When I was a kid the best part of going back to school was getting all new art supplies: crayons, pencils, erasers, paper, and a set of Prang watercolors complete with brush. That was BC (before computers) when we had low-tech materials and used some pretty basic techniques. One day the teacher showed us how to make crayon rubbings. We ran around making rubbings of all kinds of things, but my favorite was finding and using leaves. From those humble beginnings, I developed an interest in making scientifically accurate plant drawings, so by the time I got to high school Biology class I had a corner on the market of plant illustration, and firmly believe it was what allowed me to actually pass the class.
Making rubbings is still a good way to introduce the appreciation of nature and science, and it can be used as part of educational outreach programs for both children and adults. As a one-time event, in which the rubbing becomes the end product, is particularly good for dealing with younger children who have much shorter attention spans and a need for hands-on activities.
The earliest of the series discussed here is The Art of Botanical Illustration by Wilfrid Blunt (with the assistance of William T. Stearn), my volume published by Collins, London, 2nd ed., 1967 (1st edit. 1950). Compared to the number of images in the other books, this one has a modest 46 color plates; 32 black and white plates; 61 illustrations; and 18 figures to amplify the text. Having the 3 appendices and a comprehensive index contributes significant value to this volume. The 2015 reprint of the 2001 edition of the book has a steep list price of almost $70 but includes many more illustrations than the original. Of the four volumes considered here this one is the one most clearly directed towards educating the aspiring or even professional botanical artist in technique as well as offering an appreciation of the field’s history. It is also the most historically comprehensive (even trumping Rix with a photo of a Paleolithic plant carving). William Stearn is the notable author of Botanical Latin, so you can be sure this book brings both the expertise of the trained botanist as well as that of the professional artist. It’s important to remember that Blunt was born in 1901 and writes much in the insightful, detailed style of that day. Of all of them, it’s probably the most helpful to the intermediate and advanced botanical artist and teacher because of its comprehensiveness.
I am an Anatomy & Physiology professor, and the author/illustrator of a four-book series called The Visual Analogy Guides with Morton Publishing. These books cover the fields of anatomy, physiology, and chemistry and are sold to college students nationwide. In the publishing world, my books are classified as stand-alone supplements. Think of them as a combined study guide/workbook/coloring book all rolled into one. They are very visual and contain all the useful study tips not found in a typical textbook.
This is an exciting opportunity for up to three illustrators/artists to get involved in the daily happenings at Denver Botanic Gardens. Residents will document the day-to-day progress and changes in the Rocky Mountain plant world, interpreting the botanic gardens’ purpose as a place of preservation, conservation, education and diversity into images or works which bring others enjoyment and a deeper understanding of the environment some may never visit. The works completed under this residency contribute to the public understanding and appreciation of our gardens and offer an opportunity to see our activities through the eyes of the contributing residents.
From the moment I could see over the top of my mother’s drawing board, I was captivated by the magic of a blank sheet of paper turning into an image. I saw her hand with pen, pencil or brush create charming animals – often for me. That fascination never left me. All through school, in the Philadelphia suburbs, my interest especially centered on Art and Biology. Just before graduation, my biology teacher told me about medical art schools — information that I stored in my mind.
GNSI member 
PLAYA is a retreat for creative individuals who are committed and passionate about their work, and who will benefit from time spent in a remote location. PLAYA is a nonprofit organization supporting innovative thinking through work in the arts, literature, natural sciences and other fields of creative inquiry.
The Collective approaches their art as the creation of a teaching tool. At the GNSI annual conference, 
Ann's DuBois has launched a