Line Drawing - Botanical illustrations | Silvia María | Skillshare

Line Drawing - Botanical illustrations

Silvia María, Illustrator and Biologist

Line Drawing - Botanical illustrations

Silvia María, Illustrator and Biologist

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8 Lessons (57m)
    • 1. Intro

    • 2. Materials

    • 3. Techniques

    • 4. Sketching

    • 5. Inking Cosmos

    • 6. Inking Peach Blossom

    • 7. Inking Daisies

    • 8. Final Thoughts

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About This Class

About this class :

In this class, you will learn my process to create beautiful botanical illustrations with fine liner pens. I will show you the tools I use, and I will teach you the different techniques, tips, and tricks I use to create shadows, depth, and texture in my floral illustrations. No drawing or design skills are required, I’ll walk you through easy to follow steps, and by the end of this class, you will be able to create your own botanical illustration. So follow me and let’s start inking!


Meet Your Teacher

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Silvia María

Illustrator and Biologist


My name is Silvia María Pérez I'm a Biologist, Microbiologist, and a self-taught Freelance illustrator, from Colombia. Right now I'm based in Grenoble, France.

Since I can remember I've been passionate about illustration and design. So combining that passion with my careers, I really enjoy creating illustrations inspired by flora and fauna, in both watercolors and ink. 

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1. Intro: Hi. My name is Libya, Maria. I am a biologist on a freelance illustrated from Colombia. In this class you will learn my process to create beautiful botanical illustrations with fine liner pens. I will show you the truth, so I use and I will teach you the different techniques, tips and tricks I used to create shadows. That and texture in my floral illustrations. No drawing or design skills are required. I will walk you through easy to follow steps. And by the end of this class, you will be able to create your own botanical illustration. So follow me on. Let's start thinking. 2. Materials: here is the list of supplies that I will use for this class. You can use any plan you want, but I strongly recommend fine liners with archival ink that are waterproof and light fast. This will make your illustrations more durable, and in case you want to add some worry colors on top, everything will stay in place. I usually use three sizes that I choose between the different find liners that I have, but I recommend to have at least two different sizes off your own choice. The paper that you choose depends on what you want to do later with your registration, you can use only tracing paper or printer paper just for practice. Or, if you want to scan your registrations on work with it in Illustrator or Photoshopped, for example, if you want to make your own or regional illustration as a gift or to sell it, you can use everything with paper as Bristol or marker paper. This also will be more gentle to our dependence on. The lines will be very small. Also, you can use watercolor paper if you want to combine worried colors or other mediums to embellish your illustrations. But in this cast, I will be using tracing paper and Bristol paper. We will need ah, pencil in an eraser to make a writ sketches. One of the easiest ways to learn the basics of botanical illustration is to make a copy off the real ones to do. These were going to use photos as a references so we can go outside and take our own pictures. Or here is a cool tip. You can go to a website called Pixel by, and they have a bunch of free images that we can use without having any problems with order . Right here are the ones that I choose for this class. Cosmos flowers, peach blossom on Daisy's, but you can use any flower that you want to make your own project. I usually use a tracing table to trace my outlines into my final paper. There are different ones in the market, but I made my own with a let like panel that usually goes on the ceiling instead of bulbs. I went to a hardware start to make an adaptation to connect it into a regular plan. If you don't have one, do not worry. You can use any window and they like to do it 3. Techniques: in this section, I will be showing you the type off lines, dots and hatching that we can make with the different pen sizes. Those techniques will be applied later in, or illustrations to give depth, shadows and texture to our flowers. First, I will show you how the different sizes off depends. Look on the paper. - We can see that the different sizes off the fine liners give us many options to experiment with. Now let's make some fast strokes. You can see that to start is darker than the end. That's because off the pressure that you have to put on this kind off lying. You start with normal pressure and you continue to stroke, releasing the pressure with a fast movement off your hand. - If you hold the pen angle, it makes the strokes look more organic than when you make them very slow. And But if you prefer that graphic style, you can use that kind off lines. It depends on which style you are going to using your illustrations. What you like the most is fine. This is just the cell that I prefer to use. We can use the first strokes from a starting point. I usually used this technique to make the tips on the base of my petals. Let's talk about textures on how I make them. I make this discontinues lines by alternating between lines and dots on. I really like the kind of texture the strokes give to some flowers. - We can also use the stapling to give shadows or texture. Depending on the amount of dots on the closer they are, the rest will be different. I like to use these one forgiving texture to the stamps, but you can also use them on other parts of the flower. It's your choice. I like to make Messi lengths to give a different texture to the center, off some flowers, finally making little circles, we can achieve another kind of texture. Now you can practice those textures and come up with many more of your own. Let's practice a little for shady. You can use dots or lines for Ryan, the amount on the length on going from a darker toe, a lighter area, for example. Here I started with my biggest I spin, drawing short under Glines, then with the same pain. I feel some off the blacks with longer legs. Now I changed to a smaller find liner and make some longer lands. But because of the size, it looks like a blur. The shot. Now I'm doing the same thing. But we thought many dark thoughts on the left side, fewer dots in the middle part and some tinier dots for the transition. Let's start practicing some horizontal and steady lines now some parallel fast strokes. Let's do the same thing, but vertical. We can make up strokes on down strokes, but usually you are going to be more comfortable doing in one off the two directions so you can just turn the paper every time that you need to be drawing in the most comfortable way for you. Let's also practice to make the fast strokes in between two lines, draw a line and start to do strokes from me without touching the other one first up strokes . Now down strokes. I repeat the same, but with diagonal wants. Finally, make some diagonal stroke starting in the line, you are free to practice as much as you need before. Start thinking your own illustration. 4. Sketching: I'm going to show you how to draw three different flowers, a cosmos flower, a peach blossom and some days so you can see how you can apply the different techniques that I show you before. As I told you before, I really think that one of the easiest ways to learn the basics of botanical illustration is to make a copy of the real ones. To do this, we're going to print out our references. We can resize them if we want to, but it is important to not make them too small because it is going to be harder to draw it later. I prefer personally to print in black and white, and I keep the color once on my computer or anywhere where I can see them while linking my flower. Now we are going to take a piece of tracing paper, and we're going to trace all the outline off the flower, including all the parts on the floor that we see with our bigger size find liner or with a mark in this part. We can make some modifications if we want to, for example, for the pictures off the days is that I chose I completed some petals on only drove three flowers and not all of them. - So now that we have our sketch for each flower, let's trace them into the final paper to transfer our sketch in tow. Another paper. We can use a light books or just used a light on a window. It is important to do like pencil strokes so we can raise them later. Next step is thinking. 5. Inking Cosmos: I really like the outlines to be a little bit thicker than the details. So to do this, I like to use my biggest Ben Sarah pone five, in my case for the inner parts off the flower. I like to use a medium size in this case, Europe on three, but if you only have two sizes, you can keep all the outlines with the bigger one. Try to drop the petals very loosely and not perfectly round so that they look more realistic. An organ. Remember that you can rotate your paper as often as you need to Joe very comfortably. You can put a piece of tracing paper printer paper to put your hands on on. Don't make 30 your final piece. Now we are going to use the different techniques that we just learn and practice to bring her flowers to life. Now that we have the outline off, our cosmos will out the details. I start with some messy lines on the center of the flower for some textures for the stems I'm going to use a medium size spent on. I'm going to use stapling technique for the pedals. Details. I used my excess father, Castell Pippen. I like to start at the base off the petals. Just make fast strokes, as we did in the practice. Exercise at lines to each petal, starting with this center on going all around, imagining that the lines are coming from the base off the payroll. - Now that we have all our inside details and going to add some lines in every creed, so it looks like the petal is it's likely waving on the edge. I just go around and do these for each paper. I do a very similar process with every flower using different types of strokes in each one . Now that we have finished these one, let's do the peach blossom. Don't worry about the pencil mark. You can you raise them at the end, but wait until the ink is dry. 6. Inking Peach Blossom: for these flower. I'm using the same pain sizes that I use with Cosmo's. For the outline, I go with my syrup 0.5 on for the inner parts I used. The syrup on tree in this case are stems are Pekar. So I used my biggest find liner to make the texture with the stapling technique. Then I go back to my syrup point tree to make some messy lines in the middle of the flower but tighter than in the cosmos. Next, I used the excess Farber Castell Pento do the first strokes, trying to follow the shape of the perils in the centre parts off the flowers behind the statements you can feel with lines in the same direction off the peril starting at the base. - Finally , I do small lines into creeds to add more volume to the flower on . We have our final piece for the Peach Blossom. Let's Inc some daisies 7. Inking Daisies: for the outline of the daisies. I'm using my cereal 0.5 Fine liner. Then I use my syrup point tree pen toe Do small circles in the centre off the flower to give it a different texture and make it pop out. - For this times, I continue using the syrup on tree pen under stapling technique, as with the previews to flowers. - In this case for the petals details. I use my s father, Castell Pitt Pain. I like to do small lines at the base on at the deep off each petal, I usually ride the number off lines between two and four. Now, with my excess father, Castell Pippen, I'm going to create some discontinues lines to create a little texture along the petals. 8. Final Thoughts: I hope you enjoyed this class. Now it's time for you to choose your favorite flower and use the different techniques, tips and tricks that you have learned to create your own botanical illustration. I really want to encourage you to share on upload the pictures of your progress in the class Project section so that other students on myself can give you feedback. I can't wait to see your registrations.