I will investigate a recognised and

documented artist or designer who

has responded to nature and

landscape.

Beatrix Potter

Preliminary sketches

Illustrations

Landscape Illustrations

Her Artistic Life

At the age of eight Beatrix Potter was already studying and recording the characteristics of

a wide variety of animals, birds and insects in a home-made sketchbook. This habit of

spending time observing the form and structure of living things continued throughout her

childhood and into adolescence.

She was particularly drawn to the delicate and complex form of insects, becoming a keen

amateur entomologist. Potter made frequent visits to the Natural History Museum (less

than a mile from her home in Bolton Gardens) to study and sketch the insect collection; at

home, she learned to prepare slides of specimens to view with her brother's microscope.

All this painstaking work paid off: Potter developed the eye of an expert investigative

scientist, able to draw living creatures with great conviction - throughout her life her work

was guided by the principle of portraying nature as accurately as possible. She used a fine,

dry brush to define meticulously and minutely the anatomy of even the most delicate

specimens. Fascination with scientific accuracy underpins Potter's artistic technique, a bee,

beetle, butterfly, ladybird and spider enjoy supporting roles in The Tale of Mrs

Tittlemouse. Potter observed them, and her 'most terribly tidy particular little mouse' with

astonishing attention to detail.

http://www.vam.ac.uk/content/articles/b/beatrix-potter-natures-lessons/

Illu

stra

tion 1

Formal Elements

Colour: Potter has used very natural colours in this illustration. Soft greens, blues, and pale

browns; they are very organic and relate to the natural environment/world and nature which

is suitable for the image in the illustration as it features the countryside. These natural

colours are in contrast with the bright coloured clothes the goose is wearing as they are

pinks and blues which are unnatural colours.

Texture: The brush strokes for the trees and the grassy ground in particular produce a rough

looking texture. The texture of the clothing looks very smooth because of the subtle shine.

Tone: Potter hasn’t used a lot of tone in this illustration; it is evident she mainly focuses on

the use of colour to help produce depth and a 3-D effect instead of focusing on shadows and

light areas. The only extreme tone that features in this is the black lining on the duck which

is where the natural shadows are. It appears that the black areas make the elegant

watercolour stand out.

Shape: The shape of the components in the background are very elegant and relaxed adding

depth to the illustration. The sharper shape of the duck is in contrast to this.

Line: The lines are almost non-existent in the components in the distance of the illustration.

However the lines of the duck, the closest component in the illustration, are black and a lot

thicker in comparison making the duck stand out most.

Form: It appears that Potter may have used the Golden Section to deliberately make the

duck the key component in the illustration as it is positioned on the right side. It is evident

she wants the duck to be the key component because she also used colour and line to

emphasise this.

Illu

stra

tion 2

Formal Elements

Colour: Again, Potter has used very natural colours in this illustration. Teal greens,

browns, pale browns etc. have been used. All the colours harmonise with each other and do

not clash giving off a calm and relaxing atmosphere.

Texture: The textures that stand out in particular in this illustration is the rabbit’s fur. The

colour Potter used has made the fur look soft. Also, another texture that stands out in

particular is the texture of the leaves as it looks very smooth which is realistic.

Tone: Like the previous illustration the tone is not prominent. Potter has used to colour to

create the 3-D realistic effect. However, to emphasise the texture of the leaves, Potter has

used a black fine line pen to create a shadow. The harshness and boldness of the fine liner

emphasises the watercolour used for the leaves.

Form: Potter has created distance/depth in this illustration by making the components at

the back of the image (the woods) blurry and less sharp than the close up components (the

rabbit and the wheel barrel) which puts the viewer in the illustration.

Shape: The shape of the components in the background are very elegant and relaxed

adding depth to the illustration. The sharper shape of the rabbit and the wheel barrel is in

contrast to this.

Line: The lines are almost non-existent in the components in the distance of the

illustration. However the lines of the leaves and the rabbit, the closest components in the

illustration, are black and a lot thicker in comparison making the duck stand out most. I

find the lines add tone and depth.

Illu

stra

tion 3

‘Sid

mouth

Bea

ch'

Formal Elements

Colour: Again, for this illustration, Potter has used very natural colours. Soft blues,

whites, lilacs, and pale browns; they are very organic and relate to the natural

environment/world and nature which is suitable for the image in the illustration as it is a

beach.

Texture: There isn’t a lot of texture in this illustration because Potter has used a soft brush-

stroke technique making everything look soft. However, the textures that stand out are the

textures of the clouds, the sea, and the sand. The soft but obvious brush strokes make the

illustration look very calm and harmonious.

Tone: Like the previous illustration the tone is not prominent and is very subtle. Potter has

used to colour to create the 3-D realistic effect.

Form: Like all her illustrations, the form of the illustration is organic; all the components

are realistic and accurate to real natural formations as Potter intended.

Shape: The components featured in the illustration are not outlined; all the shapes are filled

with colour. The shape of the edge of the cliff contrasts with the shape of the clouds as they

look light and fluffy and blend in with the lilac sky whereas the cliff stands out in it

surroundings.

Line: The lines are almost non-existent in the components in the distance of the

illustration.

End