Artist Scientists: Art Education Through Botanical Illustration
By Hannah Wiggins; Art and Design Subject Lead for Inspiring Future Teachers, Rosebery School
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At Rosebery School, a large state comprehensive school for girls in Epsom, our Art Department trains students to create, but also to observe, think critically, and connect artistic practice with a wide range of disciplines, including scientific exploration.
As part of a balanced KS3 curriculum, Year 7 students are invited to step into the shoes of botanical illustrators and scientific record-keepers, learning to see the world not just as makers, but as researchers.
A Curriculum Rooted in Purpose
In recent years, we’ve aimed to create a curriculum that broadens students’ understanding of what art can be, connecting decorative and expressive approaches with real-world application. As one of our four ‘projects’ over the year, my goal was to shift perceptions — from seeing art solely as self-expression to understanding its role in documentation, research, and design.*
Our Head of Art, Design and Making, Penny Rundle encourages all curriculum design to ‘start at the end’, and ask ourselves: “what kind of young artists and thinkers are we trying to grow?” Questions like How can I record like a scientist? and “What skills does a botanical artist need?” guided my planning from the outset, with task design following this need.
Professional Language
Using the visual field guides similar to ones used in Biology lessons, and the excellent online resources from Kew Gardens **, students were introduced to the delicate, disciplined world of botanical illustration as a profession, rather than a springboard for a personal response.
These references grounded the project in function - making it clear that each decision in their art should serve a purpose, just as it would in scientific documentation. Then as we diversified our techniques, we kept the language of the profession at the forefront of our discussion – ‘how could this help us communicate the structure of the plant?’ ‘How might you label this artefact/ record?’. What ‘might a scientist need to see here?’
From Classroom to Fieldwork
Midway through the scheme, theory met practice on a trip to RHS Wisley. There, students participated in an art-focused workshop and saw real plant specimens pressed and preserved in a working herbarium.
They sketched and photographed ‘in the field’, collecting their own images to bring back to the studio for further exploration. Having a really rich and visually exciting environment to work in made a huge difference to some students as they returned to the classroom to act on ideas they’d had as ‘seed pod designers’ and refine their drawing skills to work up an observation they’d made into a skilful 2D piece.
Process Over Product
In a considered departure from the traditional “final piece” model of art assessment, students were encouraged to build and reflect on a collection of works. Drawings, photographs, cyanotypes, clay models, and hand-pressed samples sat together as a record — not just of artistic effort, but of careful study. This, when managed and reviewed with care, allows for repeated exploration and critical dialogue about how to share visual information - in this case about the form, function, and the life cycle of plants
Importantly, each piece of work had a real function — whether it was a detailed label for a specimen, or a drawing designed to echo those found in biology field guides.
The timing of this project in the spring term was intentional. The crossover with the science curriculum, especially timed to coincide with lessons around plant structure and photosynthesis, gave the project added relevance and depth. As the natural world came to life, students were able to engage with fresh plant specimens and take full advantage of the joyful experience of learning outdoors in the spring.
Students tend to respond with enthusiasm, enjoying the precision required and the satisfaction of using scientific vocabulary to articulate their observations. Some were especially drawn to the clarity of working to a brief - it gave them direction and a sense of professionalism.
Personally, I enjoy seeing a much-needed reconnection with the natural world as I draw alongside students at Wisley, seeing their homework collecting and pressing specimens and hearing about their enthusiastic discoveries.
Resources
With contextual references ranging from the V&A archives to contemporary illustrators, the project offered a rich tapestry of inspiration. Students saw that the field of botanical illustration is rooted in tradition but far from outdated — it’s alive, evolving, and relevant in today’s world. Some of the most useful practitioners I included are: Isik Guner, Anna Atkins, Jenni Ward and Lucy T Smith.
Success in such a precise project benefitted from investment in the right tools. Tiny brushes and fine liners, sun-print paper and dried and living plant specimens all found their way into the classroom toolkit. We bought field study guides and extended our collection of natural forms.
At its core, I hoped that this series of lessons might offer a reminder: art doesn’t stand apart from the world, good visual communication connects us, and furthermore, we don’t have to choose between creativity and rigour. When disciplines intersect, students don’t just make better art — they become better thinkers.
*It is useful to note that this part of the curriculum was balanced by a Japanese illustrative printmaking project, abstract, responsive experiments with gesture, and painted observational still life informed by colour theory.
** Specific resources we used to introduce students to the discipline in a professional context:
https://www.botanicalartandartists.com/what-is-botanical-illustration.html
https://www.youtube.com/watch?v=_B6yRDDxOzw
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