a complete list of Academy
books and course paks.
In botanical art we use a single Artificial Light Source (ALS). Unlike natural daylight that is warmer in temperature and emits a cool blue glow, artificial light is cooler in temperature and emits a warmer yellow glow. (This one fact may or may not be included in a botanical art representation, but it is useful to know as art and style develop.) Also, the distance of the ALS to its Source Vanishing Point (SVP) is smaller than that of natural daylight to the SVP. Subjects affected by an eleven o’clock ALS will cast shadows that flare from the base (the ground plane) in the direction of two o’clock. Cast shadows from natural daylight are crisp and flat in value. Cast shadows from Artificial Light Source start deep in value (known as the Umbra) and diffuse (known as the Penumbra). The perspective of shadows cast from a single artificial light source is simple for the botanical artist.
For more, visit the Academy of Botanical Art store to see a complete list of Academy books and course paks.