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Blog #3 Friends of Silver Falls Native Plant Project- Overcoming White Fright!
This is the third in a series of blogs I’m writing about a native plant illustration commission I received from the Friends of Silver Falls State Park (FOSF). To read the first blog click here.
Redwood sorrel, Oxalis oregana. .005 Sakura Micron Pen.
White fright!
Having gone to all the trouble of making beautiful new sketchpads for this project (see my last blog), when it came to the moment of actually drawing in my first one I had a serious attack of “white fright”. I looked at the white expanse of expensive Fabriano Artistico watercolor paper and was paralyzed. No amount of cajoling or upbraiding myself made a whit of difference. I was intimidated. After struggling back and forth for a while I decided that a different approach was needed.
Drawing as meditation!
I knew from experience that when I draw with a black pen only, no pencils or erasures allowed, I somehow manage to relax more and spend the time truly observing my plant subject. It’s the closest thing to meditation that I know; a time when I let go of expectations and focus completely on the act of looking and drawing. Time stands still.
Coastal range sketch- salal, sword fern and trailing blackberry (while also having fun with bark texture).
A new sketchpad!
With this in mind I decided that my “white fright” sketchpad had to wait while I practiced some “meditation drawing”. I went back to my local art store and bought an (inexpensive) 11×14 inch, Alternative Art wire-bound sketchpad and some .005 Sakura micron pens. I like the way the fine .005 tips allow me to include lots of fine detail if I wish, as well as interesting textures. The inexpensive sketchpad also means that I don’t worry about wasting good paper. It is big enough too for lots of observations and, with its strong hardback cover, it doubles as a drawing board for my “good” sketchpad.
Scouler’s corydalis, Corydalis scouleri study in my “meditation” sketchpad.
Not all my pen drawings are this successful, and many are unfinished, like this one. For me the point is not to produce the perfect finished drawing but to loose myself a little in the looking, and really enjoy getting to know the plant.
Aislinn Adams
Blog #3 Friends of Silver Falls Native Plant Project- Overcoming White Fright!
Friends of Silver Falls Native Plant Illustration Project- Getting started!
This is the second blog in a series I’m writing about a large native plant illustration commission I received from the Friends of Silver Falls State Park (FOSF). To read the first blog click here.
Detail of Scouler’s corydalis, Corydalis scouleri, from my older sketchbook.
Tús maith, leath na hoibre, A good start is half the work!
Irish Proverb
When I first received this commission I was very excited: so many wonderful species and so much potential for good work, but my head began to spin when I thought about the scale of the job ahead of me (thirty native plant species). I realized immediately that the project would involve many comprehensive studies of the different growing stages of each plant. I knew too that if I wanted to do a good job I needed a good plan. But by the time the project finally started it was June and Oregon was beginning to experience its worst drought on record. I could feel the panic rising as I watched many of the native species on the list wither before my eyes. To calm my nerves I focused on the art materials I’d need, starting with the right sketchbook. I had already begun to make my own for other projects and knew I would do the same for this one but I wasn’t sure what page dimensions to use.
Finding the right sketchbook!
Study of Scouler’s corydalis, Corydalis scouleri, from my older homemade sketchbook.
Feeling the panic nipping at my heels I began drawing Scouler’s corydalis, Corydalis scouleri, (in bloom in my own garden at the time). I used a homemade sketchbook I already had – made from Fabriano Artistico Extra White Watercolor Paper. I realized very quickly, however, that the pages were too small. I love the brightness and versatility of this paper, which I use for graphite as well as watercolor studies, but I needed bigger pages.
Making my own sketchbooks for the project.
Luckily my local art store had a sale in Fabriano Artistico Extra White (140 lb, 300 gsm) at the time. I bought 22×30 inch (559 x 762 mm) sheets and divided each one into four x 11×15 inch (279 x 381 mm) pages. I then had them spiral bound into sketchbooks of 12 pages at my local printer. I thought, rather than having one large sketchbook, dividing the pages up like this would make it easier to manage- and safer. Damage or loss of my sketchbook would be a real setback- especially if all my plant studies were in one. By splitting up the pages this way the sketchbook is lighter too and more manageable. I can study about 10 plants per sketchbook and when full move onto the next.
My first FOSF sketchbook of 12, spiral bound pages. The cover (printed on my Epson printer) shows a pen and ink illustration of Western tiger lily, Lilium columbium, created previously. It is one of the native plants on my project list (shown below).
Friends of Silver Falls Native Plant list included it in the sketchbook.
The finished botanical illustrations.
The finished botanical illustrations will be reproduced on 11×16 inch (279 x 406 mm) sheets (similar to an herbarium specimen sheet) so my sketchbook page dimensions, at 11×15 inches (279 x 381 mm), help me visualize how much plant information can fit onto that size sheet. I’ve already begun using my first sketchbook and it’s working well so far. The only change I will make to the second and third will be to insert lighter tracing paper sheets between the watercolor pages so that I can protect them better. I’ve made a tús maith (good start) I think. I will let you know how the “other half” of the project goes in due course.
Aislinn Adams
Blog #2 Friends of Silver Falls State Park Native Plant Illustration Project.
Nature Trail 2014, A Natural Sketchbook Exchange- the beginning!
One of the most exciting, fun and challenging projects I am involved in this year is a sketchbook exchange called Nature Trail 2014- A Natural Sketchbook Exchange. There are 15 botanical artists in the exchange, hailing from many different places- the United Kingdom, USA, Ireland, Italy and the Netherlands. As the exchange’s blog explains-
“Each artists’ book will have a double page spread completed and then be posted on every month to the next artist. Subjects to sketch and paint will encompass anything to do with the natural world; for example, feathers, shells, berries, habitat landscapes and absolutely anything botanical. Also colour notes, poems, any writing that you would include within normal sketchbooks can go in, in whatever design.”
We all bought a Stillman & Birn Zeta series sketchbook for the project (5.5 x 8.5 inch/14 21.6 cm.) The smaller size is very practical for mailing and the quality of paper and sturdiness of the hardcover make it a great choice.
How I got involved!
All this came about because of my participation in a couple of botanical artists groups on Facebook- Botanical Artists and Irish Botanical Artists. If you would like to learn more about my experience with these groups you can read about it in my last blog. Last fall I was invited by one of the members to join the exchange- her idea. All the decisions on how it would work, what sketchbook we would use, and what we would create in them, has been a very collaborative process- drawing much on the advice of several of the more experienced members of the group. Here is my January entry- which has arrived safely on the other side of the Atlantic already and into the capable hands of another Nature Trailer.
January- my first entry in the sketchbook exchange.
January was almost over before my journal was ready to go on its maiden voyage. Somehow I became a little too involved in the extra details – title page, envelopes, labels etc., This is my first time to participate in a sketchbook exchange or to keep a regular nature sketchbook so I was very excited and, in spite of the anxiety, having loads of fun.
Title Page
The first thing I did on receiving my sketchbook was to create a title page. I hadn’t played around with hand-lettering in years so designing the page was a walk down memory lane with some new influences cropping up- reminding me that I am always changing. I used graphite pencil to create the form and texture, adding polychromos pencils last for subtle color. I started using Faber Castell polychromos pencils recently and I really like the feel of them. I’m also enjoying the Stillman & Birn sketchbook paper, both for pencil and watercolor. I don’t have that much experience with watercolor papers but I certainly do like the paper’s smoothness for graphite and color pencils.
I love textures!
The textures in the lettering were inspired by nature- leaves, lichens, tree bark, wood grain, succulents and seeds. My January page- devoted to lichens- is also a study in textures. When I picked up this lichen-covered bigleaf maple branch in our front yard I knew instantly what I wanted to do in my journal for January. I haven’t managed to identify all the lichens on this branch but I’ve made a good start, with the help of several people including some fellow Nature Trailers. Here are some of the main ones:-
Oakmoss, Evernia prunastri, Pincushion sunburst lichen, Xanthoria polycarpa, Waxpaper lichen, Parmelia sulcata, Fork-boned lichen, Hypogymnia inactiva, and Brown shield lichen, Melanelixia spp.
January lichens.
“More things are learnt in the woods than from books; trees and rocks will teach you things not to be heard elsewhere.” Bernard of Clairvaux
All the lichens, save the one on the very right (pincushion sunburst lichen,) are painted in watercolor. I used polychromos pencils for the pincushion sunburst lichen and the “JAN” lettering.
“The Rules”
Because I find them so helpful (and inspiring) I decided to include a copy of St. Corita Kent’s “Rules” at the back of the journal. Numbers 6 and 7 are my favorites. One of her “helpful hints” is “Save everything- it might come in handy later.” Taking her advice to heart, I’ve copied her rules onto a piece of rice paper I’ve had for over 30 years!!
In an effort to keep the journal flat I have put the rules in an envelope that is attached to the inside back cover with a ribbon “hinge”. This is to allow it to be laid flat, out of the journal, while being used. Making the envelope and figuring out how to attach it to the journal was an adventure in itself and I could never have done it without the help of local craft shop owner and new friend Christy Wood. Learning to make the envelope was so interesting and creatively stimulating that I will write about it in a separate blog.
But in the meantime I am just delighted to have finished my first month of the Nature Trail 2014- Natural Sketchbook Exchange and I’m getting ready to start on February’s sketchbook , wonderful!
Aislinn Adams
We all need a community of practitioners to grow and flourish in our own creativity.
What I have learned about sustaining creativity and Botanical Art Facebook groups.
Over the course of this year I will be blogging regularly about my participation in an exciting new project called “Nature Trail 2014 – a natural sketchbook exchange.” However, before I start blogging about this sketchbook odyssey I would like to explain how I ended up being part of it in the first place. To do this I must go back 16 months in time- and tell a story about travel, new friendships, the benefits of being connected to an art community- virtual and “real”- and change.
A catalyst in my process of change.
Last year was an amazing one for me because it was the year I made positive changes in how I work. This process of change started several years ago but didn’t crystalize into tangible results until my trip back to Ireland in November 2012. While there I met members of the new Irish Society of Botanical Artists (ISBA.) Because of this meeting and what ensued, my attitude to my artwork in general and botanical art in particular has changed dramatically.
You never know when a chance meeting can have a profound impact on your work- and life. That is exactly what happened when I met this group of botanical artists at the National Botanic Gardens, Glasnevin, Dublin. As a result of that meeting I have become a member of a worldwide community of botanical artists and because of this my work has taken off in a new and more purposeful direction.
Geography is not a problem for botanical art communities.
Although originally from Ireland I live in the Pacific northwest, many thousands of miles from those botanic artists I met in Dublin. Nontheless, thanks to the specialist Facebook groups- Irish Botanical Artists and Botanical Artists– I am in daily communication with many of them and have made lots of new “friends”. Because of this communication, and the support I receive from these “friends”, my work habits, output, and attitude to my own art have changed radically- for the better.
A virtual community of practitioners leads to ”real” community and lots of creativity.
I have learned that it is very difficult, if not impossible, to work alone. I need the support and feedback of fellow-practitioners to sustain my creativity. My first choice is always to meet fellow artists in person but, in my case up until recently, I didn’t know any. Contrary to the many criticisms I’ve heard about Facebook; that it causes people to withdraw from person to person communication as people spend more and more time “talking” on their computers, my experience has been the opposite. Ironically, through these botanical artists Facebook groups I now know more local botanic artists and have started a monthly nature-sketching group nearby. The old adage “it’s a small world” is the same whether online or not.
Inspiration comes from a community of practitioners.
We all need inspiration to start something and to keep it going- especially when the going gets tough. Many of the members of these Facebook groups are world-class botanic artists. Their work is incredibly beautiful and very inspiring, but what is equally inspiring is their willingness to share it and discuss techniques and materials freely. If I have a bad day drawing when nothing seems to go right I post a comment on the Botanic Artists’ page and always get encouraging and funny responses.
Abundant generosity flows from a community of practitioners.
I have also discovered that people are very generous with their support and knowledge. No matter how successful and busy members are they always seem to be able to find the time to share some helpful information and give good advice. There is no professional jealousy- instead abundant, thoughtful, generosity.
Great ideas and new projects too!
It is said that we are more intelligent (and creative) when we work together in groups. That is certainly the case with these Facebook groups. By seeing the creative ideas shared online by this botanical art community, my own understanding, knowledge and creativity grows. The Nature Trail 2014 project is a perfect example of this “intelligence.” As I was saying at the beginning of this blog I will be writing regularly about this project in the coming months. I hope you will come back to see its progress and maybe be inspired to start your own nature sketchbook or join a botanical art group on-line or in your area.
Aislinn Adams
The Oregon Fawn Lily, Erythronium oregonum and its many names.
© 2011 Aislinn Adams
Oregon Fawn Lily, Erythronium oregonum.
The Fawn lily, Erythronium oregonum, and its many common names.
Erythronium oregonum has many common names- giant white fawn lily, Oregon fawn lily, dog’s tooth violet, trout lily, adder’s tongue, lamb’s tongue. Maybe this is why the Historic Deepwood Estate here in Salem, Oregon- where I live- has chosen the scientific name for their annual spring native plant festival. Not wishing to confuse people with a common name that is not “common” to all, they use the scientific name Erythronium (pronounced, err- ih-throne- ee-um.) Personally I find it much more useful to use the scientific name for the same reason. Never underestimate the creativity of humans to come up with interesting and numerous common names for one plant, and though they are lovely, ultimately they are rather confusing, especially when trying to communicate which plant you mean to someone.
My first fawn lily, Erythronium oregonum.
Erythronium oregonum was one of the first bulbs I planted in my own garden when I moved to Oregon many years ago. It has since seeded itself throughout my front yard, totally ignoring all my efforts to corral this charming spring bloomer into an attractive sweep of creamy yellow. It was one of these flowers that I used for my botanical illustration above, and inspired me to create my Pacific Northwest Native Plant Greeting Card Series.
The fawn lily and early plant explorers.
When I first saw this beautiful fawn lily here in the Willamette Valley I assumed it must have been collected by Lewis and Clark or David Douglas in the early 19th century. This is not the case. The first fawn lily to be described from this part of the world, pink fawn lily, Erythronium revolutum, was collected by Archibald Menzies in 1793 and described by James Edward Smith in 1809. Then in 1806 the fawn lily’s mountain “cousin” the glacier lily, Erythronium grandiflorum, was brought back by Lewis and Clark (Lewis called it a dog’s tooth violet in his journal) and described by Frederick Pursh in his Flora Americae Septentrionalis in 1814. (for more on the collection see my blog The saga of the Lewis and Clark Plant Collection and the Irish nurseryman Bernard McMahon’s unwitting role in its fate!.) The glacier lily, Erythronium grandiflorum, also has other common names including yellow fawn lily and yellow avalanche lily.
The common fawn lily, Erythronium oregonoum, erroneously mis-identified.
It wasn’t until 1935 that the more common fawn lily, Erythronium oregonum, was finally described by the Oregon botanist, Elmer Applegate. As is often the case with plant exploration and identification, the story is not that straightforward. According to Applegate “for nearly a century this familiar plant has been known erroneously as Erythronium giganteum Lindl. or as Erythronium grandiflorum var. albiflorum.” ( Kalmiopsis Vol. 10 2003. Native Plant Society of Oregon.) So maybe my assumption wasn’t so far off the mark. Is it possible that some of the Erythronium grandiflorum bulbs collected by Douglas (April, 1826 and 1827) may have been Erythronium oregonum after all?
Elmer Applegate and David Douglas.
There is a tenuous link of a different kind between Applegate and Douglas. Applegate’s wife Esther Emily Ogden was a niece of Peter Skene Ogden (the well-known fur trader and chief trader with the Hudson’s Bay Company.) Douglas met Ogden August 30, 1826 at Fort Vancouver, Washington, directly after Douglas’ exciting 12-day descent of the Columbia River from Fort Colville in eastern Washington. During that descent he had a lucky escape when his canoe was wrecked at the Dalles; causing him to loose the insects he had collected in the interior and some seeds, but he managed to save bulbs of the glacier lily, Erythronium grandiflorum, collected in the Fort Colville area. In April the following year, while on his journey overland to Hudson Bay to meet his ship bound for England, he collected more of the glacier lily in the same area and transplanted them in the hope of keeping them growing all the way to England. Maybe it was these particular transplants that were the first fawn lilies that he is credited with introducing into England. Now I wonder if they were all glacier lilies: if some of the Oregon fawn lilies had not been introduced into the mix also?
When I drive by the Deepwood Estate along Mission Road here in Salem and see the expanse of pale yellow that is the fawn lily, it’s hard to imagine that Douglas didn’t see them while traveling though the Willamette Valley. At any rate, it is a wonderful sight to see and, no doubt, it will be enjoyed by the many visitors to the festival next weekend- Friday and Saturday April 5 and 6. For more information about the festival click here- http://historicdeepwoodestate.org/historic/estate/calendar_events/2013/04/05/ I am delighted to say that my cards will be on sale at the festival also.
Aislinn Adams
Botanical illustrations become rubber stamps for Spring.
© 2011 Aislinn Adams
Fawn lily, Erythronium oregonum
Botanical Illustrations become rubber stamps for Spring.
I’m delighted to announce that twelve of my black and white botanical illustrations are now available as rubber stamps. I’ve just signed my first license contract with the rubber stamp company Impression Obsession.
Spring is finally in the air and the inspiration for this rubber stamp collection. There are lots of blossoms to choose from- Florida dogwood, Chinese plum, peach blossom, fawn lily, passion flower, rhododendron, lily of the valley, daffodil and crab apple. I am particularly happy to see the American native plant in the selection- fawn lily, Erythronium oregonum – a favorite from the Pacific northwest where I live.
Check out the complete collection of my new botanical illustration rubber stamps at this link.
Aislinn Adams
The Art of Communication – 100 Artist Show
The Art of Communication – 100 Artist Show
February 1-March 3rd
This pen and ink illustration was created for The Art of Communication – 100 Artist Show at the Mary Lou Zeek Gallery in Salem, Oregon. I decided to use my pen and ink drawing style for this black and white illustration. It seemed in keeping with the topic. I also added a little Caran d’Ache pencil for color.
First Day of Issue Stamps.
Mary Lou Zeek was inspired to create the show when she found a collection of first day of issue stamped envelopes at an estate sale. She invited 100 artists to participate in the project and paired us with each other. We were then sent a stamped envelope, addressed to our partner artist, containing a sheet of blank writing paper and asked to write a letter on any topic we liked.
While reflecting on the title of this project I thought my letter would be some kind of meditation on the nature of communication. However, when I actually received the package I was so moved by the first day of issue stamps on the envelope that I wrote about preserving the past instead- a subject I’m passionate about.
An inspiring letter.
I received a wonderfully moving letter in response to mine from my partner artist, Leslie Peterson. A couple of lines recounting a story from her family’s past really struck me and sent me back to reflecting on the nature of communication once again. In our letters we both lamented the often “casual disregard” for the past here in the U.S. and Leslie talked about preserving “memory”. She wrote about her grandfather, an immigrant from Austria who never learned English, while his children, born and reared in the U.S., never learned German. This was not unusual for the time. However, I keep wondering how Leslie’s grandfather communicated with his children? How did he pass down his family’s stories, his history, and what was lost?
An authentic voice.
I too am an immigrant. I come from Ireland originally. Thankfully times have changed and I don’t have to worry about assimilating in a way that would force me to deny my past or silence my voice. So, in the end I created a piece that simply expresses my need to have my own voice – to communicate honestly and authentically who I am- no bells and whistles or special effects. And I communicate as an illustrator because that is what I am.
The Art of Communication- 100 Artist Show starts next week at the Mary Lou Zeek Gallery. If you would like to learn more about the exhibition and see all the artists’ work just click on this link and scroll to the bottom of the page to see all the artists’ work.
Aislinn Adams
January 12, 2012.
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