Margaret Brooker Wollemia nobilis, watercolour, 123⁄4X91⁄2in (32X24cm). ‘I start in the field with sketches, notes, measurements and some photographs for later reference. Graphite rubbings of the underside of leaves can be transferred to ink tracings to use in my working drawings. Detailed studies of specimens are recorded through a series of drawings and diagrams. Composing the final image can take a long time, although not as long as producing the final image, which is created first with a faint detailed line drawing in graphite. Light colour is worked across the main areas, followed by tonal modelling in colour, then further colour and tonal work, finishing with the details. My usual media are: HB propelling pencil size 0.3 for fine drawing (otherwise a range of pencils from H to 4B); drawing pens with fine points 0.1 – 0.005; coloured pencils (usually Faber-Castell Polychromos, Lyra Rembrandt and Derwent); heavyweight cartridge paper for most drawing and Bristol Board for pen and ink; watercolours, mainly Winsor & Newton Artists’ watercolour paints. I often mix layers of watercolour with layers of pencil, sometimes letting them mix together, at others keeping them separate. Using watercolours in layers I can get a depth of colour and luminosity but the paper must dry out completely between applications. For fine detail I might use a fine graphite pencil or a touch of white gouache, but sparingly as it is heavy and opaque. I mainly use round watercolour brushes, synthetic or sable or a mix, sizes 000 to 10 or larger. I normally use a Fabriano or Saunders Waterford HP paper, usually A3 or A2 size.’
Throughout 2019 Forestry England is celebrating its centenary year with events across the country, including the largest ever survey of forest wildlife in the Big Forest Find, projects to boost health and wellbeing, new artistic works and a focus on education. As part of the celebrations a new outdoor exhibition at Bedgebury, home to Forestry England’s National Conifer Collection and internationally known for its beauty and the diversity of species grown for research and conservation, has been created in a special collaboration between Forestry England, the Friends of Bedgebury Pinetum and the Florilegium Society.
The Bedgebury Pinetum Florilegium Society comprises a group of skilled artists who volunteer their time in support of Bedgebury. Started in 2009, the society meets monthly and decides, with Dan Luscombe, the Collections Manager of Bedgebury National Pinetum, which subjects to paint. Its main aim is to record, creatively but accurately, the rarity and diversity of the tree collection at Bedgebury as well as other plant species or animal life. Samples are collected from the site and artists paint directly from their specimens. Each finished piece of work is vetted by Dan for botanical accuracy, and scanned by Fine Art Printers, Art4site, who forward digital images to The Friends for archival and promotional purposes.