St Cuthberts Mill : February 2026

Ambassador Emma Tildesley is a UK-based botanical artist, working primarily in coloured pencil and watercolour.

Surrounded by the rich diversity of plants and wildlife in rural Worcestershire, she draws daily inspiration from the natural world. Her signature style is defined by intricate detail and vibrant colour, capturing the true beauty of nature with gentle care and authenticity.

In addition to her personal practice, Emma is actively involved with the Society of Botanical Artists, recently taking on the role of Co-President. She also shares her passion for art with students around the world through her Patreon channel.

We asked Emma about her experience of botanical art and how Saunders Waterford® supports her work.

Tree Peony by Emma Tildesley
on Saunders Waterford

Botanical art demands both scientific accuracy and artistic sensitivity. How did you first come to botanical art, and what continues to draw you to this discipline today?

Creativity has always been a part of my life, though botanical art came much later in my journey. I previously worked in corporate settings, which left little time to deeply explore different art styles and mediums.

2018 marked a turning point, when I began working with botanical subjects and learning the techniques of watercolour and coloured pencil. It was a much-needed change, and it has since blossomed into completing the SBA Distance Learning Diploma Course and opening doors to many other exciting opportunities.

Capturing the beauty of plants is a delicate process that relies on planning, careful study, and a keen eye for small details. I’m fascinated not only by their aesthetic appeal but also by their scientific behaviours. From blooming roses to fungi, each specimen has its own unique character. My goal is to portray my subjects in such detail that their essence lives on through my art for years to come.

Flower Arrangement by Emma Tildesley
on Saunders Waterford

When starting a new botanical painting, what qualities are you looking for in a paper before you even make the first mark?

Before I make a single mark, I’m looking for a paper that feels dependable and controlled with the brush. I want a surface that can hold water evenly, has enough strength to tolerate multiple layers, and offers a subtle texture that supports fine detail without overshadowing it. For botanical work, the paper needs to be extremely dependable so that I can focus entirely on refining my technique and preserving accuracy.

How does Saunders Waterford® support the level of detail and control required when working with fine watercolour brushes and coloured pencils?

Saunders Waterford® gives me a remarkable level of control. The surface allows very fine brush points to stay crisp, which is essential for veins, edges and delicate tonal shifts. When I use coloured pencil, the paper grips just enough to build colour gradually without feeling scratchy, allowing for precise marks and soft transitions that are essential in botanical illustration.

Clematis by Emma Tildesley
on Saunders Waterford

You often combine watercolour with pencil. How does Saunders Waterford® perform when switching between wet media and dry techniques?

That versatility is one of the reasons I trust it and use the paper in wet and dry mediums. After multiple watercolour washes, the paper still feels receptive to dry media and there is no breakdown of the surface or resistance to pencil. I can move back and forth between wet and dry techniques seamlessly, refining details and adjusting colour without worrying about damaging the paper.

What reassurance does a 100% cotton, archival paper like Saunders Waterford® give you as an artist thinking about the future life of your work?

Helianthus annus By Emma Tildesley
on Saunders Waterford

Using an acid-free, archival paper gives me confidence that the many hours invested in an art piece are protected. I enjoy reflecting on my earlier works and visualising how my approach has changed over time. Saunders Waterford® paper allows me to do this without worry.

Also, botanical paintings are often collected, exhibited and passed on, and it matters to me that the work will remain in excellent quality for years to come. There are many wonderful historical pieces we have the pleasure of viewing today that could have been lost if painted on a medium that deteriorated over time.

Knowing the paper is made to last allows me to fully invest in my creativity, with the reassurance that the artwork has the best possible foundation for a long life.

Immature Blueberries by Emma Tildesley
on Saunders Waterford

Links

See more of Emma’s botanical work, or sign up for her classes by visiting her links:

emmatildesley.com

www.patreon.com/EmmaTildesley

www.instagram.com/emmatildesleybotanicalart

www.facebook.com/emmatildesleyart/

www.youtube.com/c/EmmaTildesley

www.tiktok.com/@emmatildesleyart

To learn more about our Saunders Waterford® range, visit our website.

Alan Woollett is a leading figure in contemporary hyperrealism, known for his exquisitely detailed coloured pencil drawings that blur the line between drawing and photography. His work demonstrates a deep mastery of observation, tonal control, and patience, resulting in images that feel both precise and quietly powerful. Through his art and teaching, Woollett has become widely respected for his clear, disciplined approach to realistic drawing.

In this interview, we speak with Alan about his drawing process and his long-standing preference for Saunders Waterford® Hot Pressed paper. He shares why surface quality matters so much in hyper realistic work and how this particular paper supports fine detail, smooth layering, and subtle value transitions essential to his practice.

'Snowy Owl' by Alan Woollett
on Saunders Waterford HP

What first drew you to wildlife and bird subjects, and why do they continue to captivate you?

I have been interested in birds and wildlife since childhood and would spend hours poring over picture books of animals.

I think the interest in birds began at that time too and my mother was an avid feeder of the birds in our garden. This gave me real access to a world of amazing creatures just outside the kitchen window. A world that still fascinates me today.

It’s wonderful to be able to share my passion for birds and other wildlife through my art and hopefully make others aware of the beauty of the natural world.

How do patience and observation play a role in your creative practice?

Working in coloured pencils is not a medium for people in a hurry! It can be a precise and slow process to achieve a satisfactory result - for me accurate observation is the key. Many of my subjects I have been lucky enough to observe in their natural habitats; aspects of behaviour, movement and presence are things I strive to convey in my drawings.

I generally start from a selection of my photos and thumbnail sketches which I will juggle around until I hopefully arrive at a pleasing composition.

'Sacred Ibis' by Alan Woollett on Saunders Waterford HP

Could you walk us through your technique for building depth and form in your wildlife drawings?

I generally start with an accurate line drawing on Saunders Waterford paper which I will then build up using light layer of colour in the same style as watercolour artists do.

Background subjects are usually drawn using a Grisaille method building up form using a single colour, usually a warm or cold grey.

Once that’s complete, I will then build up the colour and detail.

'Velvet Stag with hairdressing crew' by Alan Woollett
on Saunders Waterford

You’ve shared with us that Saunders Waterford® Hot Pressed is excellent for drawing on. What are the qualities of the paper that you enjoy?

I find Saunders Waterford Hot Pressed paper suits my style of drawing with its smooth surface which has the right amount of tooth to allow good coverage and also, durable enough to allow me to add many layers and fine detail as well.

It’s an excellent quality paper that always allows me to work to the best of my abilities whilst delivering the highest quality.