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 turn the moments I encounter in nature into lasting memories. 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.

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

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

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

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 with methods that date back to antiquity.

Painting on vellum is a deliberate extension of the way I approach my subjects. Its centuries-old role as a material for preserving words and images reflects my own interest in holding onto fleeting encounters with the natural world. Like memories, I often single out and paint only the most essential elements of a subject. I begin by choosing a piece of vellum whose character feels right for this purpose. Its individuality reflects that of the flowers, plants and seedpods I paint, while its smooth, translucent surface allows light, colour and material to interact in ways that continue to change throughout the day. The result is an image that invites repeated moments of looking and discovery.

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, so as not to disturb its character. I also likte to suspend pieces against soft coloured backgrounds, creating subtle viewing spaces that highlight the translucency of the vellum, the veins, and its often irregular edges.

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.