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Karl Blossfeldt | MoMA
Available at
https://www.moma.org/artists/24413#exhibitions
(Accesed on 20, January 2022)

Garden Museum
Available at
https://gardenmuseum.org.uk/
(Accesed on 10, December 2021)

The Book of Leaves
Allen J. Coombes
Published in 2016, Ivy Press

The biology of flowers
Penguin Books Ltd, 1979

Royal Botanic Gardens, Kew | Kew
Available at
https://www.kew.org/

Homepage - Horniman Museum and Gardens
Available at
https://www.horniman.ac.uk/

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German, 1865–1932. Karl Blossfeldt is best known for his precise photographs of plants; however, he began his career as a sculptor, completing apprenticeships at the ironworks and foundry in Mägdesprung and the Kunstgewerbeschule (Institute of the royal arts museum) in Berlin from 1884 to 1890. From…

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Karl Blossfeldt is best known for his precise photographs of plants; however, he began his career as a sculptor, completing apprenticeships at the ironworks and foundry in Mägdesprung and the Kunstgewerbeschule (Institute of the royal arts museum) in Berlin from 1884 to 1890. From 1890 to 1896 he traveled through Italy, Greece, and North Africa, working for Moritz Meurer, who theorized that natural forms were reproduced in art. From 1898 to 1930 Blossfeldt taught at the Kunstgewerbeschule in Berlin; during this time, he amassed an archive of thousands of photographs of plants that he used as models to teach his students.
Never formally trained in photography, Blossfeldt made many of his photographs with a camera that he altered to photograph plant surfaces with unprecedented magnification. Blossfeldt published a second volume of his plant pictures, titled Wundergarten der Natur (The magic garden of nature), in 1932. The clarity, precision, and apparent lack of mediation of his pictures, along with their presentation as analogues for essential forms in art and architecture, won him acclaim from the champions of New Vision photography.

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The euphorbias was one of the drawing tasks in Project 1, and while I was working on it I was fascinated by the shape of them, and after visiting Kew Gardens I decided to make plants my topic.

One of the reasons for this is that plants are both organism and inorganism. Whenever I go into a botanical garden I am always overwhelmed by the vitality of the plants. It is because each of their forms is so original, so interesting, so powerful. But plants don't have faces, we can' t hear their breathing, we can't feel their emotions. So there is only the power of life. I decided to use this topic because I thought that if I studied plants and reflected on their unique existence, I think I will be able to make my work more interesting and unique.

Another reason is that I believe that lines are an essential part of my work, and before I came to Camberwell I often referred to Henri Matisse in my work. For me, it was essential to establish the reference point from which the lines were made. I believe that by setting up a reference point on plants, I can make my work better, more interesting and unique.

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While drawing and researching plants, I realised what I wanted to study was not so much the plant as the shape of the leaves and petals. When we say plant we mean a big tree, a seedling or a whole plant in general, but I want to get closer, focus smaller and pay attention to the details of the leaves themselves. They have their own individuality and many different shapes, from the sharpest to the softest. The shape of the petals particularly gives people the impression of softness and elegance, but closer scrutiny shows that they are not only soft but also edgy. We want to focus on the shape of the leaves and petals, not the whole tree.

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I visited Kew Gardens. I was very interested in the huge amount of different plants there and did some drawings of plants.  The shapes of the plants are very different in each region and the shapes they have are cute and unique. What I felt when I looked at the plants was that they were inorganic objects with no face, but they were living things. They have a very organic form. I would like to take the charm of plants into myself and improve it by touching and drawing various motifs.

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I could saw one huge garden and other facilities as museum for the history of animals in Horniman. Plants and trees were already dead though, it was beautiful and interesting. I felt that my research theme is “plants” but I realised I am curious about particularly “leaf”, furthermore I would say “the form of leaves” is my best curiosity. Because I want to find what called basically reference for me, and I want to establish my work by using it. So I think I should learn how to create interesting line on my own from their shapes. “Trees” or “plants” is too ambiguous term for my research theme, although if I decide to study the shapes of leaves, it will be very helpful for my works in the future since I think their shapes are very interesting respectively, and those are strange and powerful. By referring them, I think I will be able to make my own interesting works which has powerful and kind of weird feeling. I am going to specify this idea then I want to know their structure and classification through reading some books about plants and do drawing them again and again.

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Garden Museum is located in nearby the river. it is in beautiful tower.

The Garden Museum explores and celebrates British gardens and gardening through its collection, temporary exhibitions, events and garden.
Visitors will also see a permanent display of paintings, tools, ephemera and historic artefacts: a glimpse into the uniquely British love affair with gardens.

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While a simple leaf is undivided, although it may be lobed or toothed, a compound leaf is one that is divided into a number of leaflets. It may be palmately compound (divided the manner of a hand) or pinnately compound (divided like a feather). In a compound leaf, the leaflets are always separate from each other and attache directly to the leaf stalk in a palmate leaf, or to the rachis (the extension of the leaf stalk in pinnate leaf to which the leaflets are attached)

In some cases simple leaves on a shoot can be mistaken for the leaflets of a pinnate leaf, especially if the leaves are opposite. The easiest way to tell the difference is to look at the point where the leaf (or leaflet) is attached. A simple leaf on a shoot will have a bud in its axil where it joins the shoot. This is the point from which a shoot may develop in the next year.

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The shapes of the leaf its parts are very useful for identification. The blade of a leaf variesb from very linear to rounded, and is sometimes broader than long, with every shape in between. The shape the tip and base are important features for identification. The tip can be rounded or indented to bluntly or sharply pointed, or tapered abruptly to a long or short point. The base can be rounded to heat shaped, truncate or narrowly to broadly wedge shaped.

Leaves and leaflets can be entire or variously toothed, with blunt, pointed, glandular, or bristle-tipped teeth. Teeth can be single or double, in which case a single tooth bears one or more smaller teeth on its margin. Leaves can also be variously lobed with the lobes either arranged pinnatelysuch as in many oaks or palmately as in many maples. When the lobing is pinnate, the veins from the lobes will normally run to the midrib of the leaf. If the lobing is palmate, the veins normally meet at or near the base of the leaf. The number of veins on a leaf can also be important.