Three species of Adonsonia. In most parts of the world the common name for these bottle-like trees is Baobab – the first two sketches are the African Baobab (A. digitata) and the Giant Baobab or Grandidier’s Baobab (A. grandidieri) respectively. In Australia they are mostly known as Boab’s (A. gregorri), but it is also known by a number of different names in different Australian Aboriginal languages. The Boab is native to the Kimberly region in the far northwest of Australia and is a wonderfully mysterious tree. No one really knows how or why it came to be in Australia, as they were not considered to be part of the Gondwana supercontinent. The three possible scenarios put forward by scientists for their occurrence is either they were brought here by the first people in Australia; the seeds floated across the Indian Ocean from Madagascar, or, while unlikely, it is still possible, the genus Adonsonia started in Australia and migrated to the rest of the world.
I will defer to First Australian wisdom in this one: Boab’s have always been here.
Claudia Nice is the first artist that inspired me try working with pen and ink with several books, including Drawing in Pen and Ink. I like to engage fully with what I’m doing and ink requires a level of commitment that appeals to my nature. I like detail and I enjoy how tight and clear I can get with ink. Which is probably why it is a common medium for scientific illustrators, especially botanical. But pen and ink can also be very flexible. True, you can’t rub it out once its on the page, but that doesn’t matter if you’re sketching loose drawings for practice or wanting to capture the shape of a species of tree. Ink also plays nice with a lot of other mediums, especially watercolour. Claudia Nice has also written many books on creating texture with pen and ink, and watercolour.
The Lamy Joy, pictured above, is my favourite tool for sketching in pen and ink. The nib glides smoothly across the paper, depositing ink evenly and the tapered style feels good in the hand. I use fountain pens for 80% of the inked artwork I create. I use an ink converter, with De Atramentis Archival black ink. I have had no problems with it drying it our clogging the pen.
If it isn’t obvious from the page of trees in pen and ink that I love trees, my tree sketchbook will leave you in no doubt. I have one sketchbook devoted just to sketching trees in pen and ink, mostly using a fountain pen with black or grey permanent ink, and occasionally Copic fineliners, or with a bit of colour added from India ink brush pens. I enjoy the process of finding the shapes and forms of different species, experimenting with ways of reproducing all the different types of bark texture, practicing rendering leaf-clumps to see what works best for and honing my observation skills. Every species is different and feels like a new experience, so I never get bored of rendering trees.
Since I live in the subtropics, there isn’t an abundance of deciduous trees, which are among my favourite, so I have to rely on photographs for practice. If I ever want to draw a eucalyptus or paper bark, I need only look out my living room window, or walk a few minutes to the nearby park and creek. Here there are koalas, though they’re difficult to spot let alone draw from nature, bearded dragons, which rarely stay still long enough to sketch, turtles, flying foxes and all manner of birds. But, being that it it’s now winter, it’s cool and windy and the ground is wet from a recent shower, so today I’ll stay at my desk and find nature on the net.