VELLUM | SOPHIE CROSSART BOTANICAL AND NATURE ARTIST

Vellum

Vellum is a central material in my practice. I am drawn to the individuality of each piece: its shape, translucency, surface and history all influence the direction of a painting. Many of the pieces I use are remnants with irregular edges and traces of a previous life. I work with the vellum to breathe life into portraits of flowers and plants and capture moments I encounter in nature. A selection of available vellum works can be viewed here.

Knautia arvensis, watercolour on vellum, 22 x 22 cm (framed size), 2026. Private collection.

Ornithogalum, watercolour on vellum, 22 x 22 cm (framed size), 2026.

Pinecone, watercolour on vellum, 22 x 22 cm (framed size), 2026.

Monarda bradburiana, watercolour on vellum, 22 x 22 cm (framed size), 2026.

Hyacinthoides hispanica, watercolour on vellum, 33 x 26 cm (framed size), 2026.

I am drawn to plants that feel like beautiful discoveries; the kind that catch your eye unexpectedly and make you stop for a closer look. When choosing a subject, I look for that quality of presence. Something that stands out from its surroundings, draws you in, and continues to reveal itself the longer you spend with it. The translucency of vellum lends itself particularly well to this. It allows light and colour to interact with the painting in a way that keeps changing throughout the day, inviting repeated moments of looking and discovery.

The material & practice

The material quality of vellum is an essential part of how my work is made and presented. I work with calfskin and goatskin vellum; membranes prepared using methods that date back to antiquity.

I begin by choosing a piece whose character feels right for the subject. Because vellum is smooth and largely non-absorbent, colour must be built gradually through many small, relatively dry brushstrokes. This slow process creates the dreamy, velvety quality I seek in my work, where brushstrokes, pores, veins, colour and form merge into a single vision.

The surface of my paintings on vellum responds continuously to changing light, revealing different qualities from different angles.

The way I frame the vellum is an integral part of the work of art I create. In some pieces, I frame the vellum secured with natural linen yarn against museum board. In more recent work, I have begun suspending the pieces against soft coloured backgrounds, creating subtle viewing spaces that highlight the translucency of the vellum and its often irregular, delicate edges. The backgrounds also bring out colour shifts within the paintings, allowing different elements of the work to emerge depending on light and distance.

Larger works are painted on vellum stretched over birchwood panels. This process creates a smooth, stable surface that supports the slow layering of watercolour while ensuring archival durability over time. Preparing vellum in this way requires patience and care, as the material must be carefully tensioned to achieve an even painting ground.