“Sketching Nature; The Beginner’s Guide to Keeping a Botanical Sketchbook” by Dianne Sutherland
- ABA
- Oct 26
- 4 min read
In this comprehensive guide, packed with step-by-step instructions, renowned botanical artist and tutor Dianne generously shares her expert knowledge on the techniques and processes for creating beautiful nature-themed sketchbooks.
Illustrated throughout with examples of Dianne’s exquisite sketchbook pages, this is an inspirational guide for beginners and more experienced artists alike, exploring a wide variety of botanical subjects and the best ways to capture them in your sketchbook.
Article by Emma van Klaveren, botanical artist and illustrator, ABA Team Leader for the Education Committee and Committee member
When I was a teenage art student, I loved filling my thick, black sketchbooks, bulging full of little drawings, pressed treasured finds, and scribbled ideas for future paintings. As adult life became busier, my sketchbook making dwindled. I came across Dianne’s scroll-stopping Instagram page a few years ago and now her new book which have both been great sources of inspiration for my own reburgeoning sketchbook habits.
The book begins with the ‘why’ of keeping a sketchbook, the benefits, what subject matter you might like to consider and materials to use, including instructions on how to make your own sketchbook, definitely on my bucket list! Personally I am always curious to learn what tools other botanical artists use, so I appreciated the extensive focus on that area.
The range of materials and equipment used for the drawing and writing elements on typical sketchbook pages; image courtesy of publisher
The book is then helpfully divided into two main parts -Techniques and Projects. In the first portion, I was glad to see the traditional cornerstones of good practice; observational drawing, mark making, measuring, perspective, tones, painting, colour theory and composition. No section is overwhelming but every one very helpful, whatever stage you are at in your artistic journey. I appreciated the frequent side notes to the main body of text, highlighting the main points. The section on composition was also particularly useful, as I find it one of the most challenging aspects of botanical painting. A sketchbook is a great place to experiment for a final painting.
The finished spread of a clematis study, alongside a range of materials and alternative plant material used in the project; image courtesy of publisher
In the second main section Projects, Dianne begins by explaining that her “simple aim with each sketchbook page is to tell the story of each plant as best as possible within the relatively small space available.” She guides the reader through sketchbook projects with step-by-steps focusing on diverse subjects and different approaches. She deconstructs a violet-coloured clematis and a red poppy, showing some of the main features of their life cycles.
Finished sketchbook spread of a poppy, with materials and equipment; image courtesy of publisher
I liked the double page spread layout which gave her more space to describe the plants, allowing for plenty of colour swatches and dissection drawings. The generous amount of illustrations in her book to show the colour glazes were very welcome too. The purple and yellow viola and the yellow primula (front cover) also used double pages but were captured across the gutter of the sketchbook. (Note to self; try that.) Both plants have great dimensions for a sketchbook and are shown from the side and from above. (Note to self: try the aerial view too!)
Viola tricolor from the garden, a work in progress in the studio, and the finished sketchbook spread of Primula vulgaris; images courtesy of publisher
The section on sketching a collection of autumnal found objects is a great suggestion for beginners, one I remember finding more manageable when I was starting out in this challenging artform. I am sure most botanical artists have boxes of nature-based treasures to draw from in their studios, I know I do. Finally Dianne examines a tall pink lupin which is a challenge to fit into a sketchbook. You might think it is simply not possible to capture a tall plant with large leaves in this space. However she offers practical methods of fitting it in, with the use of overlapping, careful composition, aerial perspective and two different mediums.
Packed full of lavish illustrations you cannot fail to be want to start a nature sketchbook, whether you are a beginner or an experienced artist. As Dianne says in her conclusion, “I hope by sharing my process and sketchbook pages with you, I have inspired you to begin, and more importantly to keep going with your book.”
If you want pure botanical escapism and sketchbook inspiration, check out Dianne’s dreamy Instagram @diannesutherlandartist and her YouTube channel: @BotanicalSketchbooker too!
Biography
Dianne Sutherland is a British botanical artist and illustrator who initially trained as a ceramics painter with The Royal Albert Design Studio in Staffordshire. She then worked as a freelance artist and illustrator spending 20 years in Scotland, where she developed a deeper interest in plants and the environment. To understand her subjects more thoroughly, she pursued a BSc in Plant Biology. In 2012 she moved back to her hometown and leveraged her SciArt background to continue her work as a botanical artist, developing an online programme to teach botanical art to others. Dianne has a particular passion for recording British species in her sketchbooks, but she also travels extensively to document plants and the stories behind them. In her more recent works she diversifies with various other natural history subjects. Her preferred media are watercolour and graphite.
She is a Fellow of The Linnean Society and The Society of Botanical Artists. Her work is included in permanent collections at The Hunt Institute for Botanical Documentation, The Sydney Florilegium, The Singapore Botanic Gardens and The Royal Botanic Garden Edinburgh Florilegium.
To purchase this book:
Available widely online and in bookshops
