Blog 32 : Colour Matters PR206

You may have seen my post a few days ago about two pigments in the Winsor & Newton range which are changing due to index colour PR206 (Quinacridone Pyrrolidone) being discontinued. Many of you love these two colours so went out and bought some before they disappear. The two colours were W&N Professional Quinacridone Gold and W&N Permanent Alizarin Crimson. Both have index colour PR206 at present. The Quinacridone Gold will now include PR179 (previously PR206), PV19 and PY250 and has changed its name to Transparent Gold Deep. PR179 is also the index colour for Perylene Maroon.

Following on from this I thought it would be helpful to do some research on other brands to see which of those would be affected too. I have compiled a list below for you all.

Pigments which have index number PR206

Colours by name:

Winsor & Newton
Permanent Alizarin Crimson
Quinacridone Gold
Brown Madder

Daniel Smith
Quinacridone Burnt Scarlet

Sennelier
Quinacridone Gold
Crimson Lake ( not the Crimson Lake Alizarin)

Schmincke
Madder Brown
Indian Red

QoR
Quinacridone Burnt Orange
Quinacridone Crimson

MaimeriBlu
Brown Madder (Alizarin)
Avignon Orange

Daler Rowney Artists
Transparent Red Brown

M. Graham – None!

Gallo Hand-made
Quinacridone Chestnut

I hope this is helpful and that you manage to stock up before they all run out. Jackson’s Art in Gloucester has already run out of the W&N two!

Happy painting!

Blog 30 : Painting for climate change

Jackie Isard BA (Hons) SBA Fellow CBM ASBA

The PNBA (Pacific Northwest Botanical Artists) asked me to write an article for their newsletter and I thought I would share this as a blog with you too. I hope you enjoy it.

The reason

This Autumn COP26, the United Nations Climate Change Conference, was held in Glasgow Scotland. It brought together the nations of the world for one of the most important international meetings about the future of our planet. The conference had six major themes and the theme that was relevant to the ABBA (Association of British Botanical Artists) ReflectionS exhibition was:

Nature – to safeguard and restore natural habitats and ecosystems to preserve the planet’s biodiversity

Inspired by COP26, ABBA has released an exhibition focused on the crucial role that plants play in preserving the planet’s health and biodiversity. ABBA’s slogan for the exhibition is  ‘No plants – no planet’.

Thirty-five juried artists’ submissions are being exhibited in digital form in the prestigious Shirley Sherwood Gallery (Royal Botanic Gardens, Kew). The exhibition is also online until March 2022 which includes all sixty-six artists’ entries, http://www.britishbotanicalartists.com/reflections-1. At present the Shirley Sherwood Gallery is featuring an exhibition by Sculptor Zadok Ben-David called ‘Natural Reserve’ and the ReflectionS digital exhibition can be viewed on a large screen within the same building.

I am very privileged to have had my work selected by the judges to be shown at the Shirley Sherwood Gallery. This blog is about the painting I made and why I felt it was important to show. The Southern Marsh Orchid (Dactylorhiza praetissima) is a British wet meadow wild orchid. This orchid was restricted to southern UK but due to climate change, recent records now find it as far north as Newcastle upon Tyne. A warmer climate may result in this orchid declining or disappearing from southern UK altogether. Wetland is one of our essential habitats for small mammals, insects, birds and wildflower species. 

My working method

I like to find wild plants in their own habitat to make an accurate drawing and study the plant botany first. Working in this way allows you to understand everything about the plant before you start to draw. If I am able to, I will pull a plant apart and examine each individual bit before I start my composition. I make study drawings of all these parts and note measurements too. With a head full of information and notes I will start to plan out the composition. For this wild orchid, I wanted to show part of its living habitat too, which is why I included some grasses and insects in the composition. These were Grass Vetchling – growing nearby, a common blue damselfly – an insect flying around in the area and a solitary mason bee – a bee which pollinates early flowering wildflowers. I feel by including these details the plant and its story are being told.

My workspace whilst working on Geum rivale (Water Avens) for my RHS project

The journey 

I was having great trouble locating this orchid locally when the University Bristol Botanic Garden called me one day to say they thought they had a specimen growing that I could borrow. I was delighted! Having a specimen right next to you on your desk is such a benefit when drawing and painting. However, the specimen was not a true Southern Marsh Orchid but a very similar hybrid and so my hunt went on. I have a lot of experience in hunting down wildflower species as I have had to do this for all the plants which feature in my RHS (Royal Horticultural Society) botanical exhibition work. It isn’t easy sometimes and involves a lot of research, driving around and walking! 

This is the plant that was very kindly loaned to me by the University Bristol Botanic Gardens,
growing in a pot with another shrub!

I was disappointed but kept on with my research in the hope that I could find one before it was too late. There was a tight deadline! By chance whilst chatting to a local walking friend (Simon Harding), who works in the area recording wild orchid and flower species, I was told that he knew exactly where I could find plenty of specimens to study in the field. Excited and so very grateful, I followed his map to a place about 20 minutes from my home, see image.

There I found hundreds of Southern Marsh Orchids living quietly in a damp field on the nature reserve. I measured, made colour studies, sketched and also made a note of what other plants were growing nearby. I also noted insects visiting the area too. This was a typical wet meadow environment, the type I love, as all my RHS exhibition species are wet meadow plants too. My initial sketches were raw and I found the inflorescence very tricky! 

Some of my rough sketching

Research and botany

I was allowed to take a few individual flowers from an inflorescence to help me with my dissection illustrations. Orchids are difficult to dissect and understand but with the help of a botanist friend, I managed to make a perfect dissection drawing. I also painted an enlarged pollinium; a body of pollen grains forming a mass and attached to a sticky pad. There are two of them per flower on this plant. This reproductive part attaches to an insects head as it enters the flower. It is then taken by the insect to another orchid flower or plant and pollination happens. To see all the detail of these flowers I used a microscope. The front-facing orchid flower reminded me of an alien face and the side view of a baby in a bonnet! Below are images of my studies and microscope photos.

Microscope images of the reproductive area
A pollinium enlarged
The dissection and front-facing flower illustrations

Preparing to paint

The colour on this orchid was quite tricky to match. It has a lovely pink/lilac flower, burgundy/brown tinges on green bracts and the stem and foliage are quite a bright green. I tested my mixes using live pieces that had been carefully removed from plants in the field. I also took many reference photos to help me with the final drawing and colouring. Not an easy task, as photos make this plant look so different where colour is concerned, but then, photos generally do!

I decided to make this a long thin painting as the subject was tall and its foliage quite upright. I completed the drawing in outline and left the habitat part at the bottom to finish later. I really needed to start painting!

My original inflorescence sketch was too large so I outlined it in black fine liner and reduced it on my laptop, then printed it out at the correct size. It was tidied up later and drawn neatly before I transferred it to watercolour paper.

Testing colour mixes for the flowers, stem and leaves on a small practice piece

I particularly enjoyed painting the insects. This is the start of the bright blue damselfly. No black paint was used, this black is a mix of Indanthrene Blue, Permanent Carmine and New Gamboge. I prefer to mix my own black as there are many versions of black too, warm and cool! This is a warm black mix that compliments the bright vivid cool blue.

This painting was a mammoth task with such a short time to complete. I really wanted to be involved in this exhibition as the theme is very close to my heart. Protecting all our ecosystems is crucial to human survival and these environments are becoming so rare. In the UK 97% of all meadow grassland has been lost since the 1950s due to modern intensive farming, housing and draining of wetlands. Then there are pesticides that are killing the pollinators of our food plants. Something needs to change….

Extra research

I went back to the nature reserve later on to see the seeding inflorescences. I did this so that if I had time to include this plant in my RHS entry, I would have more information available about its lifecycle. It would be a different style composition to this painting here as I have done my RHS paintings in a more scientific way. I do now have all the necessary information and research to hand though, just in case! The seeds are very small, fine and delicate, almost like dust. see microscope image below.

The finished painting

Dactylorhiza praetissima (Southern Marsh Orchid) with Lathyrus nissolia (Grass Vetchling), Osmia bicornis (solitary mason Bee) and Enallagma cyathigerum (Common blue damselfly)

I was pleased with the result and thrilled that it was chosen to be shown in the Shirley Sherwood Gallery by ABBA judges. It is probably the fasted detailed painting I have ever done!

I hope you enjoyed my painting journey for the Southern Marsh Orchid.

I wish you all a Merry Christmas and Happy New Year, it’s very close now!






Email address:jackieisard@googlemail.com
Facebook:https://www.facebook.com/jackieisardbotanicalnaturepainting/
Instagram: @jackieisard
Blog: https://jibotanicals.com/
Web: https://www.jibotanicals.co.uk/
Etsy shop: https://www.etsy.com/uk/shop/jibotanicalsGifts

Blog 18: RHS research journey 2019

Nature is painting for us, day after day, pictures of infinite beauty if only we have the eyes to see them” John Ruskin

This years journey has been full of adventure and some very hard botany learning. It became evident that it was essential for me to understand exactly what I am painting! As the weather perked up in April and was good to us during the summer months, my decision to go on a search for my chosen 6 plants in their natural habitats proved very successful. Their habitat is wet meadows, the selected subject of my RHS exhibition. I knew this was very important to ensure my drawings were as accurate as they could be to the wild plants of the field. My son also has a great interest in nature and accompanied me with his little dog, Toby, on my treks. Always great to have company!

Having completed 4 plants in my Botany sketchbook, I asked a botanist to check my final drawings for me. Good job I did! Even though you think you’ve got it just right there can still be little details which need adjusting, especially with dissection drawings which I’d never attempted before. I’m so pleased I took this advice from a fellow botanical artist. I had very little knowledge of botany when I started this project and still struggle to remember all the botanical terms. My brain doesn’t have enough space left at my age! It’s been a massive learning curve.

Below are my botany sketchbook pages for 4 of my chosen species. This helps me to learn about each plant before I start drawing. I measure them, study their habit, dissect them, study them under the microscope, press pieces of plant in a flower press, have a little practice run on mixing up colours and paint a few small sections of each one. The record is then referred to as I draw and paint the final compositions.

The drawings so far…
My drawings for Ragged Robin, Water Avens, Greater Bird’s foot trefoil and Cuckoo flower have now had a full botany check and are transferred to watercolour paper ready for painting. It took many, many months to get to this stage. Left to right below: Cardamine pratensis – Cuckooflower, Lotus pedunculatus – Greater Birds foot trefoil, Geum rivale – Water Avens and Silene (Lychnis) flos-cuculi – Ragged Robin. They are all life-size compositions.

Next year, as well as painting the final pieces, I will be studying and drawing up Great Burnet (Sanguisorba officinalis) and Devil’s bit scabious (Succisa pratensis) in late summer. I have managed to get some of the painting for three of my chosen species done this year which are featured below. The sections below were painted using live plants. I have a great deal of photo reference to enable me to continue painting these three through the next few months.

The Journey…
My journey started locally where I live in Bristol. I have grown some of my chosen plants in my home garden which were doing well. Although these are great to refer to, they do not necessarily grow in exactly the same way as they would in their natural habitat. It’s great to have them on the doorstep though. They can be dug out and popped into a pot to use when painting! To find my chosen species in the field was really difficult but with a lot of research and walking I eventually located all of them this year.

Cuckoo flower (Cardamine pratensis) grows near my house and also on a lovely dog walk my son and I often do from Alveston to Old Down. One sunny day in May I decided my son and I should try this walk in order to find the pub at the end and have a lovely roast dinner. What a wonderful walk with yummy food half way. Essential therapy! It was full of meadow plants and pollinators. I saw my very first Green winged orchid and Musk thistles on this walk, one of which had a white flower. It became our favourite local dog walk this summer. Later in the summer I thought I had found Devil’s bit scabious (Succisa pratensis) growing there too but unfortunately it turned out to be Field scabious with a genetic fault! It looked like Devil’s bit but the leaves and height were all wrong. It’s also very important to research your wildflower keys!

Common Blue Butterfly
Two of my plants were really difficult to locate so my journey led me into Wales this year. What a beautiful country. There is so much wildlife and Wales is abundant with wildflowers. Love it!

The first plant, Greater Bird’s foot trefoil (Lotus pendunculatus), I found at Great Traston meadows near Newport. Great Traston is a piece of protected land consisting of a series of wet meadow fields and teeming with insect life. We saw many dragonflies, damselflies and butterflies. We even saw a beautiful blue lacewing, many grasshoppers and later in the year a nursery-web spiders nest which was huge! This place is also home to the very rare Shrill Carder bee. Unfortunately, I didn’t see, or rather, hear one but maybe next year! There was also evidence of other wet meadow wildflower species like Marsh orchid and Marsh musk thistle. I visited three times in total. Once when Greater Bird’s foot trefoil was starting to grow, then when it was in full flower and finally when it had gone to seed. It is important for me to see the plant growth in all its stages as my drawings are intended to cover the whole aspect of each plant, telling their story.

“Hold nature in your hand and take a look at the intricate beauty within. Treasure our wildflowers and pollinators. It’s so easy to just walk by…” Jackie Isard

From here I wanted to find Great Burnet (Sanguisorba officinalis). After tons of researching, my journey took me back into Wales again to a tiny little meadow called Trewalkin on the edge of Brecon Beacons. Another naturally wet meadow. It is managed by the Wildlife Trust of South & West Wales. Unfortunately, the meadow had already been cut by the time I had found out that Great Burnet grew there. However, there was evidence of the species as some new plants were starting to grow. It has very distinctive serated leaves.
great burnet.jpg
I noticed a few other wet meadow species too including Devil’s bit scabious. This was exciting news as Devil’s bit was also one I needed to locate. When I returned home I contacted the Wildlife Trust officer and asked for a species list. I was so delighted when it was sent through, every one of my chosen plants grow in this tiny meadow! This included Water Avens (Geum rivale) which was proving almost impossible to find. There will be many visits to this meadow next year.

Another place I visited earlier in the year was Crickley Hill Nature Reserve, in Gloucestershire. This is a beautiful place with lovely walks. Many wildflower species live here and the insect life is abundant. I saw many 6 spot burnet moths who were loving the Field Scabious growing near the car park. Beautiful Harebells grow everywhere too. I wasn’t expecting to find my chosen species as this is a dry limestone grassland area but I very much enjoyed the walk and the stunning views.

The last photo of trees, taken in the woodland area of Crickley Hill, I entered into the Gloucestershire Wildlife Trust photography competition. I was amazed to learn this week that it had been ‘Highly Commended’ by the judges!

My journey for wildflowers has ended this year as winter is now upon us. The plants will all sleep now until April/May next year when I’ll be off out with my camera and walking boots to see them again.

Until then, have a wonderful Christmas and a happy new year!

Blog 17: Painting a Faded Protea

I thought I would share the process of how I made this painting with you all. I discovered this dying protea in the training room at the Bristol Botanic Gardens when I was teaching there. It had been discarded and left to go mouldy on the shelf. You can see the green mould on the inner stamens below. I rescued it and another one which I have yet to paint!

20181029_102532

The whole thing began as an exciting new project. I plan to paint it for the SBA (Society of Botanical Artists) exhibition this year. It was the most mammoth painting I’ve ever made!

I started the process by studying my subject thoroughly so that I didn’t miss out any of those incredible details or colours. What looks like a flower to start with is actually a series of inner and outer bracts which protect the inner whorl of tepals containing the stamens and stigma inside. The feathery bits! The drawing took ages to complete but eventually it was all traced up onto watercolour paper (a piece of old stock Fabriano Artistico HP) and I was ready to go.

Firstly, I made a awatch of mixes to help me with the colours of my subject. I use this as a guide. My palette consisted of seven primaries (Winsor Blue (Red shade), Indanthrene Blue, Indian Yellow, Quinacridone Gold, Transparent Yellow, Permanent Carmine, Permanent Rose and two others Perylene Violet and Winsor Violet. These are all Winsor & Newton professional watercolour pigments. As you can see there are warm and cool mixes within each range below. See below drawing and practice pieces before I started the actual painting.

20190704_090539
20181109_141901
20181113_123657

I practiced three tricky elements first. After this I was happy with the techniques I needed to use to achieve a good painting. The last photo above shows the beginning of the painting.

I used a fair bit of wet-in-wet technique on the first layers for the larger inner involucral bracts and the bottom leaves. The tepals, outer thin feathery ones, I did mainly in wet-on-dry and dry brush. The photo below shows a few individual tepals which sit outside the whorl (stigma and stamens) in the very centre. All are very tightly closed to start with but as they mature they spring open and spread out revealing the straight pointed stigmas. The centre part is then exposed. That’s the bit I love!

Next I had to decide where to start! I protected my painting with layout paper and moved around the painting from left to right and then down the middle, section by section. The centre section of stamens and stigma was a little scary and I often wondered how I would approach that area. I came to the conclusion that I would cross that bridge when I came to it!

I thoroughly enjoyed painting the golden hues of the bracts and tepals with their hairy tops. Making them shine was essential too. This meant the highlights had to be prominent. The first layer of wet-in-wet was followed by graduated soft washes to build up colour. Once I had achieved this I could concentrate on the dry brush and fine detailing. This sometimes included splaying my brush into points to created rough textured lines. At times I needed to use my eradicator brush to bring up highlights and lighten the edges of the tepals where they touched another. The following photos show the techniques used.

20181115_152642

Painting the hairs…how do you paint white hairs on a white background I hear you say! Well, I used the very tip of my Billy Showell No. 2 brush and carefully painted in between the hairs (so painting the negative) where they overlapped another stamen in the background. For the ones that were loose with nothing behind them, I used a very pale warm grey colour and painted in the fine hairs. Of course, the red hairs were much easier. There were also little white hairs on the bracts which I painted in using a white paint……..sooooooo many hairs!

Suddenly, I realised I was reaching the centre section of stamens! Ugh….what to do? Taking a deep breath I checked the subject thoroughly to see how the colours changed over the stamens and where the warm/cool areas were. I had already drawn in fine lines to indicate where the stamens were and the little twirly hairy bits (anthers) which occasionally appeared within the mass. It was again a case of painting the negative and laying soft graduated washes down to create form. The anthers needed masking out before I started the fine detail work. I use a mapping pen for this but you must be careful not to scratch the paper as the nib is very sharp. It’s a great tool for small areas and fine lines though. See the first photo. I erased the masking fluid with a Tombow monochrome eraser pen. This has a small tip and is ideal for removing masking fluid. A soft rubber or a clean finger can also be used to do this. Make sure you do this gently to protect the surface sizing of the paper. The images below show these items.

20181120_115843

I started by adding a thin layer of colour to the central area. This was a creamy tone which was what I call the ‘base’ colour. From here I began painting into the negative to create the fine lines between each one. I used soft graduated washes of various beige tones to build up form on the individual stamens as well as across the whole area. Once I had built up the colour enough, I rubbed off the masking fluid. I was now ready to paint the anthers. Treating them like feathers, I detailed in the shadow tones between the hairs. This took a very long time! The whole painting took about 4-5 weeks to complete.

Now I had to finish off the top part with twiddly stamens and hairy anthers to create the rounded top. This was all done with intricate dry brush work. Painting the shadows was important here to create form and give the impression of lots and lots and lots of stamen hairs!

20181206_151609

Mission accomplished! Next on the agenda was to finish off the right side and the rest of the inner bracts. Once complete I used wet-in-wet technique to apply a base layer to the leaves. They had really beautiful pattering and were very colourful. See the two images here.

Laying in the subtle colour tones was great fun! This was the first layer of wet-in-wet followed by soft graduated washes and much detailed dry brush work. The hardest part with the leaves was getting them to look like the reverse of the leaf. In most cases they were reversed. Much erasing happened as whatever I did they looked the other way round! It was an optical illusion because the more I stared at it, they kept changing! The reverse of the leaf needed very short shadows along the midrib to achieve this. Eventually it all came together. But if you stare a while longer…..you may still see it the other way! See progress photos below.

20190124_115310

Next on the agenda was the stem, my favourite part. I just love painting woody stems. Essentially it’s a lot of wet-on-dry and dry brush work with very fine detailing. Adding every little detail in counts too! The more detail the more realistic it will look.

The top part of the stalk has lovely red/brown tones with deep grooves but faded below to a beige/grey texture. For the top I used dry brush for the fine detail and on the bottom, soft washes with a splayed brush to make the pattering as described above in this blog. See images here.

Finally, the finished painting emerged. What a journey but so worth it as it won the Margaret Granger Award at the SBA Mall Galleries exhibition! I am so delighted as this was a very ambitious project for me. I now have three awards on my wall. I feel very honoured! The photo below shows me receiving my award and my Fellow Membership from the President of the SBA, Billy Showell.

Thank you for reading my blog and I hope you enjoyed it!
Jackie 🙂






Email address:jackieisard@googlemail.com
Facebook:https://www.facebook.com/jackieisardbotanicalnaturepainting/
Instagram: @jackieisard
Blog: https://jibotanicals.com/
Web: https://www.jibotanicals.co.uk/
Etsy shop: https://www.etsy.com/uk/shop/jibotanicalsGifts

Blog 16: The beginning of more RHS adventures

During the winter I’ve been very busy continuing with my RHS studies and finalising 3 compositions. It’s been a long trek! In between these studies I’ve been enjoying preparing for a course at Brackenwood which will cover White and Yellow Spring flowers. A subject many find hard to paint…even I do!

 


I also had a chance to go on an owl event where I had the pleasure of holding 6 different owls. The Owls in the photos above are a Barn Owl, a Tawny Owl and a Little Owl. My favourite was the Tawny Owl as we have a mating pair in the area where I live. I love hearing their calls, Twit – T-wooo. Apparently they are the only owls who make this type of call. I even got to hold an Eagle Owl. They are huge and very heavy! I’ve always admired these beautiful birds but never been this close up. It was delightful and I will remember it for a long time.

I have now completed my compositions for Cuckooflower, Ragged Robin and Greater Birds foot Trefoil.


Last week I started preparing sketchbook studies and botany notes for the fourth plant, Geum rivale – Water Avens. What a gorgeous little plant! It has delicate nodding flower heads and beautifully shaped leaves. Very much overlooked I think.

This plant has a very interesting botany. Quite different to the other plants I have studied. So much is learned about botany when dissecting and studying plants. I’ve really got into it! Like Cardamine pratensis it has different shaped basal leaves. They are more rounded at the top with leaflet pairs running down the stem. Quite attractive! It’s also very hairy in places and has hundreds of stamens all enveloped beneath 5 petals. There will be lots of fine details on this one. Here are some microscope images of the stigma (of which there are many too!), stamens and hairy buds…


So far I’ve dissected a young flower head, drawn up a budded branch, a flowering branch and one of the basal leaves. This is my drawing to date. I love the shape of those leaves! This will be a tough one to draw accurately. So much botany going on!
20190327_165811
I have chosen to include pollinators in my work and a lot of research has gone into finding suitable insects for each plant in my series. It is important for me to make the insects to be relevant to the plants. You won’t believe how long this research takes! Below is a photo of a Common Blue which I took in Alveston, beautiful!

20190528_132215
For my final 6 plant choices I have included two options for the last one. This is because it’s always good to have a back up. I have chosen 5 butterflies, a bee and a hover fly. They all use one of my chosen plants as either a larval food plant or for feeding. The butterflies are the Orange Tip, Marsh Fritillary, Wood White Common Blue and a large Scarce Blue.

This weekend I was taken on a surprise trip to a Nature Reserve by my son. I’ve been wanting to visit this place since I discovered it late last year. It is a farm in Cricklade called Lower Moor Farm. There are many fields of meadow flowers and wet meadow plants too! Although too early in the season to see the meadows in full swing, I did see evidence of plants beginning to peep through. My heart sings when I visit these places which really helps with the intense work I’ve had to carry out. I hope to view some of my chosen plants in another natural habitat later in the year when I visit again. I also wanted to see the Snake’s-Head Fritillary which are growing wild at North Meadow Cricklade not far from Lower Moor Farm. The fields of North Meadow are protected as this species is now very rare in the wild. Unfortunately, we were a little premature as they were only just starting to grow. Another visit is planned for Easter weekend to see it in its full glory.

This plant is actually not a British native species otherwise I may have chosen it as one of my Wet Meadow species. It’s a shame because it is a much loved flower to paint by Botanical artists! I have planted some in my garden wild areas which are flowering already …perhaps because the weather is milder in Bristol than North Meadow.
snakes head
So, from here I must carry on with my Water Avens studies and composition ready to begin painting soon. Three of my plants will be flowering between April and June so time will be short! I’ll be back later in the Summer with more news and to show you how I’m getting on, plus some more meadow visit photos.

Until then Easter is just around the corner, so enjoy all that chocolate!

 

 

Blog 14 : Paint a Peacock Butterfly NEW Online Course January 2019

Ever wanted to learn how to paint a Butterfly?

Then do look out for my New online course coming in January 2019!

The Peacock is one of my favourite butterflies. The patterns and colours are just so stunning. We’ve seen a lot of butterflies this year as there’s been so much sunshine. Come and learn to paint one of the UK’s most beautiful pollinators with me, yes they are pollinators!

I will take you through the stages and teach you the techniques to create your very own Peacock Butterfly watercolour painting. You will learn how to mix the vibrant colours needed and how to add those incredibly fine details. There will be instructive videos to help you throughout the course. Watercolour painting skills essential please. Not for absolute beginners.

me painting peacock


Pop over to my Jackie Isard Botanicals page to see the Event date then private message me if you would like to join. Payment can be made through PayPal. The course fee is £75 UK and £85 Internationals. The difference is purely due to postage cost. For more details on how to register Private Message me on Facebook or email me.

For the Facebook course link, look under the Events tabhttps://www.facebook.com/jackieisardbotanicalnaturepainting/

Looking forward to teaching you!