The Horse chestnut is easily recognized, with distinctive palmate leaves and an autumnal crop of conkers.  It was introduced from Turkey around the 1600s, and is a common tree in parklands and towns, but occurs less often in woodland.

Identification: Tree shape

The tree grows up to 40m tall and has a wide, domed canopy with foliage coming low down the tree.  Trees live up to 300 years.  It grows fast in most soils, and needs plenty of space.

Identification: Leaves

Horse chestnut leaves are palmate, consisting of 5 – 7 sharp-tipped leaflets arranged like the fingers of an outstretched hand.  Each leaflet can be 30cm long, making for impressively large leaves.

The leaf margins are toothed, and each leaflet has clear alternate lateral veins.  They’re a rich green colour.  For more on leaf margins click here.  For a blog on compound vs simple leaves click this link, and tips on leaf shape can be found here.

Identification: Flowers

The flowers of the Horse chestnut grow in a clustered tower of up to 50 flowers, known as a panicle.  These are sometimes referred to as candles.  Branches of the panicle are longer at the base than the top, creating a cone shape.  The uppermost flowers are male, those in the middle are both sexes, and the lowest ones are all female.

 They have a distinctive shape with bilateral symmetry.  Each flower is 9-11mmm long and has 5 fringed white petals, with a yellow patch at the base.  Once pollinated, this turns from yellow to dark pink.  This may communicate to visiting insects that the flower is no longer worth visiting as it has ceased providing nectar post fertilization.

Identification: Fruit

Horse chestnut seeds are known as conkers.  Only 5 or so flowers per panicle develop into conkers.

The conker is instantly recognizable.  Encased in a pale yellow-green, spiked case; conkers are a shiny mahogany brown.  This type of seed is known as a capsule by botanists.  (For more on seed types, check out my blog.)

There are 1-3 conkers per fruit, released when the seed case splits three ways at maturity.  Each is up to 4cm across, with the entire fruit measuring up to 7cm

Identification: Bark and buds

The bark is pinkish-grey and thin in young trees, becoming grey-brown and scaly with age.

Buds are distinctive and grow on stout hairless twigs.  They are a rich reddish brown, oval, and very sticky.  Lateral buds are opposite.

When the leaves shed, they leave a distinctive horseshoe-shaped scar.  This could be the source of the tree’s name; although some suggest it relates to the curative flour, made from ground up conkers, that used to be fed to horses.

Similar species

The Indian Horse chestnut, Aesculus indica, native to the Himalayas, is the only similar species.  Like the Horse chestnut, it is planted in parks and public spaces.

However, it follows in June rather than April to May and is a less robust tree.  Indian Horse chestnut conkers are small, dark brown and wrinkled, and held in smooth green seed cases.

History: Folklore

Because the tree was introduced to the UK comparatively recently, there’s not a great deal of folk lore associated with it.

However, the conkers are threaded onto strings and used to play – wait for it – conkers.  The first recorded game occurred in 1848 on the Isle of Wight, although there’s evidence the game was played with other less suitable nuts prior to this.

 To play, you take it in turns to whack your opponent’s conker with your own, the aim being to smash your opponent’s conker to bits.  Baking, pickling in vinegar, and drying for a year or more are all methods thought to toughen up a prize conker.  To this day, kids in the UK play conkers every year (although some well-meaning schools have banned the practice because it’s deemed dangerous).

One foot note is that some think keeping conkers in a room discourages spiders.  My studio has an open box of conkers and a plethora of friendly spiders, so I remain unconvinced.

History: Mankind and Horse chestnut wood

The wood of the Horse chestnut is pale and light.  It is weak and is mainly used to make children’s toys and for carving.  As it’s absorbent, it is also used to make trays for storing fruit, and it was sometimes used to make light weight artificial limbs.

History: Food and Medicine

Conkers were ground up into flour in Victorian times, and used as a coffee substitute during World War 2.  The mildly poisonous nature of the fruit, and its limited appeal has made this practice obsolete.

Flower buds can be used as a substitute for hops in beer brewing

Medicinally, conkers were fed to cattle and horses by Turkish soldiers in the 1600s to cure respiratory disorders.

Varicose veins, haemorrhoids, sprains and bruising can all be treated with Horse chestnut creams which thin the blood.  This makes it harder for blood to leak from veins and capillaries, and is useful in the treatment of water retention and oedema.  Aescin seems to be the active compound at work here, both for animal and human ailments.

Finally, the high levels of saponin made them good for making soap, after crushing and soaking the conkers in boiling water.  They are considered useful as moth deterrents by some.

Horse chestnut and Wildlife

The profusion of flowers provide a welcome treat to pollinating bees in late spring, and the caterpillars of the Triangle moth Trigonodes hyppasia feed on the leaves.

The larva of the Horse chestnut leaf mining moth Cameraria ohridella also feed on the leaves, the caterpillars are part of the diet of birds like the Bluetit.

Threats

Two pests and diseases have taken a firm hold of the Horse chestnut population recently.

The first is the Horse chestnut leaf miner mentioned above.  This insect burrows through the leaves, eating as it goes.  It can make entire trees look ill with blotched, yellowing leaves.  The good news is that there’s little evidence that the caterpillars do any lasting damage, merely altering the appearance of the tree.

The second is Horse chestnut bleeding canker, a more serious threat.  This bacterial infection damages the wood and bark, blocking the tubes of the phloem, making it impossible for the tree to carry water and nutrients.  This eventually kills the tree.

Signs of the canker include oozing dark patches on the trunk, discolouration of the wood, and chunks of bark peeling away.  This canker is becoming more common since it was first noted in the 1970s, and now infects more than 30% of English Horse chestnuts.

Trees also suffer leaf blotching caused by the Guignardia fungus, and are prone to scale insect infestations.

Conclusion

With their beautiful candles of flowers and ornamental stature, Horse chestnuts are handsome trees.  Although of limited practical or culinary use, they are vital to parkland and gardens.  One can but hope that the threats posed by canker and pests don’t end up reducing the population of these trees too seriously.

Online sources for this blog include websites of the Woodland trust, Trees for life, Totally wild, the Tree guide UK, and NatureSpot.  Reference books for this blog include the excellent The Greenwood Trees by Christina Hart-Davies  , and the Reader’s Digest The Field Guide to the Trees and Shrubs of Britain (out of print but commonly available second-hand).  I also referred to The Tree Forager by Adele Nozedar and The Living Wisdom of Trees by Fred Hageneder.

The post Trees: Horse chestnut Aesculus hippocastanum appeared first on Lizzie Harper.

This is one of a series of blogs I’m writing on common British trees.  You can also see blogs on the Elder, the Yew, the Ash, the Oak, the Holly, the Sycamore, the Rowan, the Hawthorn, the Birch and the Beech.

There are 10 species of Lime in the UK, with three growing commonly in the wild.  Along with the Small-leaved Lime Tilia cordata, the focus of this blog; there is the Common lime Tilia x europea and the Large-leaved (or Broad-leaved) lime Tilia platyphyllos.   Lime trees are often called Linden trees, a catch all for all Tilia  species.

It’s important to remember that these lime trees have nothing to do with the citrus family’s lime tree which bears the lime fruit, Citrus x Latifolia

Identification: Tree shape

The Small-leaved lime reaches up to 20m and has a pretty conventional shape.  They grow in ancient woodland, favouring moist nutrient-rich soils, although Large-leaved limes prefer lime-rich areas.

Lime Tilia cordata tree

Identification: Leaves

Leaves are 3-8cm long and shaped like a heart (as noted in the Latin name, cordata, which means heart-shaped).  They have sharp small teeth and a prominent tip.  Sometimes they are wider than their length.

Leaf of Small-leaved lime

Where the leaf stem or petiole attaches to the twig there are tufts of rust-red hairs.  These also appear on the underside of the leaf, at the junctions of the veins.

Identification: Flowers

The flowers smell delicious and are carried in clusters of five to ten blooms.  They have five petals, are a greenish yellow, and carry male and female reproductive structures.

Lime flower

Unlike other Lime trees, the flowers stick out from the leaf-like bract they’re attached to at all angles.  Other species have more pendulous blossoms.

Flowering cyme of the Small-leaved lime Tilia cordata

Identification: Fruit

Small-leaved lime fruit ripen in August and are small and round.  They have prominent tips.

Identification: Bark and buds

Small-leaved lime bark starts smooth but develops fissured plates with age.  The twigs are chestnut brown, and become glossy in the sunshine.  The underside of the twigs is often flushed olive green.

Bark of the Common lime Tilia x europea

Buds are up to 4mm long, have two scales. and are shiny red.

Similar species

The two other common UK Lime species are the Large-leaved and Common lime.  The Large-leaved lime has bigger leaves which grow to 13cm long and have more regular teeth.  Hairs cover the underside of each leaf.  Large-leaved lime carry flowers in clusters of three to a maximum of six, and the fruits are prominently ribbed.

Large-leaved lime Tilia platyphyllos

Common lime is a hybrid of the other two species so shows mixed characteristics.  It also has heart-shaped leaves which are larger than those of the Small-leaved lime.  The hair tufts on the underside of the leaves are white, not red.  When in bud, Common lime twigs zig-zag and bear a bud at each change of direction.

History: Folklore

In Eastern Europe, the Lime is a symbol of fertility and is considered sacred in Slavic culture.  It has links to the Germanic and Norse earth goddesses Frigga and Freyya.  Germanic cultures in ancient times used the tree as a symbol of justice, with trials taking place beneath its boughs. Tthe Swiss and French planted Lime trees to celebrate battles.  In Britain Lime trees were planted along roads to encourage prosperous harvests of grain.

Linden tree

The tree is also associated with love and romance.

History: Mankind and Linden wood

Lime wood does not warp if cured correctly so is used to make bowls, furniture, and piano keys.  It is soft and light and easy to work.  Grinling Gibbons (1648-1721) carved his ornate alter pieces and panels from lime wood as it cuts cleanly and easily, and traditional nesting Matroshka dolls were carved from Lime.

The inner layer of the bark is fibrous and was used by Europeans and First Nations’ peoples to make rope, fishing nets, and string until Hemp was introduced from China in 400BC.

History: Food and Medicine

The flowers of the Lime tree are dried and made into fragrant herbal teas whilst the sap can be made into wine.

Medicinally, the teas or tissanes made from Lime were used to treat “nervous disorders”.  These included headaches and insomnia.  The tea is said to soothe diarrhoea and sinusitis as well as being used to calm jangled nerves and reduce blood pressure and cholesterol. It was said that sitting under a Lime tree could mitigate epilepsy.

Small-leaved lime

Applied to the skin, it can soothe skin conditions.

Lime trees and Wildlife

The blossoms of the lime tree attract pollinators, and in America Lime tree species are sometimes called “bee trees”.  Linden blossom honey is delicious.  Along with the bees and butterflies, wasps, and hoverflies, the trees also attract vast numbers of aphids and their “farmers”, ants.  All lime trees tend to be coated in honeydew produced by the aphids which makes the leaves sticky and may cover the ground below the tree.  The aphids attract predators such as hoverflies and ladybirds.

Ladybird Coccinella septempuctata

Nail galls are common on the Small-leaved lime and look like tiny scarlet fingers growing from the leaf surface.  They are the product of the Eriophyes tiliae mite which feed inside them, and seem to do no damage to the tree.

Lime Tilia europaea leaf nail galls from mite Eriophyes tiliae

Moths such as the Lime hawkmoth, Peppered moth, Vapourer and Scarce hook-tip use the Lime as a food plant whilst birds and wood boring beetles exploit the dead wood of older trees to make their homes.

Threats

Ancient woodland is a rare habitat in the UK, although it used to cover much of the land.  In 3000BC the Small-leaved lime was the most common broad-leaved tree in the UK.  Ancient woodland is where most Small-leaved limes grow, so the threats to this habitat are mirrored in the threats to the trees.

Some fungal infections can cause cankers and root rot, and occasionally a Lime tree may die from Wilt.

Aphids and some mites weaken the tree, but there are no new fatal diseases wiping out all our Lime trees.

Conclusion

With the scented flowers and heart shaped leaves, Limes are easy to recognize.  They make safe homes for many insects and are a firm favourite with pollinators.  With strong pale wood and a plethora of uses in herbal medicine, the tree has been used by mankind for millennia.  And luckily, despite the loss of ancient broad-leaved woodland, the Lime or Linden looks set to remain an important tree of the British Isles for many years to come.

Small-leaved lime Tilia cordata

Online sources for this blog include websites of the Woodland trust, Kew Plants of the World, Tree guide UK, and Nature Spot. Reference books for this blog include the excellent The Greenwood Trees by Christina Hart-Davies, and the Reader’s Digest The Field Guide to the Trees and Shrubs of Britain (out of print but commonly available second-hand).  I also referred to The Tree Forager by Adele Nozedar and The Living Wisdom of Trees by Fred Hageneder.

The post Trees: Small-leaved lime or Linden appeared first on Lizzie Harper.

The twist on this commission is that this good garden needs to be cited in Sweden, which means a whole lot of research into Swedish hedging species, houses, garden plants, and native species of bird and butterfly.  However, many of the over arching themes and hints on how you can improve the health of your garden, and encourage wild animals and plants, are universal.

Hedges and Edges

Gardens which are welcoming to wildlife and encourage nature tend to have hedges rather than fencing.  There should be plenty of undergrowth to hide in, and hedging species should be native, or designed to appeal to pollinators.  In the main illustration of the Swedish garden, Maple and Hazel make up the majority of the hedging (although from a distance it’s hard to tell what the species is!)

Hedging – Lilac is often used for hedging in Sweden

Trees and Shrubs

Old established trees and numerous shrubs and bushes are good practice in a wildlife garden.  Rather than felling an ancient tree, make a feature of it.  This illustration has a central apple tree, with an area of young Birch saplings on the right.  Fruit trees are excellent in wildlife gardens as they provide blossom in the spring, and fruit in the autumn.  These benefit both the gardener, and the insects, mammals, and birds you’re looking to attract.  If you’re lucky, there will be other mature trees nearby.  These will link to the canopy of trees in your garden, making it easy for birds and insects to access your space.

Apple tree Malus domestica

Shrubs illustrated include more Hazel, and Buddleja.  Earlier in the year, Lilac provides nectar and pollen for bees, and looks lovely.  Not necessarily seen as a shrub, bushes of lavender can be beneficial for pollinators too.

Butterfly bush Buddleja davidii

If and when your established trees shed their branches, try to avoid clearing it all up.  Fallen wood encourages a whole different community of insects and animals, and leaving it on the ground allows the nutrients to seep back into the soil.

Apple tree with fallen branch left in situ

Woodpiles

You can introduce extra rotting wood into your garden by having a wood pile.  Allow this to rot a little, don’t be too keen to keep it neat and tidy.  Ivy, brambles, nettles and long grass growing around it provide perfect cover for animals seeking sanctuary, or somewhere to hibernate over winter.

Logpile with Hedgehog Erinaceus europaeus

Log piles are really good for fungus too.  The image above shows bracket fungus growing on the wood, along with more conventional “mushroom-like” fungi.  Look out for King Alfred’s cakes Daldinia concentrica growing on fallen Ash.  It looks like black balls, or burnt biscuits.  Turkey tail, with its striations, also turns up in woodpiles.  Fungi interact in the soil with other plants, and help recycle nutrients and encourage good soil health.  They break down wood, returning carbon, nitrogen and other vital minerals to the soil.

Turkey tail fungus Trametes versicolor

The woodpile in this good garden has a Coal tit perched on top, probably looking for small insects and caterpillars to eat.

Woodpile

Minimize Hard Surfaces

Straightforward enough advice.  Hard surfaces such as decking, gravel beds, and patios not only stop plants from growing on those spaces.  They also add to run-off from rain water, and stop the land from working as it should, like a sponge for rainfall.  Instead, water pours straight off and can clog drains and lead to flooding.  More on this in this article by the British Association of Landscape Industries.

Hard surfaces can also get dirty, and people may use harsh cleaners to keep their paves areas pristine.  Run-off from these can flow into water courses and damage local wildlife ecosystems.

Avoid Visible Soil

When trying to run a good garden, keep exposed soil to a minimum.  Patches of sandy soil can be useful for mining bees, but in general, bare earth doesn’t help wildlife.  When you’re growing food crops, inter plant between rows of vegetables.  Allow plants to work as cover crops, shielding the soil from erosion, protecting it from having minerals and nutrients washed out, and adding to soil health as these rot down.

This illustration shows Cabbage and Leeks growing under a cover of French marigold Tagetes patula and chives.  French marigold is a common companion plant, helping plants like tomato and aubergine to thrive.  Although it actual competes with Cabbage, it does have the benefit of repelling Cabbage white butterflies and caterpillars, which is why this good garden combines the two.  For more on Companion planting, see 10 suggestions of good companions on the Gardener’s World site.

Vegetable gardening

You can even choose to plant cover crops or green manures on areas of bare soil, expressly to improve the soil.  Nitrogen fixing plants like White clover or Alfalfa are good for this.

White clover Trifolium repens

Grow Perennials and grass, not Annuals and Vegetables

If you can, grow grasses and perennial flowers rather than short-lived annuals and vegetable crops which. once removed, leave the soil like a desert.  Some grass species are highly ornamental and look beautiful.  Many wild flowers are perennial, such as Cornflower and Foxglove.  Obviously, these will vary according to where you’re gardening.  Perennials are good for the gardener, too.  You no longer need to go and buy new bedding plants every year.  Perennials will return year after year, and many will also self seed.

Foxglove Digitalis purpurea

Planting grasses and perennials, be they native or not, is a good way to look after both animal visitors and the soil.  For more on what to plant, and how best to encourage butterflies to yoru garden, check out my blog.

Compost

Every good garden will have a compost heap, or two.  Worm bins are excellent ways of getting the most from food waste, you can even build your own!  Making your own compost means you don’t need to spend money on fertilizer or, even worse, buy unsustainable peat.

Compost heap

For information on how to make your own compost (and it isn’t difficult) check out this guide from the Wildlife Trusts.  Compost rots down, so it’s a good way to get rid of garden waste without resorting to bonfires or taking green waste to the tip.

Compost degrading over time

In Scandinavia (as elsewhere), thermal composters are popular.  This method of composting basically compresses compost, meaning the layers of organic matter and microbes involved in decomposition are in closer contact.  Garden waste may need to be broken down into smaller parts with a chipper, but the benefits are higher yields of compost and compost free of weed seeds.  It also doesn’t smell, is ready in 30 – 90 days, breaks down pesticides, and kills eggs and maggots of flies.

Hot composter with Robin perched on top

Leave Weeds on the Flower bed

This is new to me, but leaving weeds on the flower bed keeps the soil covered, and allows their nutrients to leach back into the soil.

Weeds left to rot on soil

Rainwater

Preserving rainwater is a great idea if you’re wanting to create a good garden.

Water but on left hand side

Water butts can be fixed to guttering, and will collect all the rain water that falls on the entire roof area.  Rain water is free from chemicals which are added to water that we get from taps; things like chlorine and fluoride.  Tap water isn’t bad for watering plants, but rainwater is much better.  According to the Royal Horticultural Society, rainwater “is free from hard water elements and is the correct pH for the majority of plants, including acid-lovers such as rhododendrons and camellias.”

Water butt collecting rain from the roof

Although it can be tricky finding enough places to put water butts, looking after rain water is a really good idea.  You can also combine it with installing a wildlife pond.

Wildlife pond being fed by rainwater

This is another excellent idea which encourages wildlife.  Rain water, devoid of chlorine, is by far the best option for aquatic species.  For more on how to establish a wildlife pond, check out the Wildlife Trust’s guide.

Wildlife pond

No dig Garden

Digging used to be de-rigeur for any gardener.  Many would double dig, every year.  Recent research suggests that doing this can be really bad for soil health.  It breaks up the microscopic networks of fungal hyphae, stopping them from interacting with the roots of plants.  There’s a lot of symbiosis between fungal and plant roots, on a cellular level, and such brutal treatment of soil makes this relationship impossible to sustain.

Double digging is now thought to be bad for soil health

But how can you aerate the soil, making it light enough for plants to grow into?  In the past, this was seen as one of the prime reasons for digging.

Alternatives are numerous.  You can plant Teasels Dipsacus fullonum, or other plants with seriously long and strong tap roots which break up the soil.  Teasels are also great for wildlife as their seed-heads produce thistle-like seed deep into winter, a real treat for goldfinch and other birds.

Goldfinch Carduelis carduelis and teasels

Mulching, growing a green manure like clover or alfalfa, and adding organic matter all help break up the soil.  Without damaging that all important fungal – plant symbiosis.  The Welsh Botanic Garden have more on the benefits of a “no dig” system.

Introduce Climbing plants

The more surface area you can cover with green growth, the better. Good gardens not only grow horizontally, but vertically too.  This means putting up trellis on buildings, and encouraging climbing plants.  Roses or clematis clambering up a house can look wonderful, and provide wonderful safe havens for overwintering insects and nesting birds.

House festooned with climbing plants like clematis, wisteria, and rose

Sometimes, you don’t even need to do any planting.  In my garden, Ivy sprawls across the whole of the back wall.  In winter it’s alive with flies and hoverflies, and spring sees it full of sparrow nests.  Although it’s not great for the wall, on balance I think it’s worth it.  And I never lifted a finger!

Ivy Hedera helix growing on a wall

Some plants are remarkably good at growing up things.  Old Man’s beard, Clematis vitalba can swallow up an abandoned building or a dead tree, and provide lots of safe spaces for wildlife.  Although this is an introduced species in Sweden, it’s become so ubiquitious that many Swedes are surprised to hear that it’s not a native plant.

Old Man’s Beard Clematis vitalba

Don’t Mow too much!

Mowing a lawn too often is a sure fire way to turn a good garden into a wildlife desert.  Even if you like carefully manicured turf, consider leaving islands of long grass unmown.  Small mammals can live in these pockets, and the long grasses shelter insects like grasshoppers, ants, and beetles.

Short tail or Field vole Microtus agrestis in grass

Pollinators thrive, feeding on the nectar and pollen of the wild flowers that inevitably also grow in these long-grass islands.  Many caterpillars have grasses as their main food plant.  It’s thought that you can bring up to 10x more bees to your garden if you simply avoid mowing all your grass too much (Plantlife 2019)!

Small skipper Thymelicus sylvestris on grasses

In the UK there’s an initiative called “No Mow May” in which gardeners and local councils are encouraged to put aside the lawn mowers for the month of May and allow butterflies, pollinators, and wild flowers to thrive.  It’s been hugely successful, and is becoming a given for any good garden.

Long areas of grass left unmown

Conclusion

There are many things you can do to turn your outdoor space into a good garden.  Don’t feel guilty if you’re unable (or unwilling) to make all these changes, or make them all at once.  Every small step taken will help.  And whether you’re gardening in Sweden, Britain, America, or anywhere else; trying to do something to help encourage wildlife and wild flowers in your own backyard has got to be a good idea.

For lots of good resources on how to garden well for wildlife (in the UK), check out Plantlife’s website.

Completed illustration of the “good garden”

Below is the annotated pencil rough of the Swedish “good garden” illustration.  It might help clarify any parts of the finished illustration that seem unclear.

Annotated wildlife garden illustration

The post Good Garden: A wildlife Haven appeared first on Lizzie Harper.

There are two main Birch trees in the UK, the Silver birch Betula pendula and the Downy birch Betula pubescens.  The Downy birch tends to grow better in wetter areas and in the north.  The Silver birch likes drier soils and is often found growing ornamentally in gardens and cities.

Both reach heights of 30m and can have a 20m spread.

They are pioneer species, easy to recognise, represent guardianship and fertility, and they are used to make everything from shoes to bobbins.  Birch also treats ailments as diverse as gout and skin disorders.

Birch trees support over 300 insect species, and birch woodland provides a wonderful habitat for woodland flowers.

This is one of a series of blogs I’m writing on common British trees.  You can also see blogs on the Elder, the Yew, the Ash, the Oak, the Holly, the Sycamore, the Rowan, the Beech, and the Hawthorn.

Identification: Tree shape

Birches have a slender shape, and twigs which can droop.

They are often the first to colonize a landscape which has been devastated by fire or deforestation.  When it comes to re-wilding, scrubby birch wood is often the first step.  This makes them pioneer species, settling the land and making it accessible to other plant species.

Birch is the commonest tree in Scotland, and the Downy birch stretches way up into the arctic.  For more on trees growing in such inhospitable climates, check out my blog on illustrating The Treeline by Ben Rawlence.

Identification: Leaves

Leaves are more or less triangles, with toothed margins.  Each leaf is up to 6cm long, and shiny green.  In autumn they turn to a bright, pale yellow.

Downy birch have less jagged margin teeth than the Silver birch, and the leaves are diamond-shaped, and less rounded.  However, the two birches frequently hybridize, hence me popping them into the same blog.

Identification: Flowers

The birch is monoecious, which means it carries male and female flowers on the same plant.   These are wind pollinated catkins.  Male catkins are yellowish, and grow through the winter maturing as the birch leaves grow in spring, then dropping.  These are long catkins, easily visible, and carried in groups of 3 or 4 at the tips of the shoots.

Catkins of the DownyBirch

Female catkins are smaller, and bright green.  They’re borne upright and flower in April through May,

Catkins of the Silver birch

Identification: Fruit

After pollination, the female catkin thickens and develops a dark crimson colour.  Masses of tiny seeds are released from this fruit, and borne off in the wind.

Fruiting catkins of the Downy birch

Identification: Bark

Silver birch bark is what gives the tree its name.  It’s paper white, and can be peeled from the tree in sheets.  There are often dark diamonds present, and older trees may have far darker trunks, especially towards the tree base.

The white colour reflects UV light, some suggest it works like a sunscreen in areas where reflected light from the snow can be blinding.

Buds are long, purplish and pointed.

Twigs are drooping and smooth, with dark warts.  The shoots of Silver and Downy birch can be used to tell them apart.  Silver birch shoots are smooth with warts, whereas those of Downy birch are rough, warty, and covered in short, downy hair.

Similar species

The white bark sets these trees apart from others, and the little triangular leaves with their jagged edges are unlike other large tree leaves.

Most sources suggest the main problem here is telling your Downy form your Silver birch, other species don’t get a mention!

History: Folklore

The Birch is seen as a guardian tree, and a way to keep evil spirits at bay.

Baby cradles would be made form birch to keep the devil away, and people would bring bundles of birch wood into their homes at Halloween to repel the evil spirits.  Birch brooms swept out dirt, but also got rid of the devil, and a garland of birch twigs might be hung over the door for protection.

However, witches broomsticks were also meant to be birch wood, so there’s some disconnect there.

Birch is also closely linked to fertility.  Using a switch of birch on a heifer would either ensure she got pregnant, or that the calf was healthy.

In Britain, if a couple wished to live together but not marry, they could step over a birch broomstick together.  Once done, they could live as man and wife.

When Beltaine came around on May 1st, with all its’ links to spring and fertility, it would be the Birch tree chosen as the wood for the maypole.  In some places, this festival meant any legal bonds between couples could be lifted for 24hrs, and there was frequently a spike in birth-rate at the start of the following February.  It will come as no surprise that these practices left the Christian church apoplectic, but powerless to do much about it.

Birch also relates to motherhood and femininity.  Russian folklore has the Birch as the “Lady of the Woods”, while there are close links between the Irish goddess Brigid and the Birch.  Brigid was the goddess of poetry, something of a muse, and responsible for spinning and weaving.

History: Mankind and Birch wood

Birch wood is pale and soft and not very durable.  It’s used for walking sticks and broom handles, and makes good charcoal.  It also makes good skateboards!  Bobbins and spinning reels were made of birch wood, back in the days of the Lancashire Cotton industry.

The bark has been used to make a plethora of things.  Sheets of bark were perfect as paper substitutes.  Applied to roofs, it provided a level of waterproofing against the rain.  You could mould the bark into shoes, or use strips woven together to make baskets for soft fruit.

Canoes and boats, hats, firelighters, and rolled bark candles were all made from Birch bark.

Powdered birch helped ensure you had a pale complexion.

Leaves yield a reddish dye, while the catkins provide a sunshine yellow colour.

History: Food and Medicine

The sap of the Birch was gathered and made into wine.  This was fed to those afflicted with kidney stones, or urinary tract infections.

Tea made from birch leaves worked on gout and again on kidney stones.  The leaves are indeed full of flavonoids, a type of anti-oxidant.

Birch bark oil was used to treat skin disorders like eczema and psoriasis; the same substance was used to waterproof boats.

In the north, after a sauna you can stimulate circulation by beating yourself with a birch stick.  And, while we’re on the topic of beating, the dreaded old school cane was often made of birch.

Birch and Wildlife

Birch woodland has a light, airy canopy.  This proves excellent for wild flowers like Wood anemone, Violets, Bluebell, and Wood sorrel, as well as for mosses.

Over 300 insect species are associated with birch, including a lot of aphid species.  In turn, this means that Birch trees are great for ladybirds who feast on the aphids.  Moths such as Angleshades, Buff tip, and Kentish Glory have Birch as host plant for their caterpillars.

Birds use the birch too; siskin and greenfinch eat the seeds while woodpecker nest in tree cavities.

Fungus are common on the woodland floor with Fly agaric, Woolly milk cap, Chanterelle, and the Birch polypore closely associated with the birch.

Fly agaric Amanita muscaria

Threats

The threats to Birch in the UK are limited,  Plantations can fall prey to Birch dieback, which is caused by two fungal species.  However, self-seeded trees seem more immune.

As with every single species, the climate emergency presents challenges to birch trees living very far north.  However, it’s probably the Downy birch tree’s incremental growth further and further northward that forms a more immediate ecological threat.

Conclusion

Birch are elegant ornamental trees, instantly recognised thanks to their white bark.

With links to protection and fertility, and the ability to heal skin diseases and be used for building canoes, it’s a fascinating tree.

The most common tree in the whole of Scotland, and stretching across vast swathes of the planet, the Birch is worthy of our respect, and love.

Online sources for this blog include websites of The Woodland Trust, Kew’s Plants of the World, Tree guide UK, Trees for life, and Naturespot.  Reference books for this blog include the excellent The Greenwood Trees by Christina Hart-Davies  , and the Reader’s Digest The Field Guide to the Trees and Shrubs of Britain (out of print but commonly available second-hand).  I also referred to The Tree Forager by Adele Nozedar and The Living Wisdom of Trees by Fred Hageneder.

The post Trees: Birch appeared first on Lizzie Harper.

Beech trees are common across Britain, favouring chalky soils.  The oldest Beech trees live up to 400 years.  You’ll find them in open spaces and in woodland and can tell them straight away by their smooth bark.  The trees produce beech mast which is nutritious for animals, and the canopy supports wildlife.  Beech wood is used in furniture making, and has links to the earliest of books.  It’s associated with knowledge and femininity, and has been used to treat ailments and as food.

This is one of a series of blogs I’m writing on common British trees.  You can also see blogs on the Elder, the Yew, the Ash, the Oak, the Holly, the Sycamore, the Rowan, and the Hawthorn.

Identification: Tree shape

The Beech grows up to 30m tall, and its’ shape varies according to where it’s growing.  In open fields, the branches spread into a wide canopy.  In confined woodland there are few side branches and a much straighter silhouette.

Identification: Leaves

In spring, as they unfurl, Beech leaves are a bright acid green, and are covered in downy hairs.  As they mature they become a more modest green, and in autumn have a pretty consistent warm tan colour.  Leaves are 4 to 9cm long, and are oval with smooth but wavy margins.  They’re arranged alternately.  Each leaf has 5 to 9 pairs of veins.

Leaves overlap, making an umbrella-like canopy with shields the floor below from rain.  They also are rich in lignin, which means they decompose slowly. This means the woodland floor is often a difficult habitat, dry and carpeted with persistent crunchy leaves.  You could know you’re in a beech wood by sound alone.

Beech trees hang onto their leaves through winter, which is known as macrescence.

Be aware that the common Copper beech is a varient of this native species.  It looks similar, but the leaves are a dark maroon instead of green.

Identification: Flowers

Male and female flowers are carried on the same plant, and are pollinated by the wind.  Female flowers grow in pairs, within a little cup.  Male flowers are catkins carried on long, tassel-like catkins.  Flowers appear as the young leave emerge in spring.

Identification: Fruit

Beech nuts are known as mast, and consist of three triangular nuts encased in a spiny case.  This splits open, revealing the chestnut-brown nuts surrounded by a pale velvety lining.

They’re produced in real abundance once every four or five years, which is known as a mast year.

Identification: Bark and buds

Beech bark is really distinctive.  It’s very smooth and pale grey.  It stretches as it grows, so when names are carved on beech trees they become distorted over time.

The bark is sensitive to sunlight.  If an older tree is suddenly exposed to a lot of direct sun, the bark will get “sunburn” and this can kill the whole tree.

Buds are distinctively pointed and slender, reddish brown and with a clear criss-cross pattern.  No other trees in Britain have quite such pointy buds, which (along with the bark) means it’s easy to identify in winter.

Similar species

Because of the smooth bark and persistent leaves, beech isn’t readily confused with other trees.  Hornbeam Carpinus betulus has similar shaped wavy leaves, but these have teeth on the margins

History: Folklore

Beech trees have been associated with knowledge and femininity.  In Britain, the Beech is sometimes called “the queen of the woods”.  Romans had sacred beech groves, some dedicated to Jupiter, and some to Diana, Goddess of animals and the hunt.

Writing and learning have associations with the Beech, possibly because of its links to the invention of the book.

In Westphalia, in Germany, up til the 18^th century there was a tale that babies weren’t brought by the stork, but found in the hollows of Beech trees.

Finally, druids often used beech twigs for water divination.

History: Mankind and Beech wood

The wood of beech is hard and heavy, but not tough.  It’s no good for building as it can’t bear weight, but responds well to steaming so has been used to make the backs and legs of Windsor chairs and other bentwood furniture.  Trees were often pollarded for this purpose.

The wood burns hot, and was used in industry – fuelling fires for iron, glass, and charcoal production.

Beech mast is over 50% oil, so the nuts have been used as a source of furniture polish.  Meanwhile the leaves, non-degrading and persistent were used to stuff (presumably very noisy!) mattresses.

Beech tar was used as glue from paleo to mesolithinc times.

Before the invention of paper, thin slabs of beech wood were used to write on, and sometimes bound into prototype books.  There’s evidence of this in Germany in the 1300s.  There’s some suggestion that Guttenburg had the idea for his historic press after writing on beech wood and noticing the pressure made a print on the page below.

History: Food and Medicine

The beech mast is highly nutritious, providing oil and protein, but is very difficult to access.  In general, it was fed to cattle, goats, pigs, and sheep who foraged in woodland, or gathered up and fed to overwintering livestock.

However, in times of hardship, and until the Iron age, beech mast was roasted and made into flour.  In France, the roast mast was used to make a coffee-like drink.

Newly emergent leaves are tender and can be used in salads and soups.

Beechwood tar was used as chewing gum, and I’m sure even in my childhood in the 1970s you could buy packets of Beech nut chewing gum,

Medicinally, Beech was used to treat bronchitis and has astringent, antiseptic and disinfectant properties.  These were recognized by early Europeans and by the First Nations People in the Americas, who used bark preparations to fight fever.

It’s also used to treat animal hoof ailments, and in soap production.

Beech and Wildlife

The unusually shady forest floor found in beech woodland initially seems devoid of life.  However, some rare plants like the Coralroot bittercress and Red helleborine love these conditions, as do fungi.

Truffles can grow here, and in the past beech woods were planted to encourage them.

Moths feed on the leaves, namely the Olive Cresent, Barred Hook-tip, and Clay triple-line species.

Wood boring insects and larger animals like woodpeckers often make their homes within the tree.

The beech mast feeds a whole ecosystem; from voles to badgers, squirrels to jays, mice to great tits, woodpeckers to nuthatches.

Threats

When compared to other British tree species, the Beech isn’t in too much trouble.

At around 200 years old they can develop core rot in they’re growing in an environment low in tannic acid.  Basically, this means anywhere without Oak trees growing nearby.  This can kill them.

The trees can suffer root rot, caused by fungus like Phytopora,

Beech bark disease is caused by scale insects and a canker fungus.  This causes lesions to appear on the bark every year.  Eventually, these encircle the tree and thus can kill it.

However, a swifter way for a Beech to be “girdled” is when Grey squirrels come and strip all the bark off.  This can soon result in death and is especially problematic in younger trees.

Conclusion

The Beech tree is common, easy to spot, and useful.  With the smooth bark, pointy buds, and over-wintering orange-ish leaves, it’s easy to identify.  Although not used in building or as food; the wood and beech mast has proved vital over the centuries.  From chair backs to chewing gum, charcoal production to ancient flour, livestock feed to books, fevers to ancient glue; the Beech tree has served mankind well.

They’re pretty trees, and well worth a closer look next time you’re in a woodland with crunchy leaves underfoot.

Online sources for this blog include websites of The Woodland Trust, Kew’s Plants of the World, Tree guide UK, Trees for life, and Naturespot.  Reference books for this blog include the excellent The Greenwood Trees by Christina Hart-Davies  , and the Reader’s Digest The Field Guide to the Trees and Shrubs of Britain (out of print but commonly available second-hand).  I also referred to The Tree Forager by Adele Nozedar and The Living Wisdom of Trees by Fred Hageneder.

The post Trees: Beech appeared first on Lizzie Harper.

In my last blog (and accompanying Youtube film review of brushes ), I ended up recommending Rosemary and Co. Spotter Red Dot.  But since then I’ve painted almost exclusively with my beloved pure sable Winsor and Newton series 7 sable paintbrushes .

Winsor & Newton Series 7 brushes with hand lens

Sable

Sable brushes are not, in fact, made form the hair of the Sable.  These creatures live in Larch woods, and are a type of marten, latin name Martes zibellina. No.  The sable used to make watercolour brushes comes from the Kolonok, or Siberian weasel Mustela sibirica.

As a life-long vegetarian, I survived for many years without even thinking properly about the link between animal welfare and my paintbrushes.  But following from a chance remark on one of my Youtube videos, I decided to look for synthetics instead. These weasels are voracious predators of rats and other vermin, but can also be pests to poultry farmers.  Their fur has long been used to make brushes for artists and calligraphers.  But I think I should try to move away from Kolinsky sable brushes if I can.

What other synthetic options are out there?  Recommendations and suggestions have come in thick and fast since then, and I’ve managed to get my hands on some of these brushes, and tested them.

The set-up

I need to illustrate the Common Knapweed, Centaurea nigra subspecies nigra.  As before, I’ll use a different test brush on different leaves.  And hope for the best!

I’m working on Fluid 100 hot press watercolour paper.

In all cases, I test a size 1 brush.  This is my default brush size and is perfect for my botanical illustration and natural history work.  I’ve ordered all these brushes (except the Rosemary red Dots) through Jackson’s art, a UK based art materials shop.  It should also be pointed out that I haven’t been asked or paid to review any of these brushes, so (hopefully) that makes my reviews un-biased.

Here are the four brushes I’m reviewing.  Left to right: Da Vinci Casaneo, Rosemary & Co Red dot Pointed, Jackson’s Kite S561 and Princeton’s Neptune Script.  Links to all brushes in the text below.

The price I use for my Series 7 number 1 is a full discount price, not the full retail price of £17. 10 (2021 price).  And these prices fluctuate a lot, with the brushes sometimes being as little as £5.80 each.

Princeton Neptune script

The first synthetic I’m trying is the Princeton Neptune script.  This is a synthetic squirrel, rather than a synthetic sable.

Princeton Neptune Script

First sight is alarming.  It has an extremely long point, longer than any brush I’ve worked with before.  Somewhere in the back of my mind the term “rigger” springs to mind.  Is this the correct name for these long, fine-tipped brushes?  After a little internet trawling it seems my hunch is right.  Click here for more on rigger brushes, and how to use them.

However, despite my misgivings, on taking off the cover and using it I’m pleasantly surprised.

The tip is extremely fine, and doesn’t degrade or blunt at all for the whole time I use it.  The synthetic squirrel holds a lot of paint, so you don’t need to keep refilling the brush.  Thin lines build up next to one another without merging.  Crisp edges are easy.  Thin defining lines aren’t at all problematic.  This brush is great!

Princeton Neptune Script with leaf painted with the brush behind

My problem is the feel of such a long point.  This is pronounced when I’m mixing colours.  (Please don’t tell me to have a special rubbish-y brush for colour mixing.  I know I should do, but when I’m working to dead-line I just don’t have time to keep switching brushes!)  Saying that, if you have a slightly more leisurely approach to your watercolour painting, it’s a great idea.  Nothing trashes brushes faster than mixing colour with them).

Mixing colour with the Princeton Neptune Script

The action of the brush on the page is lovely.

Because the tip is so very fine, perhaps it takes a little longer to build up areas of colour, and to my eye they look a little washed out when I’m done.  Perhaps because each line is so very thin you do actually end up with less pigment on the page?

But for crisp detail, the Princeton Neptune Script is great.

Close up of the tip of the Princeton Neptune Script brush

This brush retails at £4.90 – £6.10.  My regular Series 7 no. 1 size brush retails (with a hefty discount) at £5.80, so this one is slightly cheaper.

Kite S561 by Jackson’s

This was the most expensive of the brushes I tested.  It’s a synthetic sable and cost more than my Series 7 brush (£10.30), so I was expecting good things.

Jackson’s Kite S.561

Imagine my surprise when the Kite S561 simply didn’t work out that way.  The tip of the brush is ragged, and blunt.  It has a slight hook.  In the hand, it feels the same shape and weight as a Series 7, but it’s not performing like one.

Jackson’s Kite S.561.  Looks perfect but somehow…isn’t.  The right had side of the leaf behind has been painted with this one.

The lines it leaves are thick and unpredictable.  No matter how I twist the brush in the paint to “sharpen” it to a point, it remains blunt.  In fact, I have to stop using it as it’s compromising the Knapweed illustration.

I’m disappointed.  It could be a dud brush.  But for the high price, I would have expected something far better, especially when the other synthetics on the market are priced so much more competitively.

Close up of the tip of the Jackson’s Kite S.561 brush

Rosemary and Company Pointed Red Dot

I’m feeling optimistic with these Red Dot brushes, brought direct from the company (Rosemary and Company)  Not only do they come recommended by the excellent botanical illustrator Polly O’Leary, but they’re the sister product to the Red Dot spotters that I reviewed and liked most in my last blog.  They’re synthetic sable.

Rosemary & Co Red Dot Pointed brush

Initial feelings are fabulous.  The brush looks and feels a lot like my Series 7.  It has plenty of bulk to hold paint, and the point is tiny and crisp.  This remains undamaged by mixing paint.  Each brush-stroke delivers a little more than the Neptune script, so the colour builds up swifter and more saturated.  So far so good.

Close up of the Rosemary & Co Red dot Pointed with leaf painted with it behind

Then, after about 10 minutes, the brush starts to change.  The tip loses its definition.  I feel almost like the barrel of the brush swells, and seems to hang really low behind the tip, threatening to leave extra unwanted brush marks.

On the plus side, the “barrel” or well holds a lot of paint, so I don’t need to keep going back to my paint-box to top up on paint.  The tip doesn’t become completely compromised, it’s still pretty sharp.

It’s not a disaster, but it’s certainly no longer nearly as good as when I first used it.  And less enjoyable than the the Red Dot Spotter.  But like I say, I know a lot of excellent botanical illustrators swear by these brushes.  I don’t want to be too hasty in writing them off.

Price wise it only costs £2.75 though.  So perhaps I was unlucky and had a “bad brush”.  These things happen.

Close up of the tip of the Rosemary & Co Red Dot pointed brush

Da Vinci Casaneo 5598 Round

The Da Vinci is another synthetic squirrel, this time a Kazan squirrel.  I had to look up “Kazan squirrel”.  It seems to be a normal squirrel (although whether Red or Grey I couldn’t establish) from the Kazan region of Russia.  So we continue.  Anyway, it’s another synthetic.

Da Vinci Casaneo brush with leaves painted with it behind and below

My initial response to this was not brilliant.  The brush had a tiny hook at the tip.  Not enough to make it un-useable, but not a good start.

I’d forgotten the useful tip I’ve been given about removing hooks from the tips of synthetic brushes:

It has come in from Rebecca, who left this suggestion in the comments section of my last watercolour brush blog .  “Hooks that develop on synthetic bristles can often be remedied by dipping the bristles about half way into a cup of water taken off the boil. Take care not to get the ferrule or upper bristles wet with water this hot or it may affect the glue. The timing varies from 10-30 seconds based on the brand and size. Gently reshape the tip on your thumbnail after heating. While I don’t expect that is an annoyance one would want to deal with during a long painting session, it will at least restore the brush to a usable condition for lighter tasks.”

I started using the brush and it’s fine.  The hook hasn’t thickened the line width, and the point remains tight.

After a few minutes though, it seems to develop some sort of lateral compression.  The brush looks as if someone has squeezed it between thumb and finger.  This leaves me feeling nervous.  It feels like the brush could do something unexpected at any point, being this odd shape and with the little hook.

Nib of the Da Vinci Casaneo brush, showing the odd “compressed” effect

Although is paints perfectly well, the ominous feeling that it’s all about to go wrong doesn’t lift.  I feel like I’m about to screw up the illustration at any point.  I can’t relax into painting, but am hyper-vigilant, checking every stroke.  This is no way to paint.

Because of this, even though the performance is better than all but the Princeton Neptune, I turn from the Da Vinci Casaneo.

Again, it could be a bad brush.  Or just one that’s not perfect.  Which, for someone who is as tough as a critic as I am, is basically the same thing.

It’s a shame.  With a price point of £6.30, they’re not much more expensive than the price of my (discounted) Series 7 brushes.  But are less reliable.

Close up of the nib of the Da Vinci Casaneo brush

Synthetics: Conclusion

Having tried all four brushes, I’m afraid none match my Series 7.  Is this because it’s what I’m used to?  Or because it’s a superior product?  It’s hard to tell.

However, if I were to explore these synthetics further, I’d be focussing in on the Rosemary and Company Red dot range.  I truly feel there will be a brush in there that suits me and my approach to painting.  They’re cheap, and have lovely points.  And although they seem to degrade quickly, I feel there’s scope for me to use them more before writing them off.

I did think the Princeton Neptune Script brush was brilliant, and held its point wonderfully.  It’d be superb for doing tiny long hairs, say on the stem of a Wood rush Luzula sylvatica.  But I just don’t think I can get used to wielding a brush that long.  It feels too weird.  I’m a creature of habit, and habit calls for a shorter, stouter brush.  But they’re well worth a try if you’re less stuck in your ways than I am.  In terms of getting detail and during the actual act of painting, the Neptune was my favourite out of these four brushes.

And here ends my exploration of synthetic brushes.  There are many more brands out there, but I think I’m finished exploring.  I’ll stick to a more detailed investigation of the Rosemary and Co brushes.  I might play around with the Princeton Neptune and see if I can get used to such a long tip, and keep my fingers that I find the perfect solution soon.  Only then will I be able to look at a weasel full in the face again.

Weasel Mustela nivalis (NOT the Siberian weasel, but a cousin)

For a lot more detail on this set of comparisons, please check out my Youtube video (or see it, below), and don’t forget to refer back to my other earlier review of synthetic brushes, both in blog form ,  and as a Youtube film.

Although I don’t plan on reviewing any more synthetics, please do put suggestions as to which you favour or have tried in the comments section below.  I like the idea of these blogs and films being a good reference point for people on a similar journey, questing for the perfect synthetic brush.

Annotated Illustration of Common or Black knapweed showing which leaves were done with which brush

The post Paintbrushes: Exploring synthetics Part 2 appeared first on Lizzie Harper.

The Elder Sambucus nigra is common in hedgerows and woodland, and appears as a shrub as often as a tree.  It has strongly scented blossoms in spring, deep purple berries in autumn, and pale wood.

There’s an enormous amount of folklore associated with this species, and it’s a firm favourite with both foragers and those interested in herbal remedies.

Identification: Tree shape

Elder grows as trees up to 10m, or as shrubs.  Branches are often curved, and the wood is brittle.  Elder trees have short trunks or “boles”.  Compared to other tree species, elder don’t have loads of branches, and these grow from low down.

Elder tree

You often see Elder trees in thickets or scrubby woodland, or growing alongside streams with a variety of other species.  If an Elder is given space and light, it’ll grown into a tree.

Elder shrubs are common too as the species shows in both growth habits.  Lots of branches emerge at ground level, forming a thicket of a bush.

This species loves nitrogen-rich habitats, and will colonise anywhere where people have lived, or where nitrogen levels are high in the soil (such as fields where animals have been grazed).  It grows fast, and establishes itself quickly.  If you see a tree growing from a wall or in a farmyard, it’s very likely to be an Elder.

Identification: Leaves

Elder leaves are compound, that is made of lots of leaflets (for more on leaf shape, check out my blog).  In this case, there are 5 to 7 leaflets, with one terminal leaflet.  Leaflets are opposite each other.  Although the leaves have a relatively long stalk, each individual leaflet lies close to the stem.  Each leaflet is 3 to 9 cm long.

Elder leaf and pencil study

The leaves of Elder are oval and a bright pale green.  They’re toothed along the margins. (Click here for my blog on leaf veins and margins).

Elder branch with two compound leaves (each made of five leaflets)

The venation of the leaves isn’t very obvious, and is rather similar to that of lots of other oval leaves.  Side veins branch from the central mid-rib, and are mostly opposite one another.

Elder leaves

Some people think Elder leaves smell nasty, and although they do let off a pungent odour when bruised, I wouldn’t call it unpleasant.

Identification: Flowers

The creamy froth of elder flowers is instantly recognizable, by smell as well as by sight.  The smell is a heady perfume, and one of my favourite scents of summer.

Flowers cover the tree or shrub, borne in flat-headed umbels. Each umbel is 10 to 20 cm across; individual flowers are 5mm across.  Looking into the branching structure, you can see there are five main rays to each umbel.

Sketchbook study figuring out flower growth pattern

The flowers are closely packed, and have cream or white petals.  Anthers are a creamy colour too.  Each individual flower has five rounded petals, and 5 stamens.  Anthers protrude beyond the petals, helping the umbel look even frothier.

Small flies pollinate the flowers, which may explain why the scent of the blossom is so heady and heavy.  Elderflowers appear in May or June and will be in flower for 4 to 6 weeks.

Individual elder flowers

Identification: Fruit

Elderberries are shiny and black when fully ripe.  The branches they’re borne on are frequently flushed dark magenta.  Unripe berries are crimson.  Each berry is square-ish, and very juicy.

Sketchbook study of elder berries

It’s really common to see elder berries in partial umbels – lots of the berries will have fallen off or been eaten; the remainders look scruffy because of the empty stalks along side them.  They last well into late autumn, eventually shrivelling or falling in the frosts.

Working on an elderberry illustration

The berries are very rich in vitamin A and C and provide a vital food supply for birds and small mammals.  However, they are also quite sour, and both leaves and berries are rich in Hydrogen cyanide.  This can cause vomiting in people.  For a fascinating look at poisons in our everyday foods, check out this BBC Future article I stumbled on.

Identification: Bark

The bark of an elder tree is thick, smooth and corky; deep ridges develop with age. The branches are smooth, with pithy insides.  This pith can be removed to leave a hollow twig, and elder wood has been used for centuries to make whistles and musical instruments.

Twigs have obvious lenticels and are thick and greyish, or greenish.

The jelly ear fungus Auricularia judae is a brownish jelly-like fungus that often grows on elder and I use it as another way to identify the species.

Similar species

Some other tree species also have frothy white blossoms.  The Rowan does, but the flowers are far less scented, and the tree rarely grows as a shrub.  Guelder rose also has panicles of white flowers, but these are much larger blossoms and the leaves are a totally different shape.  The berries are orange and scarlet, never black.  However, as Guelder rose also forms a shrub, it’s worth a mention.

Guelder rose Viburnum opulus

Ash Fraxinus excelsior, Walnut Juglans regia, and Rowan Sorbus aucuparia  also have compound leaves, but the walnut leaves are arranged in an alternate pattern.  Ash leaves have more obvious veins and feel less “flat” than elder.  Rowan leaves are smaller and sharper.  All have toothed margins, but with a little experience you’ll notice differences between the shape and sharpness of the teeth.

Ash twig and leaves Fraxinus excelsior

History: Folklore

Like Hawthorn and Rowan, Elder is alive with folklore and history.  It’s interesting that all three of these trees produce highly visible white blossoms and distinctive colourful berries.  I guess they were easily recognized, common, and therefore very much in people’s awareness for millenia.

Elder has long been associated with “the little people”, and those who believe in faery folk will be very familiar with it.  If you were lucky, you might see the Queen of the Fairies passing by under an elder on Midsummer eve.  Lots of references advise against sleeping under an elder; this also relates to belief in other-worldly peoples.

Elder shrub

If you had to chop down an elder tree, you were supposed to ask permission from the Elder mother, a female spirit that inhabited the tree.

It was seen as a protective tree, and would be planted near houses and dairies.  Cheese cloths would be hung to dry on elder branches, and it was thought to prevent the milk form turning.  Interestingly, the elder leaves do repel flies, so these beliefs could have contributed to the hygiene of the dairy.  Herdsmen would carry elder switches.

Elder berries and leaves

However, there was a darker side.  A child beaten with an elder stick would never grow.  Judas Iscariot was said to have hung himself from an elder tree, and criminals were crowned with elder as a symbol of their shame.  Again on a Christian theme, there was a suggestion that the cross on which Jesus was crucified was elder wood.  It was not to be brought into the house, and if you burnt it you were sure to see the devil.  Witches could transform themselves into Elder.

The rule of thumb was to treat the elder with a healthy dose of respect.  And caution.

History: Food

The flowers of the elder can be used to make a lovely scented champagne, or fried as fritters.

Once heated, the berries can be reduced into deliciously strong-flavoured jams and jellies and syrups.

Illustrating elder berries

Flowers and berries are made into drinks and cordials.  Until 1900 you could buy spiced elderberry wine in the streets of London.

The most famous elder drink is the spirit Sambucca, made from elder berries and aniseed.  Traditionally, this is presented with one coffee bean and is set on fire as it’s served.

History: Medicine

Most parts of the elder have been used for medicine.  There’s some suggestion that even the ancient Egyptians used elderberries medicinally.  The medieval herbalist John Evelyn described elder as, “a kind of Catholicon against all Infirmities whatever”.

Berries are high in vitamins C and A, and (once you’ve destroyed the hydrogen cyanide by heating) are used to cure a plethora of conditions.  Sore-throats, coughs, respiratory problems – all were treated with elderberry syrup or “rob”.  They’re also a laxative, and diuretic.

The bark is a strong purgative.  Leaves can be crushed into poultices that are applied to bruises, sprains, and chill-blains.

Flowers are dried into tea and used to treat colds.  You can also wash your face in water soaked with elderflower to preserve your youthful looks.  Even today, elderflower is used in eye and skin lotions.  Some say that if you soak elderflower in cold water it helps relieve symptoms of hay-fever.

Adele Nozedar, whose books I illustrate, foraging for elderberries

Elder is rich in anthocyanins and antioxidants, both of which are known to boost the immune system.

Uses

There is a lot of pith in elder branches, which means when you hollow them out they make good musical instruments.  Children made small toys and penny whistles from elder wood.  The wood was also used to make pipes, pea-shooters and bellows.  Small spoons, and combs were sometimes made from elder wood.

The pith was used as a blotter, and to hold botanical specimens whilst they were being prepared for microscope slides or botanical sections.

Elder berries and leaves

Harder mature elder wood was sometimes made into cogs for machines.

The leaves contain natural fly repellent which probably explains why they were so often planted near houses and stables.

Finally, the elder is really useful as it produces a whole variety of different dyes.  The leaves give a green hue, flowers produce a lilac colour.  The berries make for deep and fade-resistant black and purples.  And even the bark was used to make black dye, used either for dying wool or ones hair.  The highly esteemed Harris tweed used elder to dye its’ materials, even though elder trees are less common in northern Scotland than in the rest of the UK.

Elder: Wildlife

The berries are eaten by birds and mammals, and the leaves are food for the Buff ermine, dot, White-spotted pug, and Swallow-tail moth caterpillars.  Insects drink the nectar from the flowers.  Voles and dormice eat flowers and berries.

Field vole Microtus agrestis

Threats

Luckily, not too many things threaten this amazing tree.  Red spider mites can suck the sap of the tree, and blackfly damage leaves.

Conclusion

Elder is an extraordinarily adaptable plant.  It’s been associated with Jesus, witches and fairies.  It can bring good or bad luck.  Berries are poisonous but can be made into delicious syrups.  The flowers can be eaten, used as a beauty treatment, or used against colds.  Elder wood makes toys, cogs, and instruments.  Personally, what I love most about elder is the smell when the flowers are out.  The buzzing of flies, the heavy scent in the air, and the rustle of leaves in a gentle breeze.  It sums up summer for me.

Jersey Post Fruits and Berries stamp issue copyright Jersey Post 2019

Online sources for this blog include websites of The Woodland Trust, Trees for life, and Naturespot.  Book references for this blog include Adele Nozedar’s The Tree Forager, the excellent The Greenwood Trees by Christina Hart-Davies, and the Reader’s Digest “The Field Guide to the Trees and Shrubs of Britain” (out of print but commonly available second-hand).

The post Trees: Elder appeared first on Lizzie Harper.

This one of the Cow parsley,  Anthriscus sylvatica, was recently done for FOR in Sweden.  It accompanied a large sheet of sketches of the same plant.  To learn more about Cow parsley, and how to identify it, check out my blog.

There’s also a Youtube film that accompanies this blog; please find a link at the end of this blog, or click here to access it.

You’ll notice that this habit sketch is less accurate than many of my illustrations.  This goes with the territory.  There’s only so much detail you can cram into a 20cm tall illustration of an entire plant, and individual petals and leaf veins don’t get a look in.  However, if you want to show a whole plant, rather than one portion of it, then a habit sketch is the best way to do this.  Alternatively, you can use a much larger format and work on a plant portrait which will be more accurate and less impressionistic.

Completed habit sketch of the Cow parsley

Habit sketch:  Pencil rough

The first thing to do when confronted with a habit sketch is to learn as much as you can about the plant.  I gather lots of specimens, and consult various botany books.  these include A Flora of the British Isles by Clapham Tutin and Moore, The Wildflowers of the British Isles by Garrard and Streeter, the pen and ink drawings of Stella Ross-Craig, Collins Flower guide by David Streeter, and (in this case) the BSBI Handbook: Umbellifers of the British Isles.

Once the plant and botanical information is collated, I draw up a pencil rough that shows each important element to its best advantage.  I use mechanical Pentel P205 pencils with an H or HB 0.5mm lead.  I draw directly onto my watercolour paper, in this case hotpress Fluid 100 by Global Arts.

One of the reasons why I use Fluid 100 is because it’s quite good at allowing you to erase your pencil lines after you’ve painted on top of them.  Various papers will, or won’t be good for this.  The way I paint means that it’s important that a paper will give up the graphite but not the paint pigments once I’ve completed an illustration.

Cow parsley pencil rough (with basal rosette and stem details)

Are leaves alternate or opposite?  Are upper leaves noticeably different from lower ones?  is there a basal rosette of leaves?  How are the flowers carried on the stems?  What does the root do?  All this information needs to be given by the illustration.

Habit sketch: Leaves

Once the client has approved the roughs, you can start adding colour.  I begin with the leaves, outlining them in green.  Winsor and Newton are my favourite watercolours, and I use pans topped up with tube colours.  I mix sap green, some cobalt blue, and a bit of cadmium yellow light together.  I keep the paint quite thick and dry at this point.  Carefully, using my trusty Series 7 sable brush (size 1), I follow the pencil lines of the leaf edges.  This approach is the same as I use when painting ferns and bracken.

Outlining the leaves

I observe my plant carefully, and add some variation to the green hue.  The central leaf is a little paler and brighter green than the others – I add yellow to the mix and outline it with this new colour.

Different greens are used to outline the leaves

Habit sketch: Top washes on leaves

Once these initial lines are dry, I add water to the greens to make them lighter and more dilute.  Then, using the same brush, I pop blobs of this watery green onto the leaves.  I love the crisp edges watercolour gives if you allow very wet paint to dry, and this is the effect I’m after here.

Watery green top wash is applied very wet

Because of the midrib veins and the way the leaves are structured, you’ll often see one side of a leaflet is darker than the other.  This needs to be included in the habit sketch.  You can either do this by going over the darker, shaded side with two layers of top-wash; or you can use a different and brighter colour for the top-wash on the lighter side of the leaflet.

Putting the first wash onto only one side of each leaflet

In this case I’ve done both.  I added some yellow to the top-wash, and covered the entire leaflet with this mix.  (I’d made sure the first and darker wash was completely dry first.)  Allow the paint to dry completely.

Two different colours of top-wash used on the leaflets

Habit sketch: Painting the stems

I actively enjoy painting stems because it’s so easy.  Mix up the right colour (as always, check with the plants in front of you.  It’s so important to keep referring to the plants you’re illustrating if you want to get details such as form and colour right).  This is a sap green plus a little yellow ochre, perhaps a touch of blue, and plenty of a clear bright yellow such as Cadmium light.

Then just outline the stems, following the pencil lines.  You can apply a little more pressure to one side of the stem than to the other.  This helps suggest a light source, and shadow.  Traditionally in botanical illustration, the light source comes from the top left, so the heavier lines are to the right of each stem.

You can also add ridges, furrows, or textures with simple lines if that’s appropriate for the species you’re working with.  With Cow parsley, the stems are ridged, prominently so towards the base of the plant.

Outlining the stems

Once the illustration is completely dry, dilute the colour you used for the stems with plenty of water.  Then simply put this watery wash over your stems and allow it to dry.

Putting a watery top-wash onto the main stem

Habit sketch: Painting the flowers

With habit sketches, the precision and detail of each flower is compromised in an effort to represent the entire plant.  So there are no individual petals to portray, just the frothy mass of flowers that constitute each umbel (or flowering head).

Illustrating white flowers is really hard – you need to show their form without making them look like they’re another colour.  For more on this subject, check out my blog or my Youtube film.  In this case, the shadows cast by each umbel are going to be key, and will be what we use to represent some tonal depth.  As with the leaves and stems, out light source is from the top left; so the shadows will fall from the right hand side of each umbel.

To ensure the flowers look clean and white, I mix a light blue.  Cerulean blue is light and bright enough.  Dilute it to a very pale tone, then pick out the shadows with the tip of your brush.

Adding shadow to the flowers

I work from the top of the plant downwards.  this helps me avoid resting my hand in wet paint and smearing the illustration.  Series 7 brushes are expensive, but they justify their cost by holding their tips.  When you’re applying tiny amounts of pale paint to the nooks and crannies of an illustration, the accuracy you can get from your tools is really important.  For more on my choice of paintbrushes, click here.

Applying blue to show shadow in the central flowers

Habit sketch: The root

The root tends to be included in a habit sketch, specially if it’s an important diagnostic feature of the species.  Please note that it’s illegal to uproot flowers in the wild – I happen to have cow parsley growing in my Aunt’s garden, and she was happy for me to unearth a few plants to get at the roots.

Illustrating these tap roots couldn’t be easier. In exactly the same way as you tackled the stems, outline the root.  I mixed some Vandyke brown with yellow ochre.  Remember to pick out the texture and root hairs, too.  Once dry, dilute the mixed colour and pop the watery top wash over the whole root.  Done.

Putting a top-wash on the Cow parsley taproot

Habit sketch: Adding shadows

Now the illustration is more or less complete, it needs shadows to bring it to life.  I favour a mix of purple and cobalt blue, sometimes with a dash of Vandyke brown.  Using this, and being really careful not to go too dark too fast, I pick out the darkest shadows.

This is an important stage.  Judicious application of shadows can help clarify muddy or messy areas of a sketch.

Adding shadows to clarify a leaf’s structure

I always put shadows below each flowering head, and frequently pick out the tips of leaves to help the eye find the edges of the illustration.

Again, because the scale of the illustration shows an entire plant, you’ll find it hard to accurately represent the shadow details on each portion of each leaf.  This is one of the drawbacks of a habit sketch.  I often find myself trying to pull in more detail than is possible.  there has to be an element of “giving the impression” of a plant when it comes to habit sketches.  I’ll admit to struggling with this looseness at times.

Fixing mistakes

Inevitably, sometimes when we paint we make mistakes.  Quite often I’ll think that a stem I painted is too wide, or perhaps a top-wash has overflowed an edge.  There’s no need to despair.

Using white gouache to fix mistakes

I use Winsor and Newton white gouache, permanent white, to fix my mistakes.  I use it really thick, straight from the tube or mixed with a tiny amount of water.  It helps sharpen up messy edges, or will hide a mistake.  It should be noted that using this is fine for your own work and for work that’s going to be reproduced (it doesn’t show up on scans); however, if you plan on selling your original artwork then the use of white gouache is frowned on.

Conclusion

And that’s it!  The illustration is finished.

Last step is to erase the underlying pencil lines.  If you’ve got a good hot press paper, you should be able to do this without damaging any of the paint (no, I don’t understand why this works either).  I’d suggest going easy on the rubbing out around the flowers as the only marks suggesting them are the pale blue shadows and the pencil.  A tougher approach can be used on the stems and leaves and root.

Hopefully, this illustration immediately suggests an entire Cow parsley plant growing in the wild.  Habit sketches tend to accompany much more detailed botanical illustrations which help clarify exact structures of stem, root, leaf, fruits, and flowers.  I find them pretty hard to illustrate, but exceptionally useful when it comes to identifying wild flowers in the field.

And now, I hope, you’ll have some idea of how to go about creating your own illustration of an entire plant; your very own habit sketch.

Completed habit sketch of Cow parsley with paint box

To see a real-time film of me completing this illustration and discussing the process, please check out the film below.  Thanks.

The post Habit sketch of Cow parsley: step by step appeared first on Lizzie Harper.

Sketchbook studies

All the botanical illustrations I do for FOR are in a sketchbook format.  I love working this way; it gives me the opportunity to include tons of details alongside a larger illustration of the whole plant.  Over the years I’ve figured out what elements I need to include for each plant, so can figure out the composition before getting started.  In general, details of flowers, fruits seeds, roots, and a cross section of the stem is needed.  These elements need to be accompanied by a habit sketch, a full colour image that shows the entire plant growing, and close ups of any unusual characteristics that the plant may have.  I always include written notes, as much to jog my own memory as to help the viewer.

Cow Parsley Sketchbook study Anthriscus sylvestris

Another appealing thing about the sketchbook studies is that you can leave parts of the illustration unfinished.  This gives me the opportunity to get into really intense detail on things like an individual leaf, or one bract.  The pressure to have the entire drawing completed in full colour is gone, which makes the process more relaxing.

Cow Parsley in the spring

For those of you who have been in the British countryside in early June, you’ll already know all about the Cow parsley.  If frothes up along hedgerows, spilling tiny white flowers out into rarely-used roads and paths.  At the same time, the May blossom is out, so you often have the wonderful sight of lots of white blossom curving down from the shrubs and trees, being met by the Cow parsley flowers growing upward from margins of fields and lanes.  It’s very beautiful.

Drawing the Cow Parsley

Umbellifers, like Cow parsley, are a real challenge to draw.  I’m sure I’ve moaned about the challenges before in blogs on Hogweeds.  The problem is that the plant is often really tall and leaves spread widely from the stem.  However, each element of the plant is tiny.  The flowering heads are made from hundreds of tiny individual flowers.  the outermost ones are zygomorphic, meaning their outermost petals are a different shape to those of the internal flowers.  The leaves are divided, or pinnate.  Sometimes divided several times over, as with the Cow parsley.  This results in very beautiful and feathery leaves.  But combining the size with the detail is very difficult, hence my aversion to all members of the Apiaceae (or Umbelliferae) family.  I love the way they look.  I live in fear of being asked to illustrate them!

This commission came in at the height of Cow parsley season.  I spent a morning gathering perfect plants, taking photos, and considering the best approach to the illustration.  Once home, I pinned an entire plant up against the trampoline in the garden, with a sheet behind.  I always take photos at the same time, sadly plants don’t live forever and some wither within hours of being picked.

Cow parsley set up to draw in the garden

Cow Parsley: Flowering times and leaves

Identifying Cow parsley is easy, mainly because of when it flowers.  It’s the earliest of these white-flowered umbellifers to bloom, especially in the southern UK.  And it’s certainly the most common.  Look for it from early April through June; by July all you’ll see is some basal leaf rosettes and seed-heads.

Cow parsley sketchbook study done back in 2015

The leaves set the plant apart from other common and similar species, such as Hogweeds.  They are 2-3 pinnate, which means they’re divided into leaflets, then each of these leaflets is sub divided.  It gives them a feathery, fern-like appearance. They tend to be a muted spring green, although can be tinged red or yellow when stressed by drought.

Cow parsley leaf variety and plant overview to show difference between small upper and large lower leaves

Leaves either grow from a basal rosette at the bottom of the plant, or alternately up the stem.  Lower leaves are borne on long, broad stalks, higher up the plant the leaves have far shorter and thinner petioles.  The big basal leaves can be up to 30cm, with individual divided lobes measuring 10 – 30mm

Cow parsley: Stems

Stems are gently ridged, and hollow.  They don’t have blotches of colour like some other Apiaceae species.  The stems can grow from 50 – 150cm, making this quite a tall plant.  Stems tend to be slightly downy at the top, and hairless down by the base of the plant.

Cow parsley stems

Cow parsley: Flowers

The frothy flowering heads of this plant family are umbels; these are lots of little groups of flowers carried on stalks or rays.  Each umbel has 6 – 12 of these rays which are about 2cm long.  The arrangement of flowers has males in the centre and hermaphrodite flowers around the margins.  Unless you’re inclined to get your hand lens out, this won’t be immediately obvious, although you’ll certainly see a difference in size between the inside and margin flowers.

Cow parsley flowers and detail of a small umbel seen from above

Each flower has 5 white petals and is 3 – 5 mm across. A whole umbel measures 10 – 60cm, but there’s plenty of variety.

There are no bracts right below the flowers, but some appear lower down.  Sepals are there but are so tiny as to be inconspicuous.  There are 5 stamen and 2 thin stigma.

The outermost flowers are zygomorphic which means their petals are of different sizes.

Cow parsley: Fruit

Fruit are 6-9mm long and carried in pairs.  They start green and become brown at maturity.  Each one has a short beak-like tip.

Cow parsley seeds

Conclusion

Why do I love Cow parsley so much?  Well, it’s a combination of factors.  The delicacy of the frond-like leaves is visually very pleasing.  The mass of scented flowers smell of the countryside.  And the way Cow parsley lines lanes and hedges is a harbinger of warmer days, and long golden hours spent revelling in an English summertime.  So, for all of these reasons, and despite the issues with detail and scale, I’m happy to go on learning and drawing this gorgeous plant.

Illustration completed for FSC guide to Flowers of Walks & Waysides

Please see my step by step Youtube film below

The post Cow Parsley: All about an Umbellifer appeared first on Lizzie Harper.

Drawing blueberries

Coming up with the initial drawing was tricky.  it had to fit the layout of the product’s box, and the commissioner wanted lots of berries; far more than one would normally see in nature.  Every time I submitted a pencil rough an email would ping back – “more fruit!”

Anyway, we finally came up with something that worked.  The next step was to make the berries look really juicy and delicious.

The illustration was done on a decent heavyweight cartridge paper, in this case Daler Rowney Smooth Heavyweight (220 gsm/135lb).  This paper (like many others) shows up slightly grey on scans, which I correct for at a later stage.  This explains why there’s a slight cast to some of the images in this blog.

Pencil rough of the blueberries (later rotated)

Showing shine

A good way to show the ripeness of fruit is to emphasize the shine on its surface.  Of course, when drawing on the page, this means making sure there’s plenty of white paper left to act as shine.  You also need to make sure there’s a good contrast between the dark of the fruit and this highlight.

Once you establish your light source, it’s worth plotting in lights and darks with a pencil line.  I tend to put a circle around the area of highlight, a little larger than I want the final shiny area to be.

Next you have a choice.  You can build up the dark areas of fruit with thousands of tiny ink dots in a process called stippling.  This looks amazing, but takes forever.  Or, you can take a short cut.

Short cut to dark fruit

I colour in big areas of the fruit, where I know the deepest shadows lie.  My permanent ink pen is used for this (I currently favour Unipin but any thin-nibbed pen with waterproof and fade proof ink will be fine).  Use a pen with an 0-5 nib as I want to block in large areas. The larger nib is faster, and also provides more consistent cover.

I outline each blueberry, then block in the darks as solid crescents of black ink.  I try to keep the edges a little scruffy as this will make the next step less time consuming.

Blueberry sprig with darks of the fruits plotted in

Blending the darks and the highlights

The next step is to make a natural transition between the dark areas and the highlights.  This is where the endless act of stippling kicks in.  Making lots of tiny dots to represent a tonal value.  What you’re after is a smooth transition from the solid black to the white.  As you encroach into the white, be sure the dots are further apart.

Be careful.  Stippling is cruel.  If you stop concentrating you may end up with dots on top of each other, in an area where you’re looking to represent a light tonal value.  This can look clunky.  In fact, you can see where this has happened in the illustration below.  The central berry has a dark spot on the bottom edge of the highlight.  This immediately draws the eye, and the whole edifice of pretending to represent light and dark with ink spots threatens to crumble.

You can see why the rough edges of the black areas are important.  They give a rugged margin that you can naturally build on, as you reach into the high-lit region of each fruit.

You may also want to soften the external edge line of each blueberry.  Do this by adding tiny dots along the inside edge of the line.

Illustration in progress showing the pen nib and the fruit which have vs those which have not been stippled.

Balancing the illustration

Once you’ve given each blueberry this treatment, take a step back.  You may find they’re all too light.  In which case, work back into the fruit, darkening the stippled areas and shrinking the regions of highlight.  Berries which are tucked behind foliage of other fruits will appear a little darker.  To draw the eye, you’ll probably want your central blueberry to have the most light on it.

Blueberries with completed berries

Finishing up and applying the technique to other subjects

Once the fruit are done, you can move onto the leaves, which are a little trickier.  These need to give information about the way light falls on the veins.  A youtube video I recently posted, discussing how I drew the leaves and catkins of the Downy Birch in pen and ink might be of use here.

Completed illustration of the Blueberry sprig

You can illustrate anything in pen and ink using this same technique – cherries, beetles, cows…..  The image below is a detail of the back of a cow.  I took the photo in the middle of illustrating the animal, to show the process.   Solid black, stippled areas of darker tone (at the top).  These fade out to white where the highlights are.  You can also clearly see the pencil lines I mentioned earlier.  These show where the lighter areas of the subject are.

Detail of a cow showing the technique in practice

And below you can see the finished illustration, with that back detail in context.

Cow pen and ink illustration

Below is an illustration of another dark fruit, the cherry.  Again, it’s the same technique. When seen this close up, you can see what an easy technique it is to execute.  Colour in blocks.  Do heavy dots round the immediate edges.  Do lighter dots where you move into highlights.

Cherry detail

And then, when you zoom out, you can see how effective the technique can be.  Behold!  Shiny fruit!

Completed pen and ink illustration of cherries

To be honest, it’s a similar approach when it comes to showing shine on fruit when you use watercolour.  Block in the darks, then blend outwards into the untouched paper of the highlights.  For more on this, please check out my blogs on showing shine on Hawthorn and Rowan.

Good luck illustrating, and don’t worry if all the stippling leaves you feeling dotty.  It’s a common afflication!

The post Blueberry: step by step Pen and Ink illustration appeared first on Lizzie Harper.