St Cuthberts Mill : Artist Interview: Emma Tildesley on Botanical Art

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.