During my botanical illustration course with Roman García Mora, biologist and scientific illustrator from Spain, and Illustraciencia I was assigned the challenge of illustrating Cistus heterophyllus subsp. cartaginensis, locally known as “Jara de Cartagena”. This rare species, a tiny rose look-alike, found in only a few regions of Spain, has a special beauty with their rose-like flowers and ecological significance. When I first started this project, I had no idea how challenging yet enriching it would be to work solely from herbarium specimens. I’ve always worked with live plants or pictures but never herbariums.
Step 1: Analyzing Herbarium Photographs
The project began with a deep dive into over 200 herbarium photographs of Cistus heterophyllus subsp. cartaginensis. Our instructor, Román warned us, that this won’t be easy, and I won’t make it easy either, we’ll do all the corrections necessary to present a professional and accurate illustration of this plant. At first, I was quite intimidated by the task—studying dried plants with their muted colors and flattened forms felt limiting, I’m used to working with color, a lot of color and working from live plants means, studying those colors fast (if it’s cut). Top that with the fact that this particular plant has a thick indumentum with two types of trichomes!, which made it even more complex to decipher from the photos.
I had to analyze each image closely, paying attention to details like leaf structure, the arrangement of the flowers, and the texture of the stems. I found myself returning to the photographs repeatedly, and over time, I started to feel more at ease. The process taught me that botanical illustration is as much about observation as it is about technical skill, patience, and good eyes!
Step 2: Initial Sketches and Corrections
Once I had a good understanding of the plant’s structure, or so I thought, I moved on to creating my first pencil sketches. I was confident that my attention to detail was sharp, but I quickly realized I was mistaken! Roman’s feedback was eye-opening. He pointed out subtle inaccuracies in the proportions and reminded me of the importance of representing the botanical details precisely. That meant for me, to slow down, breathe and critically observe.
It was humbling to receive so many corrections, but it also made me realize how much more there is to learn in this field. This process reminded me that botanical illustration is a lifelong learning journey—there’s always something new to discover with each species, no matter how much experience you have.
I have much respect for professionals doing this work day in and day out.
Step 3: Moving from Pencil to Digital Adjustments
After revising my pencil sketches based on Roman’s feedback, I turned to digital tools to refine the details. Working digitally allowed me to make adjustments rapidly, especially with elements like leaf venation and the subtle curve of the stems. I used software to correct the proportions, clean up the lines, and ensure every detail matched Roman’s high standards. But these were still just sketches, and they were still wrong.
It was a helpful way to experiment without the pressure of committing to ink just yet. This step allowed me to confidently move forward, knowing my illustration was as accurate as possible. But it wasn’t!
Step 4: Final Botanical Illustration in A3
The final task was to create an ink illustration on A3-sized paper. Working in ink felt daunting at first because it requires precision—once you make a mark, there’s no going back. I used stippling techniques to capture the texture of the leaves. The large format allowed me to bring out intricate details, from the tiny trichomes on the plant’s surface to the curvy veins running through the leaves.
This final phase was a rewarding culmination of all the work and corrections leading up to it. Each mark in ink felt purposeful, the result of hours of observation and refinement.
Looking back, the overall experience of working with herbarium species was enriching. It was very scary at first—I thought I had a keen eye for details, but I was wrong! The complexity of the plant’s indumentum, with its two types of trichomes, initially overwhelmed me. But after observing over and over again, I started to feel more comfortable with the task.
Receiving corrections from Roman was both humbling and motivating. It reminded me that I still have so much to learn, and this journey is far from over. One never stops learning and seeing new things. This project has deepened my appreciation for both the art and science of illustrating nature.
The course I did was: “Ilustrando Botánica” from Illustraciencia, the tutor was Román García Mora
To go to my portfolio for scientific illustration here
For commissions contact me through hello @ victoria-beyer.com