Botanical illustrations and unique glass vessels
Could you share your artistic journey with us?
How did you become a botanical artist, and what led you to start creating glass vessels with your artwork?
My journey into botanical art began as a happy accident. With a background in computer science and years as a consultant, I never imagined my path would lead here. But one Christmas, I gifted my husband and myself a course in "Botanical Painting with Coloured Pencils." I was instantly captivated and found myself drawing at every opportunity, losing track of time in the world of botanical art. My husband encouraged me to enter exhibitions, and only four years later, I was honoured to showcase my work at the Royal Horticultural Society, where my pen and ink Chrysanthemum series won a gold medal.
Glasswork also entered my life unexpectedly. During isolation with COVID, I explored Potichomania and eventually discovered the art of reverse decoupage on glass. A friend’s suggestion to incorporate my botanical images sparked a new vision. After experimenting with Japanese papers, inks, and varnishes, I created a distinct, unique style that merges art and glasswork. The response to my early pieces was beyond anything I’d imagined. Now, with over 60 pieces completed, I’m preparing for an exciting launch exhibition.
What does a typical day in your studio look like, and what materials and techniques do you primarily work with?
I don’t really have a typical day in the studio; it all depends on the project and what stage I’m at. I try to start by 9 a.m. and usually work through until at least 4 or 5 p.m.
When I’m drawing, I focus solely on that until the piece is finished, whether it’s for an exhibition, prints, or glasswork. I primarily use coloured pencils, but I also enjoy working with graphite, pen and ink, and watercolour. When I’m in the middle of a drawing, it takes up all my attention until the artwork is complete.
For my glasswork, the process is quite detailed and layered. It begins by selecting and printing images I intend to use in the design. I cut each image out by hand with a tiny scalpel, and then start the intricate process of placing them on the glass, layering and repositioning until satisfied. This is just the first of many layers; I usually add at least three more layers, with the last being a design layer viewed from the outside of the glass. I decide whether to use more images, paint, or even gild the piece with gold leaf for the desired effect.
Once the design is complete, I turn my attention to the rim, which may be painted, gilded, or left natural. After that, the most time-consuming part of the process begins—applying numerous coats of Guild Lane Clear Coat Gloss Varnish over several days to ensure the outside has the same polished look and feel as the inside. The final step involves painting and varnishing the collar or base of the piece.
What are your favourite pieces to create, and what inspires the unique designs on your glass vessels?
The shape of the glass vessel itself often inspires the design. I usually get an initial idea, which could come from my catalogue of drawings or something I’ve seen or heard, and the design flows from there. Every glass piece features two designs—one on the inside and one on the outside—set against the beautiful Japanese papers I use as background.
For larger bowls, the inside design is most prominent, while on vases, both design layers are equally visible. Creating the inside design is the most complex as I work in reverse order with the images.
How do you ensure each piece you create is unique and stands out from others?
It would be nearly impossible for me to recreate the same bowl twice, and I wouldn’t want to. Each glass piece has at least four layers, including two distinct design layers. While I may use the same image on multiple pieces, each one varies in size, position, and combination with other images. Additionally, each piece has a unique base or collar, ensuring every creation is one of a kind.
What influences your colour choices, design patterns, and overall inspiration for each piece?
I often use complementary colours from the colour wheel, but sometimes I choose a colour simply because it feels right. I don’t follow rigid rules; my process is organic and evolves as I work, with each design naturally flowing once I place the first image on the glass.
What do you enjoy about incorporating Guild Lane products into your work? Could you provide some examples of how you use them?
Jubilee, Gild and Super Gild paints are easy to work with and provide a consistent, even finish on bases and collars, drying very quickly. The Guild Lane Coating Extras Clear Coat is my varnish of choice, and I apply 30-35 coats to every glass piece to achieve a polished, glass-like finish on the outside. These paints allow me to create painterly effects on the edges, bases, and collars of each piece, adding to their unique quality.
Where can people find your creations? Do you accept commissions, sell online, in shops, or all of these?
Follow me on Instagram at @karenmusgravehill. My website is being redesigned at www.karenmusgravehill.com. I’ll also hold a solo exhibition showcasing my glass pieces and botanical art, with details on Instagram and my website.
What has been the most rewarding aspect of your artistic career so far?
Being awarded an RHS Gold Medal the first time I exhibited with them was an honour, but seeing the reaction to my glass art has been equally rewarding and encouraging.
Do you have any advice for aspiring artists, particularly those interested in botanical art or working with glass?
Just give it a go; you never know where it might lead. Botanical art requires deep concentration, precision, and strong observation skills, with patience being key for working with coloured pencils. This medium allows me to achieve photorealistic or hyper-realistic results I can't replicate with any other medium.
Since starting botanical art, I’ve become more patient and attuned to colour, light, and shadow. When drawing or working on glass, everything around me fades, and I become fully absorbed in the creative process.
Are there any exciting projects or plans for the future that you'd like to share with us?
The most exciting project is my upcoming solo exhibition, where I’ll showcase new botanical pieces alongside my glasswork. This will debut later this year or early next year.
I’m also experimenting with gilding on glass and paper, creating prints with 23-24ct gold leaf. My passion for drawing remains strong, and I’m planning more hyper-realistic botanical pieces in coloured pencil. I'm also considering offering additional courses on botanical art and glasswork.
