Pen and ink Illustration of Downy Birch

Lizzy Harper introduces herself and outlines the purpose of the video: to demonstrate the use of permanent pen and ink for creating an illustration of the downy birch tree's bachelor pubescence. She mentions the specific pens she will use, Uni Pin, with nib sizes of 0.1 and 0.05, suitable for any disposable permanent ink pen. The illustration is intended for a book titled 'The Tree Line: The Last Forest and the Future of Life on Earth,' to be published by Ben Rawlins. The video will cover the process of inking over pencil drawings on heavyweight cartridge paper, with a focus on technique and attention to detail.

Lizzy begins by tracing over the pencil lines of the downy birch illustration, emphasizing the importance of understanding the shapes and structure of the leaves and branches as she works. She uses the 0.1 nib for broader lines and explains that the permanent ink will not fade or run if wet, which is crucial for potential watercolor layering later. Lizzy also shares a tip for maintaining line confidence and discusses the importance of visual completion by the viewer's eye.

The paragraph focuses on adding tonality and detail to the pen and ink illustration. Lizzy uses a 0.05 nib to create thinner lines and breaks up the lines for visual appeal. She discusses the importance of referencing material and checking against it frequently. Lizzy also shares her process for adding shadows and depth, using dots to create texture and shading, and emphasizes the need for precision and patience in this detailed work.

Lizzy talks about the book 'The Tree Line' and its author, Ben Rawlins, who is writing about the impact of climate change on trees in the Arctic Circle. She mentions her practice of reusing illustrations with permission for different contexts and describes the process of creating new illustrations for the book. Lizzy also provides details on the birch catkin and the importance of accurately depicting botanical features.

In this paragraph, Lizzy discusses the importance of researching and identifying species-specific features for accurate botanical illustration. She differentiates the downy birch from the silver birch, noting the presence of thin hairs on twigs and the sharper angle of branching. Lizzy stresses the importance of including these details for identification purposes and continues to work on the illustration, focusing on adding veins and tonality.

Lizzy continues to build up tonality in the illustration using a stippling technique with tiny dots. She explains the process of determining light and shadow patterns on the leaves and the importance of logical consistency in these patterns. Lizzy also discusses the visual satisfaction of softening stark lines and the trick of the light to create a more comfortable edge for the viewer's eye.

Lizzy shares personal anecdotes about her garden, which is full of weeds and wildflowers that benefit pollinators. She discusses the chaotic beauty of her garden and how it requires minimal watering due to the continuous vegetation cover. Lizzy also talks about her listening habits while working, mentioning BBC radio and podcasts as her companions during the long hours of stippling.

This paragraph delves into the observation of light and shadows on leaves for creating a three-dimensional effect in botanical illustrations. Lizzy discusses the importance of understanding how light interacts with the leaf's structure and how to represent this through stippling. She also talks about the challenges of seeing gradual shadows and the need for logical reasoning in depicting them.

Lizzy wraps up the illustration by working on the edges of the leaves and adding details like the dentate margins characteristic of birch leaves. She discusses the importance of anchoring shadows and creating a natural gradation. Lizzy also reflects on her process, comparing it to other botanical illustrators and emphasizing the value of learning from others in the field.

Lizzy demonstrates techniques for softening shadows and adding details like the small hairs along the stem of the downy birch, which is a distinctive feature of the species. She uses a combination of stippling and fine lines to create these effects and discusses the importance of using the right paper to prevent ink from bleeding.

In the final paragraph, Lizzy adds the finishing touches to the illustration, including the suggestion of hairs on the stem and leaves, and discusses the process of evaluating the finished work. She reflects on the importance of reducing the illustration for publication and how it will affect the perception of the details. Lizzy concludes by thanking viewers for their time and inviting them to visit her website for more of her work.