Relevant bibliographies by topics / Botanical illustration

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Botanical illustration'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Botanical illustration"

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Pamuklu, Aysegul Gurdal. "Botanical illustration techniques." New Trends and Issues Proceedings on Humanities and Social Sciences 2, no. 1 (February 19, 2016): 298–302. http://dx.doi.org/10.18844/gjhss.v2i1.311.

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Hickman, Ellen J., Colin J. Yates, and Stephen D. Hopper. "Botanical illustration and photography: a southern hemisphere perspective." Australian Systematic Botany 30, no. 4 (2017): 291. http://dx.doi.org/10.1071/sb16059.

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To examine claims that the role of botanical art in systematic botany is diminishing because of advances in photography, this review considers relevant literature and includes a quantitative analysis of trends in modern journals, monographs and floras. Our focus is on southern hemisphere systematic botany because, relative to the northern hemisphere, this is poorly represented in modern reviews of botanical art and photography. An analysis of all digitally available papers in Nuytsia, the Journal of the Adelaide Botanic Garden, Muelleria, Telopea, Austrobaileya and Systematic Botany established that, although photographic illustrations have increased since 2000, botanical illustrations have not always diminished. The cause of these trends is unknown, but it is likely to be due to several factors, including sourcing funding for production of botanical illustration, editorial preference for the use of illustrations or photographs, author preference for either illustrations or photographs, and moving to online publication, with no charges for colour reproduction. Moreover, the inclusion of botanical artists as co-authors in some scientific publications signals an ongoing and important role. Botanical illustration brings sharp focus and meticulous attention to detail regarding form and structure of plants. Photography is useful at the macro-scale for habitat and whole-plant traits, as well as at the micro-scale for anatomical textures and ultrastructure. These complementary approaches can be important components of taxonomic discovery, with the potential for a new role in modern trait analysis in molecular phylogenies.
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Pamuklu, Aysegul Gurdal, and Arzu Dursin. "Botanical illustration techniques." New Trends and Issues Proceedings on Humanities and Social Sciences 2, no. 1 (February 19, 2016): 298–302. http://dx.doi.org/10.18844/prosoc.v2i1.311.

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In this study, basic techniques which are used in botanical illustration are examined. Undoubtedly the most basic and accessible technique for the illustration artists is pencil and ink. Artists who have been drawing for years have used this technique with the decorations on the books and although technological developments present us unlimited opportunities today, basic illustration techniques; pencil, ink and watercolour technique has kept its place. It is necessary for this basic illustration technique to contain main features such as line, tone, colour, texture, shape, size. Just as all the artists who are dealing with illustration, artists-scientists who are dealing with botanic have also benefited from these techniques. as a result, no matter if it serves for art or for science, these techniques have always had an important place in creation of visual data for the development of humanity.    Keywords: Botanical Illustration, botanical illustration techniques, watercolour techniques, charcoal drawing technique, ink technique, gouache painting technique, ekolin.
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Pardoe, Heather, and Maureen Lazarus. "Images of Botany: Celebrating the Contribution of Women to the History of Botanical Illustration." Collections: A Journal for Museum and Archives Professionals 14, no. 4 (December 2018): 547–67. http://dx.doi.org/10.1177/155019061801400409.

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The superb botanical illustration collection of Amgueddfa Cymru– National Museum Wales in Cardiff, Wales, has developed through bequests, donations, and selective purchases. Numbering more than 7,000 works, 15% of these are by women, including the work of well-known Victorian artists and leading contemporary artists such as Gillian Griffiths, Pauline Dean, and Dale Evans. In particular, the Cymmrodorion Collection is the most prestigious collection, containing illustrations dating from the 18th century and featuring works by Elizabeth Blackwell, Jane Loudon, and Sarah Drake. Using this and other collections from the museum, this article examines the contribution that women artists have made to the field of botanical illustration by referring to the lives of these women and considering their motives, whether they pursued botanical illustration out of financial necessity, out of scientific curiosity, or to allay boredom. The article further examines the social restrictions and prejudice that many of these women had to overcome.
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Porter, Dahlia. "Specimen Poetics." Representations 139, no. 1 (2017): 60–94. http://dx.doi.org/10.1525/rep.2017.139.1.60.

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This essay argues that the modern literary anthology—and specifically its aspiration to delimit both aesthetic merit and historical representativeness—emerged as a response to changes in eighteenth-century botanical collecting, description, and illustration. A dramatic upsurge in botanical metaphors for poetic collections around 1800 was triggered by shifts in the geographies, aims, and representational practices of botany in the previous century. Yoking Linnaean taxonomy and Buffonian vitalism to Hogarth’s line of beauty, late eighteenth-century botanical illustrations imbued plucked, pressed specimens with a new vitality. Erasmus Darwin’s Botanic Garden (1789, 1791) translated the aesthetic reanimations of visual art into a collection of poetic specimens, spurring compilations that promote a vitalist standard of literary value. By rejecting aesthetic reanimation as the figurative ground for poetic collecting, Charlotte Smith and Robert Southey forward an alternative historical model of literary merit, one grounded in the succession and continuity of representative literary types. These competing metrics for selection and valuation underwrite the anthology as we know it today.
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King, Daniel Q. "A checklist of sources of the botanical illustrations in the Leo Grindon Herbarium, The Manchester Museum." Archives of Natural History 34, no. 1 (April 2007): 129–39. http://dx.doi.org/10.3366/anh.2007.34.1.129.

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The Grindon Herbarium is unusual in having a very high proportion of botanical illustrations and articles integrated into its systematic arrangement of the specimens. Hitherto unpublished extracts from Grindon's own history and description of his herbarium reveal his intentions in regard to the herbarium's combined specimen and documentary content. An appendix based on new work in the herbarium, listing virtually all significant source publications, example illustrations and their locations, provides a guide to this aspect of the Grindon Herbarium, and gives some indication of the scope of botanical illustration and literature available to such botanists at the time.
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Tobin, Beth Fowkes. "Imperial Designs: Botanical Illustration and the British Botanic Empire." Studies in Eighteenth Century Culture 25, no. 1 (1996): 265–92. http://dx.doi.org/10.1353/sec.2010.0188.

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Magid, Eleanor A., Noel H. Holmgren, and Bobbi Angell. "Botanical Illustration: Preparation for Publication." Bulletin of the Torrey Botanical Club 113, no. 4 (October 1986): 446. http://dx.doi.org/10.2307/2996441.

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Simpson, Niki, and Peter G. Barnes. "PHOTOGRAPHY AND CONTEMPORARY BOTANICAL ILLUSTRATION." Curtis's Botanical Magazine 25, no. 3 (August 2008): 258–80. http://dx.doi.org/10.1111/j.1467-8748.2008.00628.x.

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Kim, Soo Yeon. "Effect of the Botanical Art and Illustration Coloring Program on the Emotional Development of Students with Developmental Disabilities." Journal of People, Plants, and Environment 25, no. 1 (February 28, 2022): 67–75. http://dx.doi.org/10.11628/ksppe.2022.25.1.67.

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Background and objective The purpose of this study was to examine the effects of the botanical art and illustration coloring program on the emotional development of students with developmental disabilities in the COVID-19 pandemic. To this end, this study analyzed the changes in the subfactors of emotional development of students with developmental disabilities. Methods In the first stage, the botanical art and illustration coloring program was defined by a focus group comprised of specialists in the industry and academia. The second stage was to perform 8 sessions of the botanical art and illustration coloring program. The third stage was to examine the effects of the botanical art and illustration coloring program on the emotional development of students with developmental disabilities. The participants of this study were 26 students with developmental disabilities attending N University, and 10 students (excluding 2 students who dropped out) were placed in the experiment group and 14 in the control group. Results The control group showed no statistically significant difference in the four subdomains of emotional development, while the experimental group showed a statistically significant difference in all four subdomains such as non-dependence (p = .033), interaction (p = .029), internal control (p = .017), and stability (p = .000). The botanical art and illustration coloring program was thereby designed to have a positive effect on the emotional development of students with developmental disabilities in the current situation limited by COVID-19. Conclusion These results suggest that the botanical art and illustration coloring program could improve the ability of students with developmental disabilities to promote emotional development. These positive changes are related to the mental stability of students with developmental disabilities in the current situation limited by COVID-19.
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Dissertations / Theses on the topic "Botanical illustration"

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Du, Toit Victoria. "Mastering myths and wandering wallflowers : botanical illustrations, gardens and the "mastery of nature"." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2990.

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Thesis (MPhil (Visual Arts. Illustration))--University of Stellenbosch, 2009 .
This thesis investigates the historical roots of botanical illustration. It argues that far from being simply scientific representations of plants and flowers, empty of artistic comment and only accompaniments to a scientific text, botanical illustrations assisted in presenting plants brought to Europe from the colonies, in ways that influenced the easy assimilation and appropriation of these plants into European culture. The "mastery of nature", which implies an attitude of dominance by humans over nature, is discussed as symptomatic of the European colonial period. European acts and attitudes of dominance are manifest in scientific approaches toward botany, botanical illustrations and gardens. This thesis proposes that attitudes of dominance have resulted in humans being spiritually and physically separated from nature. This thesis proposes that associations of botany, flowers and botanical illustrations with the feminine have assisted in human domination over nature. In much the same way as female is dominated by male, in a human sense, so plants and flowers were pictured as feminine − replete with feminine associations of subservience, weakness and vulnerability − making a human domination of the plant world possible. The artworks produced in conjunction with this thesis, for the degree Master of Philosophy (Illustration), aim to promote a sense of human attachment to and identification with the plants painted, in opposition to the separateness from nature that is promoted by the "mastery of nature". While traditional botanical illustration, in service to modern science, promoted the supremacy of vision as a way of knowing nature, the artworks draw attention to the unseen issues around plants and the human spiritual connections with them. This thesis proposes that, in a contemporary context characterized by an environmental crisis, there is a new role to be played by botanical illustration: it is felt that botanical illustrations should emphasize human connections with the plant world, thus alerting humans to the necessity of nature for our physical, as well as spiritual, survival.
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Nickelsen, Kärin. "Draughtsmen, botanists and nature : the construction of eighteenth-century botanical illustrations /." Dordrecht : Springer, 2006. http://catalogue.bnf.fr/ark:/12148/cb401583353.

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Almeida, Amauri Sampaio de. "O desenho de Margaret Mee: Contribui??es para a taxonomia bot?nica." UNIVERSIDADE ESTADUAL DE FEIRA DE SANTANA, 2014. http://localhost:8080/tede/handle/tede/101.

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Submitted by Natalie Mendes (nataliermendes@gmail.com) on 2015-07-25T15:40:02Z No. of bitstreams: 1 disserta??o 2014.pdf: 4189035 bytes, checksum: 8382dcfb4670b8f26d284db7a6282f24 (MD5)
Made available in DSpace on 2015-07-25T15:40:02Z (GMT). No. of bitstreams: 1 disserta??o 2014.pdf: 4189035 bytes, checksum: 8382dcfb4670b8f26d284db7a6282f24 (MD5) Previous issue date: 2014-02-17
Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES
Drawing is a form of two-dimensional representation made by lines and lines in a given area, however, it goes beyond that designation and covers larger meanings. This research deals with the design and its relationship to the registry, memory and science. The form of graphical representation has undergone some changes since the early ages to the present. During the Middle Ages, the design had religious function and was overwhelmed with symbols and elements, with the Renaissance new ways of graphically representing reality emerged, and as a category of Design, Scientific Illustration, which is characterized by transmitting information emerged objectively. The work addresses the Illustrations of British artist Margaret Mee, who lived in Brazil and represented fauna and flora, being recognized for the quality of her illustrations, relating the artistic and scientific rigor.
O Desenho ? uma forma de representa??o bidimensional, feitas por tra?os e linhas em uma determinada superf?cie, por?m, ele ultrapassa essa denomina??o e abrange significados maiores. Esta pesquisa aborda o Desenho e sua rela??o com o Registro, a Mem?ria e a Ci?ncia. A forma de representa??o gr?fica sofreu algumas altera??es desde eras primitivas at? a atualidade. Durante a Idade M?dia, o Desenho tinha fun??o religiosa e era sobrecarregado de simbologias e elementos fantasiosos; com o Renascimento, novas formas de representar a realidade graficamente surgiram, e como categoria do Desenho, surgiu a Ilustra??o Cient?fica, que se caracteriza por transmitir informa??es de maneira objetiva. O trabalho desenvolvido aborda as Ilustra??es da artista brit?nica Margaret Mee, que viveu no Brasil e representou fauna e flora, sendo reconhecida pela qualidade de suas Ilustra??es, relacionando a Arte e o rigor Cient?fico.
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Bean, Deirdre Anne. "Australia's mangrove species: botanical watercolour illustrations of a plant community facing an uncertain future." Thesis, 2016. http://hdl.handle.net/1959.13/1321951.

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Research Doctorate - Doctor of Philosophy (PhD)
Mangroves have always been present in my life growing up and living in NSW. Up until 2009 I had considered them functional yet not overly attractive plants. A visit to the Daintree River in tropical Far North Queensland changed my opinion forever. The beauty and unique characteristics of mangroves captivated me and I was compelled to document them. I learned that mangroves are a diverse and vulnerable community of intertidal plants facing many threats including those associated with climate change and willful destruction by humans. The result of my research is 33 scientifically accurate watercolour illustrations of Australia's mangrove species broadly appealing to those interested in botany, botanical illustration and the visual arts.
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Hanna, Kathleen Ann. "The art and science of botanical illustration and identification: developing an illustrated handbook to the iconic wildflowers of Muogamarra Nature Reserve." Thesis, 2019. http://hdl.handle.net/1959.13/1403437.

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Research Doctorate - Doctor of Philosophy (PhD)
‘The Art and Science of Botanical Illustration and Identification: Developing a Handbook to the Iconic Wildflowers of Muogamarra Nature Reserve’, is an exploration into the visual nature of plant identification. The purpose of this project is to produce detailed and scientifically accurate coloured botanical plates that represent a carefully selected variety of iconic understory plant species found in Muogamarra Nature Reserve. Each plate features the flower, leaves, fruit and seed from a single species, and is illustrated using traditional methods of painting with watercolour on paper. The aim is to capture the essence of each plant for quick identification without the need for dissections, or excessively detailed textual descriptions. After thorough investigation, I have concluded that there is very little illustrative information available to the public that describes the native flora growing in bushland within Muogamarra Nature Reserve and this project aims to correct this gap in knowledge.
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Robert, Kimberlie M. "Women's botanical illustration in Canada : its gendered, colonial and garden histories (1830-1930)." Thesis, 2008. http://spectrum.library.concordia.ca/976097/1/MR45323.pdf.

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This thesis studies botanical illustration by Canadian women between 1830 and 1930 from three aspects: the gendered history of botany from its beginnings as a general practice that later turned into a systematized science, botany's colonial agency in Canada, and the influence that garden design had on botanical illustration. A botanical illustration is, on the surface, an intense scientific flower study complete with anatomical details intent on documenting the plant's stages of growth. It is a portrait that was thought to be an appropriate teaching tool. Executed with proper artistic and observational aptitude, the botanical illustration is a striking piece of artwork. However, the nature of art is often too fluid and subjective for the fixity of science. My intention is to discuss nineteenth-century botanical illustration by Canadian women in terms of it being a cultural product that both fed female amateur floriculture and horticulture in England and Canada and that offered possibilities to cultivate professional identity more usually reserved for men. Women's authority to present the new masculine science of botany was at issue as women were caught in a complex social and scientific network that, on the one hand, encouraged them to teach botany and to produce botanical art while, on the other, restricted them from participating in higher scientific circles necessary for their advancement. As a result, their botanical production was a multivalent reflection of botanical education, of personal relationships with nature, and of colonial circumstances and expectations.
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Hoolihan, Tanya Louise. "Beyond exploration: illustrating the botanical legacy of the German/Australian explorer Friedrich Wilhelm Ludwig Leichhardt based on his written observations, letters and herbarium specimens 1842-1844." Thesis, 2018. http://hdl.handle.net/1959.13/1395086.

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Research Doctorate - Doctor of Philosophy (PhD)
Ludwig Leichhardt is synonymous with Australian exploration, yet his achievements extend well beyond the success of his overland expeditions. Beyond exploration, Leichhardt was a passionate observer of Australian natural history, who left a significant legacy of collected and written material, especially in the field of botany. The recent translations of his diaries recorded between 1842 and 1844 have exposed a lesser known period of Leichhardt’s life and helped to evidence him as a capable and diligent scientist. The published materials combined with Leichhardt’s collected plant specimens establish the foundation for my research and have subsequently informed my outcomes. From my research I have painted a series of botanical illustrations depicting specimens that were observed, recorded and collected by Leichhardt more than 170 years ago. The documentation of this research and creative methodology from field observations through to the final illustrations visually depicts Leichhardt’s historical contribution to Australian botanical science while providing information on creative process to botanical illustrators.
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Chiu, Ya-hi, and 邱雅琦. "A Study in the Impingement of Outdoor Environmental Education in the Botanical Garden－An Illustration of the Xia-Ping Botanical Garden Planning." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/27106023860743430834.

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碩士
國立臺灣大學
森林學研究所
92
In recent years, the development of technology and consumption of natural sources greatly exploit and negatively influence our invaluable natural environment. Therefore, the environmental issues have become the concerning topic worldwide. Environmental education became the spotlight due to human beings began to concern their environment. After school year 2001, environmental issue has been entitled as one of the five main topics in the Grade 1-9 Curriculum, which hope to make people have the whole understanding of the ecological environment and natural sources by environmental education. Among many teaching methods of environmental education, teaching outdoor has gained its academic foundation and practical effectiveness. “Outdoor Environment Education” becomes the new terminology after long-term interaction between outdoor education and environmental education. “Outdoor Environment Education” can develop people’s interest and understanding on natural environment more effectively in order to solve the practical environmental development problems. However, teaching in the botanical garden, the imitation of real ecological environment, has reached its applicability in Instructional Assessment. In this thesis, at first, we figure out the possibilities of advancing directions for botanical garden’s education functions by analyzing the methodological foundations of outdoor environment education and the working conditions of famous national or international botanical gardens. Then, by understanding the relations of environmental education, outdoor teaching, and working conditions of botanical gardens, we develop the operational framework for planning the outdoor environment education in botanical garden. Finally, the Xia-Ping botanical garden was chosen as a study site for planning the Hardware and Software environment for the outdoor environment education. The results could be used as the re-structural blued-printed plan for Xia-Ping botanical garden.
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Lin, Wei, and 林葳. "A Research on Botanical Illustration Style using Wallpaper Design for Taiwan’s Endemic Species Fern as an Example." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/j64m5x.

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碩士
銘傳大學
商業設計學系碩士班
103
Taiwan is being called “The Kingdom of The Ferns” and this comes with reasons. It is an inland located in the subtropical zone which the land area is not large, yet the mountain proportion has taken more of the half. Species of their plants have contributed a wealth of resources especially the ferns, not to mention that some of the ferns have even been existing since the ancient times. The ferns grow in an elegant way along with their leaves in abundant and exquisite forms and furthermore -- their growing pattern can also be mathematically generated and reproduced at any magnification or reduction. This not only mates with the principles of design, but also is worth of study and analysis. Researcher has chosen five representative Taiwan endemic species of the ferns to proceed with the physical characteristics and then to analyze the relationships of the organizational structure among them. In the end, by using graphic design principles combined with illustration technique to create the pattern. As for the exploration of painting style, researcher will collect and analyze each type of botanical illustration, apply with painting mediums, modern computer graphics etc. and hope to extend the application of botanical illustration and to demonstrate the beauty of Taiwan endemic species of the ferns to the world.
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Ndhlala, Ashwell Rungano. "Pharmacological, phytochemical and safety evaluaton of commercial herbal preparations common in South Africa." Thesis, 2009. http://hdl.handle.net/10413/729.

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Books on the topic "Botanical illustration"

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Forty, Sandra. Botanical prints. Charlotte, North Carolina: T&J, 2013.

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Scott, Mary Ann. Botanical sketchbook. Loveland, Colo: Batsford, 2010.

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Wunderlich, Eleanor B. Botanical illustration in watercolor. New York: Watson-Guptill Publications, 1991.

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Wunderlich, Eleanor B. Botanical illustration: Watercolour technique. London: Studio Vista, 1991.

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Robson, Eve. Botanical prints. London: Collins & Brown, 1991.

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Lucia, Tongiorgi Tomasi, and Studio arti floreali (Rome, Italy), eds. Botanical art. Roma: De Luca, 2005.

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1955-, Angell Bobbi, ed. Botanical illustration: Preparation for publication. Bronx, N.Y., USA: New York Botanical Garden, 1986.

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Blunt, Wilfrid. The art of botanical illustration. Woodbridge, Suffolk: Antique Collectors' Club in association with the Royal Botanic Gardens, 1994.

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Sherlock, Siriol. Botanical illustration: Painting with watercolours. London: Batsford, 2004.

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Blunt, Wilfrid. The art of botanical illustration. Woodbridge, Suffolk, [England]: Antique Collectors' Club in association with the Royal Botanical Gardens, Kew, 2000.

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Book chapters on the topic "Botanical illustration"

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Page, Joanna. "3. Floras, Herbaria, and Botanical Illustration." In Decolonial Ecologies, 93–136. Cambridge, UK: Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0339.03.

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New World plants were exhaustively catalogued in the floras and herbaria produced by the great scientific expeditions led by European naturalists in the eighteenth and nineteenth centuries, such as the Royal Botanical Expedition to New Granada (1783–1816), directed by José Celestino Mutis. Species were primarily illustrated in a way that would allow their identification according to Linnaean taxonomies. Three contemporary artists from Colombia—Alberto Baraya, María Fernanda Cardoso and Eulalia de Valdenebro—have reworked the Enlightenment norms of botanical illustration in order to draw attention to their many erasures and to chart environmental change over the past two centuries. Baraya’s Herbario de plantas artificiales (2002–) celebrates the anomalies and aberrations that were smoothed out in the European quest for a universal system of classification, exposing the relationship between modern Western science and the dynamics of economic and cultural dispossession. De Valdenebro’s seed collections contrast the homogenization and commercialization of transgenic varieties with the greater biodiversity of native seeds, whose cultivation has unfolded within a much higher degree of reciprocity between humans and their environment. In On the Marriages of Plants (2018), Cardoso reflects on Linnaeus’s use of sexual terms borrowed from the human world in her exploration of more recent research into reciprocal relationships between plants, insects, and humans. I bring these projects into dialogue with a selection of illustrations by Abel Rodríguez (Mogaje Guihu), an artist whose work preserves the ancestral knowledge of the Nonuya and Muinane communities in the Colombian Amazon. Contrasting with Linnaean abstraction, Rodríguez’s drawings and paintings depict rainforest ecosystems in ways that cast light on Amazonian concepts of cohabitation and the co-constitution of human and nonhuman subjects. These enter into conflict with two dominant Western paradigms: extraction, on the one hand, and conservation, on the other.
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Tosi, Alessandro. "Botanical Illustration and the Idea of the Garden in the Sixteenth Century Between Imitation and Imagination." In Gardens, Knowledge and the Sciences in the Early Modern Period, 183–210. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-26342-7_9.

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Achille, Frédéric, Philippe Bardin, Cécile Bonneau, Maïté Delmas, Marie Di Simone, Olivier Escuder, Marie Fleury, et al. "Illustrating the Roles of Botanical Gardens in Plant Conservationin." In Botanical Gardens and Their Role in Plant Conservation, 91–120. Boca Raton: CRC Press, 2023. http://dx.doi.org/10.1201/9781003282556-5.

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Moradei, Clizia. "Fashion Education: Cultivating Fashion Designers-Plants." In Springer Series in Design and Innovation, 443–51. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-49811-4_42.

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AbstractIn the context of the contemporary social and ecological crisis, this contribution proposes a reinterpretation of current fashion design educational programs through a bio-inspired perspective, with the intent of guiding next generation fashion designers to successfully face such issues. The investigation delineates the theoretical subsoil to frame the topic by illustrating some key concepts connected to ‘fashion futuring’, ‘making kin’, plant neurobiology, collective authorship and co-design, translated within fashion studies. Specific plant neurobiology and botanical definitions are then applied to the qualitative analysis of two peculiar didactical case studies: the Master in Co-diseño de Moda y Sostenibilidad at the Escola d’Art i Superior de Disseny de Valencia (Spain); the course in Biomoda at the Universidad de los Andes (Colombia). Proven the evidence that nowadays the needs of the planet and those of the fashion labour market must be realigned, the ultimate goal in education must be to train professionals capable of pursuing principles of sustainability. This is possible implementing redirection practices in a ‘futuring’ perspective, by operating as a collective parental-like organism establishing multidisciplinary dialogues. The vegetal metaphor allows weaving analogies between specific plant attitudes and today’s essential design requirements. Such aspects are not only useful to visualize and guide the creation of collective paths and sharing dynamics, but also to enhance the structuring of emerging experimental academic fashion curricula on the model of the fashion designer-plant hybridization.
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"Botanical Illustration." In The Visual Dictionary of Illustration, 50. AVA Publishing SA Distributed by Thames & Hudson (ex-North America) Distributed in the USA & Canada by: English Language Support Office, 2009. http://dx.doi.org/10.5040/9781474293754.0038.

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"[Illustration]." In The Gardener's Botanical, 320. Princeton University Press, 2020. http://dx.doi.org/10.2307/j.ctvvh85k9.11.

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"of the West in accurate botanical illustration, which has." In The Grand Titration, 62–63. Routledge, 2013. http://dx.doi.org/10.4324/9781315018867-17.

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Foster, Karen Polinger. "True and Proper Pictures." In Strange and Wonderful, 110–42. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190672539.003.0006.

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This chapter assesses the representation of exotica in European art. This depiction sheds considerable light on the constructs of veracity and the bounds of imagery, from the Middle Ages to the nineteenth century. In addition to their subsidiary but vital roles in historical landscape and commemorative narrative, exotica served as the principals in natural history illustration. Among the first works with detailed, if schematized, illuminations of flora and fauna were religious texts and medieval editions of ancient medical treatises. These largely didactic presentations of European plants and animals provided the pictorial structure for the earliest renderings of exotica. Whether artists drew them from life in the course of their travels, viewed them in menageries and botanical gardens, or based their illustrations on collections of dried or stuffed specimens, they placed their subjects against uniformly plain backgrounds. Land mammals, aquatic creatures, and plants were suspended in a pristine world, while birds were shown perched upon accessory branches.
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"Leonardo da Vinci and Botanical Illustration: Nature Prints, Drawings, and Woodcuts ca. 1500." In Visualizing Medieval Medicine and Natural History, 1200–1550, 227–60. Routledge, 2016. http://dx.doi.org/10.4324/9781315234946-17.

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"Botanical Illustrations." In Plant Systematics, 697–700. Elsevier, 2019. http://dx.doi.org/10.1016/b978-0-12-812628-8.50025-0.

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Conference papers on the topic "Botanical illustration"

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Pertinez-Lopez, Jesus. "MOTION GRAPHICS FOR BOTANICAL ILLUSTRATION: NEW EDUCATIONAL EXPERIENCES." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018h/61/s16.062.

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Serebryakov, O., and Nadezhda Prokhorova. "CONSIDERING THE ROLE OF BOTANIC GARDENS AND ARBOTETUM FOR THE DEVELOPMENT OF ECOLOGICAL EDUCATION." In Modern problems of animal and plant ecology. FSBE Institution of Higher Education Voronezh State University of Forestry and Technologies named after G.F. Morozov, 2021. http://dx.doi.org/10.34220/mpeapw2021_66-72.

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Today, the question of the need for environmental education is of particular importance. It is necessary to restore harmonious ties between man and nature, and this is possible only in contact with the natural environment itself. The irrational use of natural resources, the progressing economic activity of man, which does not take into account the laws of the development of natural systems, lead to a change in natural processes, a violation of the balance of the biosphere. Analysis of various approaches to educational activities in the field of environmental culture revealed the importance of specially protected natural areas in environmental education. They have unique benefits for biodiversity education by providing visual illustrations of the diversity of natural ecosystems.
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