{"id":1379556,"date":"2017-10-09T15:06:59","date_gmt":"2017-10-09T14:06:59","guid":{"rendered":"https:\/\/www.jacksonsart.com\/blog\/?p=1379556"},"modified":"2026-10-21T16:35:11","modified_gmt":"2026-10-21T15:35:11","slug":"botanical-dianne-sutherland","status":"publish","type":"post","link":"https:\/\/www.jacksonsart.com\/blog\/2017\/10\/09\/botanical-dianne-sutherland\/","title":{"rendered":"The Boundaries of Botanical Art: Dianne Sutherland"},"content":{"rendered":"

For the second interview of our series ‘The Boundaries of Botanical Art’ supporting our competition, ‘Plant Life: Botanical Illustration’<\/a> Jackson’s caught up with Dianne Sutherland! Dianne first learned to paint intricate floral patterns on china in the 1980s when she trained as a technician with the Royal Doulton<\/a>, Staffordshire. Since then she moved to Scotland and established herself as as artist, illustrator and tutor specialising in Botanical subjects; her career has included some impressive feats such as being accepted, exhibited and awarded four medals by the Royal Horticultural Society Picture Committee<\/a>, being elected as a full member of the Society of Botanical Artists and being invited to join the Sydney Royal Botanic Garden Florilegium.<\/strong><\/p>\n

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Debbie Chessell: What\u2019s your definition of Botanical illustration?<\/strong><\/p>\n

Dianne Sutherland: First of all it\u2019s probably worth drawing a distinction, as far as possible, between botanical illustration, botanical art and flower painting because for many of today\u2019s artists the lines are somewhat blurred between the 3 different approaches.<\/span><\/p>\n

To me, botanical illustration is a visual interpretation of a plant specimen that is both a scientifically accurate and aesthetically pleasing. This type of illustration is created primarily for the purpose of plant identification and documentation. Such illustrations usually represent numerous aspects of a plant, including the reproductive anatomy and other important features. Work can be either life size or scaled with given ratios. A variety of media can be used and the background is generally white. <\/span><\/p>\n

Botanical art is a little more relaxed and focuses more on the aesthetics but should still be accurate in size, and although it\u2019s not necessary to represent so many aspects of a plant, this work can still be used for documentation of a plant, as found in florilegiums. This is the type of work most commonly seen these days \u2013 probably because we no longer have the need to document plants in the same way as in the past. <\/span><\/p>\n

As for floral art, well pretty much anything goes here! As long as it has flowers in it as predominant feature, it can include dead flowers incomplete plants, backgrounds, larger than life but without scale etc. I consider my own work to sit between botanical Illustration and botanical art.<\/span><\/p>\n

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Congratulations on your BSc in Biology and Diploma in Botanical Art! Did you find that your Biology degree influenced your artistic practice? <\/strong><\/p>\n

I had wanted to inform my practice as an botanical artist for some time and have to say that studying plant biology really taught me to think differently with regard to researching and understanding my subject material in more detail. As part of my degree I studied floral morphology and the impact on reproductive success in relation to false food signals in flowers. This sounds fancy but it was simply looking at the visual signals that flowers give out to pollinators, such as markings on petals that look like pollen, which can serve to attract insects. It\u2019s a shame that there is no option in the UK to study an academic course that crosses the boundary between botanical illustration and science and I hope one day such a course will exist. Much of what is taught today is subjective with most courses leaning towards botanical art and flower painting rather than illustration and none offer any formal qualification. I know that qualifications are not necessarily important, but any academic study tends to be more rigorous, so I believe that there is a perhaps a place for such a course. Studying biology definitely opened my eyes to the life of plants in a much wider context through the study of plant ecology, reproductive biology in relation to morphology as well as the interaction between plants and animals.<\/span><\/p>\n

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Are there any kinds of subjects that you prefer painting?<\/strong><\/p>\n

British native plants were always my passion and I do still enjoy painting them but in recent years, I\u2019ve traveled a lot and developed an interest in plants from around the world, particularly in Asia and Australia. I\u2019m also attracted to plants with interesting curves, such as the climbers and lianas. Sometimes I spend many hours redrafting a composition to get the shapes and spatial relationships \u00a0right. \u00a0I\u2019m always on the lookout for that special subject though, the one that just grabs my interest for whatever reason \u2013 it\u2019s not something that\u2019s easy to explain but when you find a good subject, you just know it! <\/span><\/p>\n

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What tools and materials do you use to create your work? How long does a piece take?<\/strong><\/p>\n

Watercolour and graphite are my preferred mediums, and I work on hot press (HP) watercolour paper and also on vellum. For the graphite, I use Faber Castell 9000 pencils<\/a> on Arches HP satine 140lb<\/a>. Recently I\u2019ve been trying out some other papers for watercolour, including Canson<\/a>, Moulin de Roy<\/a> and Heritage<\/a> but have yet to settle on a particular favourite for watercolour, so, instead I now try to work with the most appropriate paper for the job and would urge artists to try a selection of papers to identify which suits their style best. I\u2019ve also revisited a few old favourites such as Schoellershammer and Sennelier<\/a>, all are Hot press papers and that\u2019s the surface I find most suited to Botanical work because it allows fine detail and dry brush work. I just tried out the Fluid 100 paper in the USA and it seems a lot of botanical artists like this paper because of the smooth surface, so maybe it will be available in the UK soon. I use Winsor & Newton Artist Quality Watercolour Pans<\/a> because they are most suited to the dryer style of painting associated with Botanical Illustration, they have a higher pigment content and being with less binder and gum Arabic. I do have other paints which I use from time to time but W&N are my preferred choice. I use their Series 7 Miniature Brushes<\/a>, in a range of sizes from 1-4 and \u00a0the larger wash brushes size 5-7. I also like to keep a sketchbook and the Stillman & Birn Zeta series<\/a> is perfect for botanical work.<\/span><\/p>\n

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I\u2019m often asked about how long a painting takes and it\u2019s difficult to quantify, there\u2019s a lot of preparatory work involved, including research and sketching. With more complex subjects, I paint them over two or three growing seasons, as an example, I\u2019d say the <\/span>Primula vulgaris<\/span><\/i> took around 80 \u2013 100 hours. I teach botanical painting and one of the most common problems that I find is the urgency to complete work, I think it simply \u00a0\u2018takes the time that it takes\u2019, so I don\u2019t worry about being slow! <\/span><\/p>\n

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Primula Vulgarius<\/figcaption><\/figure>\n
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Do you prefer to draw from life or from a photograph? Do you think there\u2019s a distinction between the two states?<\/strong><\/p>\n

In an ideal world I\u2019d always choose make observational drawings and paintings from life, for the simple reason that I can get a <\/span>feel<\/span><\/i> for 3 dimensional form of a plant, I can handle it, turn it around and take it apart. In contrast, working \u00a0from a photograph means that I have to work from a snapshot in time, a static 2D image with all its distortions. Sometimes using photographs is unavoidable but unless I\u2019m very familiar with a plant, I avoid working from photographs. Having said that plants are pretty temperamental and photographs can supplement the working process by providing vital back up if the plant wilts and dies. It\u2019s usually obvious when works are painted entirely from photographs, the cast shadows and distortion at the outer parameters of the work are tell-tale signs. If photographs are used without an understanding of the plant, it can result in errors that would otherwise be avoided, such as misaligned plant parts or incorrect colour. We also have to remember that monitors and screens can look very different from one computer or device to the next, they need to be calibrated for accuracy, so onscreen photographs can be quite misleading. So yes, there is a clear distinction between working from photographs and from life. I can think of one really good use for photographs though, and it\u2019s the ability to turn images to black and white, which can help me to understand tonal values across the subject.<\/span><\/p>\n

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I love the photographs of your sketchbooks – they\u2019re so busy yet have such stunning drawings in them! How does making sketchbooks help your practice?<\/strong><\/p>\n

It\u2019s quite a recent development for me to work in a sketchbook, I probably started around 2009 but now I wouldn\u2019t entertain being without one! I find the sketchbook a great place to start with researching any new subject that I intend to paint but it also allows me to make quick studies of plants without any specific purpose, other than the fact that they appeal to me visually or botanically \u00a0\u2013 it doesn\u2019t actually matter whether it turns out good or not and that\u2019s quite a liberating experience. I think that\u2019s pretty important and a good way of familiarising myself with lots of different subjects without the pressure of having to complete a finished painting. Sketchbook studies also provide a great reference library too, should I decide to paint the plants in the future.<\/span><\/p>\n

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What does an ideal day in the studio look like for you?<\/strong><\/p>\n

An ideal day in the studio is a bright day with good natural light. I like to start shortly after sunrise because that\u2019s the most productive time of day for me. Having no distractions is all important too, this allows me to work for sustained periods on a piece as I find it difficult to pick up odd hours here and there, which can also be a disjointed way of working. I tend to work in silence and fortunately it\u2019s pretty quiet where I live, silence helps me to concentrate, that seems pretty obvious but it\u2019s not for everybody. Over the past few years I\u2019ve started to take more regular breaks throughout the day, which helps me to avoid any repetitive strain type injuries that can occur from painting or drawing for too long. After 30 plus years as an artist it\u2019s something that I wish I\u2019d been more careful about when I was younger, but what I discovered is that these breaks are incredibly useful because the serve the purpose allowing me to review my work from a distance. <\/span><\/p>\n

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I read on your website that you have developed your own courses to educate people in Botanical Illustration. Could you tell us a little more about the various curriculums you\u2019ve designed?<\/b> <\/strong><\/p>\n

I decided to write my own courses, after I\u2019d found it difficult to access affordable botanical art tuition in the 1990\u2019s and finally launched my own courses around 2010. My own experience had been quite frustrating, at that time there wasn\u2019t anything much available by way of online learning, attending classes in person wasn\u2019t an option for me, so finding an alternative way of delivering affordable online education was always important to me, \u00a0whether the barriers are geographical, financial or otherwise, I wanted people to be able to find alternatives.<\/span><\/p>\n

I had cut my teeth on botanical work in the design studio at Royal Doulton in the 1980\u2019s, and after working as an artist and education consultant many years later it seemed like a natural progression.<\/span><\/p>\n

Next year I\u2019m expanding the programme to incorporate a range of courses that spans from beginners, intermediate and advanced botanical Illustration courses as well as developing the existing Vellum and Painting Leaves course. I\u2019m pretty excited about this because I might well have some students with me right from the beginning. The courses have evolved a good bit since first starting and I like to think I provide good feedback and support to cater for a variety of learners. I also make extensive use of social media in some of the courses to reduce the isolation of online learning, and it seems to work!<\/span><\/p>\n

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Is there anywhere we can see more of your work, either in the flesh or online? Do you have any projects coming up?<\/strong><\/p>\n

You can view work on my website<\/a> and blog<\/a> but in terms of exhibiting and new projects, I\u2019m currently planning travel to Australia and Indonesia late next year to study plants for the next Sydney Royal \u00a0Botanic Garden Florilegium Project, I previously exhibited with them during 2016, with the jade Vine painting, and currently have work in the collection there.<\/span><\/p>\n

I also hope to paint and run a course in Bali next year and I\u2019m working on a body of work for a future show but I\u2019m not focusing on when and where that might be at the moment but prefer to take the approach that when I\u2019m happy that I\u2019ve produced, I\u2019ll see what opportunity to exhibit arises. I\u2019m also involved with the planning of the Association of British Botanical Artists, abbreviated to ABBA! This is a new initiative, a collective of British artists that was born out of the American Society of Botanical Artists worldwide initiative. \u00a0This will culminate in an exhibition of native plants at the Ruskin Centre at Lancaster University in May 2018, I hope to have one of my paintings in the exhibition but as always will have to wait to hear whether or not it\u2019s been accepted. \u00a0<\/span><\/p>\n

www.diannesutherland.com<\/span><\/a><\/p>\n

www.botanicalart-online.com<\/span><\/a><\/p>\n

www.diannesutherland.blogspot.co.uk<\/span><\/a><\/p>\n

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\n","protected":false},"excerpt":{"rendered":"

For the second interview of our series ‘The Boundaries of Botanical Art’ Jackson’s caught up with Dianne Sutherland! Dianne first learned to paint intricate floral patterns on china in the 1980s when she trained as a technician with the Royal Doulton, Staffordshire. Since then she moved to Scotland and established herself as as artist, illustrator and tutor specialising in Botanical subjects; her career has included some impressive feats such as being accepted, exhibited and awarded four medals by the Royal Horticultural Society Picture Committee, being elected as a full member of the Society of Botanical Artists and being invited to join the Sydney Royal Botanic Garden Florilegium.\u00a0<\/p>\n","protected":false},"author":19,"featured_media":1379561,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"categories":[163],"tags":[211,35,571,2215],"class_list":["post-1379556","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-guest-artists","tag-botanical","tag-botanical-illustration","tag-botanical-painting","tag-boundaries-of-botanical-art"],"acf":[],"yoast_head":"\nThe Boundaries of Botanical Art: Dianne Sutherland - Jackson's Art Blog<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.jacksonsart.com\/blog\/2017\/10\/09\/botanical-dianne-sutherland\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Boundaries of Botanical Art: Dianne Sutherland\" \/>\n<meta property=\"og:description\" content=\"For the second interview of our series 'The Boundaries of Botanical Art' Jackson's caught up with Dianne Sutherland! Dianne first learned to paint intricate floral patterns on china in the 1980s when she trained as a technician with the Royal Doulton, Staffordshire. 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Dianne first learned to paint intricate floral patterns on china in the 1980s when she trained as a technician with the Royal Doulton, Staffordshire. 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