Botanical Art Courses
with Dianne Sutherland......making learning at a distance easier
Ink Resources New Page under construction
Recently a number of students have expressed and interest in using ink in the first part of the course, and so I decided to add this page in response, which means you can now undertake some of the first module using ink instead of graphite, including your final botanical illustration in Module 1. Not all students want to use ink, so it's entirely optional.
Ink can be a useful medium for scientific botanical illustrations but it can also be used in your sketchbook or for simple line and wash illustration and being able to use it is a useful skill for any professional botanical artist.
On the right is a typical botanical illustration of Galeopsis speciosa, prior to having the scale bar added for the flower enlargement.
The illustration was first prepared as a study page in graphite and ink before being completed as an ink drawing, using line and stipple.
The drawing is A4 in size, completed on Botanical Ultra HP paper, completed using Pigma Micron 005 and 003 fineliner pens - the required specification for the illustration as part of the Copsa Mare Flora Guide illustrations
Why Ink is used in Botanical Illustration
Scientific illustrations
The primary reason for the use of ink in botanical illustration is because it shows precise botanical information with absolute clarity- it produces crisp, unambiguous lines that communicate structure, form, and botanical detail with scientific accuracy, which is why it still remains so important today.
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Clarity -Ink lines are crisp and don’t smudge or blur, so fine structures can be cleanly shown
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High contrast - Black ink against white paper is ideal for scientific publications and reproduction, providing a low cost option
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Precision - Fineliners and technical pens allow extremely controlled mark‑making, essential for accurate botanical depiction
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Archival quality - Waterproof, fade‑resistant ink ensures illustrations remain stable for decades, even centuries
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Reproducibility - Ink drawings reproduced far better than graphite or colour in printed botanical texts
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Line‑based simplicity and minimal tone - Botanical illustration often relies on line to explain structure clearly and universally - although simple tone is often added to convey form, hatching and stipple are the two most commonly used methods for adding tone.
Ink forces the illustrator to think carefully about line economy, edge quality, and form description. Every mark counts. This discipline strengthens your drawing skills across all media.
Scientific Versus Artistic Interpretations with Ink
Although there is still a demand for scientific botanical illustrations in ink, it is not generally a lucrative or busy career. Today, many botanical artists choose to honour traditional ink techniques in a more relaxed and expressive way than the classic scientific illustrator.
Instead of relying solely on fine line work and minimal shading, some artists use dense shading and tonal layering to create strong three‑dimensional form - an approach similar to tonal work with graphite. I often use this method in my own sketchbook, and it can be a rewarding way to explore ink without feeling restricted by traditional conventions.
So, working in ink does not mean you must follow the traditional scientific style. Ink can be used in a wide range of artistic ways, from precise botanical documentation to expressive tonal studies.
Important Botanical Publications
You can see examples of classic scientific botanical illustrations in Kew's, Curtis’s Botanical Magazine, which is one of the oldest and most influential botanical publications. First issued in 1787 by botanist William Curtis, each issue features a scientifically accurate plant description paired with a beautifully detailed illustration.
If you are interested in scientific illustration, it is worth studying this type of publication.
The magazine became famous for its precise linework, clear botanical information, and the work of renowned artists such as James Sowerby, Sydenham Edwards, and Walter Hood Fitch. Today, artists such as Deborah Lambkin and Christabel King are active as illustrators in the magazine.
Curtis's Botanical Magazine, remains an important reference for both botanists and botanical artists, showing how art and science work together to document plant life. You can subscribe to the Magazine, through the publisher Wiley.
British botanical illustrator, Stella Ross‑Craig (1906–2006) was highly respected botanical illustrator, who worked at Kew Gardens for over 40 years, producing more than 3,000 botanical illustrations, often featured Curtis's Botanical Magazine
She was best known for her ink illustrations of British native plants, published in Drawings of British Plants (published 1948–1974), with over 1300 species illustrated.
Here are two illustrations from Drawings of British Plants. Botanical Illustrators have to work to specific sized templates for publication, which requires significant compositional planning in order to fit all parts on the page. Small parts are often enlarged to reveal the structures required for identification purposes. Ink is an ideal medium for this type of illustration.
Materials
The materials for ink illustrations are as follows:
Pens
For ink work, please use fineliner pens with archival, waterproof ink. The following options are recommended:
Recommended Fineliners
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Pigma Micron — sizes 003, 005, and 01 are sufficient for most botanical illustration work.
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Mitsubishi UniPin Fine Line — also available in 003, 005, and 01, and an excellent alternative to Pigma Micron.
You may also use Rotring Isograph pens for ink illustration. However, unless you plan to work with ink on a regular basis, they are not recommended. These pens are:
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Expensive compared with standard fineliners
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High‑maintenance, requiring frequent use and careful cleaning
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Prone to blocking or damage if left unused for long periods
For these reasons, it’s best to begin with the recommended fineliners, which are reliable, affordable, and much easier to manage for your assignments.
Papers for Ink Illustration
You can work with HP watercolour paper or in your sketchbook when using fineliner pens. Both surfaces handle ink well and are suitable for practice and finished studies.
It’s also helpful to know that Bristol surface papers are particularly well‑suited to ink work because of their smooth, hard surface, which allows clean, crisp lines and controlled detail, and botanical illustrations are generally produced on Bristol paper.
Recommended Bristol Papers
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Strathmore 500 Bristol – Plate Surface This is the premium option, offering an exceptionally smooth surface ideal for fine ink work. However, it can be difficult to source and is relatively expensive.
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Strathmore 400 and 300 – Smooth Surface These are more affordable, easier to find, and still provide excellent results for botanical ink illustration. (Strathmore also produces a “vellum” surface, but this is better suited to pencil and other media rather than ink.)
Click here to find out more about the different Strathmore papers.
Other smooth papers include: Daler Rowney Bristol Board
Techniques
Ink techniques most commonly used in botanical illustration are line, stipple, and hatching. Of these, line and stipple are the standard approaches for traditional scientific work. The videos and examples on this page offer guidance on how to use ink effectively in botanical illustration.
Line
The outline forms the foundation of the drawing. It may be solid or broken - a broken line is often used for hairy subjects. A dotted line can indicate a cut surface, such as in a dissection cut. Lines and broken lines are also used to describe venation, showing the structure of the leaf or flower without overwhelming it.
Stipple
Stippling is the primary method for creating form in ink. Dots are added using the same pen size throughout—typically a 003 or 005 Pigma Micron.
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Darker areas are created by placing dots close together
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Lighter areas have dots spaced further apart, or none at all
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Solid dark areas may be used for markings, but when building form, avoid placing dots so densely that they merge into an undefined mass
Hatching
Hatching is used less frequently in botanical illustration, but it can be helpful in certain subjects. It must be applied with great control to avoid overpowering the delicate botanical detail.
Light Source
The light source must be carefully observed. Ink relies entirely on tonal contrast, so understanding where the light falls—and how it shapes the subject—is essential.
Example, Calycanthus Leaf
In the video I demonstrate the key stages involved in creating a calycanthus leaf. The line and stipple drawing is completed with a 005 Pigma Micron pen for the heavier lines and a 003 for the lighter lines and stipple.
Adding Colour
A simple line drawing can be a very effective way of making a simple colour illustration, illustrations and it requires only minimal skills with watercolour. This type of drawing is ideal for field guide illustrations.
The ink used must be waterproof and the drawing completed first, with a simple wash of colour added over the top.
In the example below, Yellow Rattle, Rhinanthus minor. Is illustrated for a field guide, the washes are added over the ink and some grading is used in the application of the watercolour but colour can also be added in a fairly flat manor.
Sketching with Ink under construction
In addition to the scientific illustration with ink - ink can also be used in a more relaxed way for sketching. This approach utilises the same techniques with line and stipple but also utilises fine hatching and cross- hatching, which can create form and more dynamic sketches with a wider tonal range.
Every October there is an online event called Inktober. Where participants can draw a set subject ever day - or as often as possible during the month. In recent years, some of the botanical societies have their own list of subjects. In 2025 I participated in the Botanical Art Society, Singapore Inktober. It's great way to practice with ink and also to get involved with the Society.