Amongst the most substantial remains at Sandal Castle are two garderobe shafts on the moat side of the Great Chamber. The gardrobe gets its name because the smell associated with a medieval toilet was reputed to protect clothes from moths.
I’ve drawn this using the cartoon style that I used when I painted scenery for the Pageant Players’ pantomime. To create something that looked like pen and ink from the point of view of the audience, I’d draw the scene in slightly watered-down black emulsion using a half-inch filbert brush and get my team to fill in the blocks of colour.
We’d normally conclude a pantomime with a palace scene but occasionally we’d have a more rugged-looking castle to paint but the audience never got to see the garderobes.
Presumably the Royalists didn’t employ any of The Diggers, otherwise known as The Levellers, in the construction of Sandal Castle’s English Civil War defensive earthworks because The Diggers were a radical Puritan group keen to claim common land on behalf of the people.
The final section of my proposed Rhubarb Sketchbook animation is all about the pleasures of getting out and walking in the Rhubarb Triangle between Wakefield and Leeds.
Highlights include:
a medieval deer park at Gawthorpe
a rabbit warren on Lindale Hill
the ‘world’s first railway’ at Middleton
a Viking boat and a Victorian aqueduct at Stanley Ferry.
There’s a possible fourth section too: if time (and a little extra budget) allowed, I’d add a short animation featuring the three rhubarb recipes that proved such a popular feature in my booklet of Walks in the Rhubarb Triangle.
Storyboard for section one of my ‘Rhubarb Sketchbook’ animation
Speeding along the motorway, you can cross West Yorkshire’s Rhubarb Triangle in five or ten minutes but put on your boots and get out walking and there’s so much to discover. For a Creative Digital Challenge for next month’s Rhubarb Festival, I’m putting together a proposal for a short animation. I’m trying to pack a lot into it:
8 picture maps
3 comic strips
60 pen and watercolour sketches
Section one is A Brief History of Rhubarb: From mammoths to Marco Polo; Chinese medicine and herbal cures; Victorian gardens and the Rhubarb Special night train from Ardsley Station, which, until 1966, carried 200 tons of rhubarb to London.
Designed in Clip Studio Paint using my desktop iMac, plus graphics pad, drawn in Procreate on my iPad Pro.
In week two, ‘Brains’ of the University of York’s The Biology of Bugs, Brains and Beasts course, for our homework we’ve been asked to get our neurones and synapses working by trying to memorise Pi. They give us the ratio to a hundred digits but in my comic strip mnemonic I’ve gone for the first fourteen:
3.14159265358979
I have a habit of looking for dates when I’m memorising numbers, so the first four digits 1415 set the historical period for me. I did actually have a Welsh granny, Anne Jones, from a Welsh-speaking family in Connah’s Quay, so for the ‘9’ I decided to go for ‘Nain’, pronounced ‘nine’, the Welsh for granny.
To really make this work as a memory-jogger, I’d have to try and bring in all my senses when remembering this story: the buzz of angry bees, the sweet scent of the meadow flowers, the texture of the old gate as it creaks open. It’s important to get a flow going for the story because I need to remember the numbers in a particular order. It’s different to one of those memory games where you’re asked to remember a collection of random objects in any order.
I crammed four digits into the final frame. At this rate, to remember one hundred digits, I’d end up with graphic novel seven or eight pages long. In case I ever need to know the ratio of Pi to fourteen decimal places, I should be able to remember by thinking back to the comic strip but, more usefully, I’ve enjoyed getting back into drawing on my iPad, which I’ve taken a bit of break from over the last three months.
Here’s my finished gnome comic strip with speech balloons added and, a final flourish, a couple of subtle glows. I’ve still got a lot to learn about Clip Studio Paint but at least I’ve gone through all the stages of Kamakiki Mai’s tutorial, plus a few extras such as the speech bubbles.
Gnome Tony is the first gnome that you meet on the Gnome Roam at Newmillerdam Country Park and this strip is based on an incident I saw on a morning’s walk during the last half term holiday. Beware the Wrath of the Gnome! Tony has friends dotted around throughout the park . . . you have been warned!
I used my iPad to photograph these textures in the garden: wood grain on the shed, wood chip on the path and lichens on sandstone. There’s also a swatch of watercolour paper and one of our dining room carpet. By importing an image into Clip Studio Paint, I can superimpose the texture on my artwork.
I superimposed the watercolour paper over the whole image then scaled the lichens, vertical wood grain, wood chip and carpet onto the individual panels. The horizontal wood grain was superimposed on the title. I used the ‘Overlay’ setting for each layer and reduced the opacity to about 50% except in the case of the wood chip on the falling boy panel, which worked better on the ‘Screen’ setting, probably because there is more contrast in the wood chip image.
Just the speech bubbles to go in now and I’m finished! I’ve learnt so much from Kamakiki Mai’s tutorial.
It seemed a long process, building up the flat colours each in its own layer – trees, figures, gnome, ground – but when it comes to painting with a virtual watercolour brush to add light and shade, I can see the point of all that preparation. There’s a ‘lock transparent pixels’ button, which sounds technical but it means that, if, for instance, you’re painting a shadow on one of the figures, your shading won’t spill over onto the background.
I’m working on the big screen of my iMac Retina desktop computer, painting using my Wacom intuos 4 graphics tablet. To change colour I’ve been selecting the eye-dropper tool from the menu in Clip Studio. How useful it would be if I could alternate between watercolour brush and eye-dropper by clicking the lever on the Wacom stylus. I tried clicking it and discovered that the lever is already set to activate that particular shortcut!
Wacom stylus, with that handy shortcut lever, which I’ve just started to use today after I’ve had my intuos 4 tablet for seven years!
That speeds things up a lot and the other refinement that I’ve been able to include, thanks to my large screen is to float a large version of the Colour Wheel Palette on my workspace, so that I can easily select lighter, darker or more colourful versions of any flat colour that I sample.
One final improvement is that I’ve specified and saved a virtual watercolour brush, which I’ve called ‘My Even Watercolour’. Unlike the default ‘Transparent Watercolour Brush’ that I’d normally use, it doesn’t lift a small amount of colour from a previously painted background, as a real-life watercolour brush would. To adapt this new brush with a few tweaks from the regular ‘Transparent Watercolour Brush’, I followed Kamakili Mai’s instructions in the step-by-step tutorial that I started going through yesterday.
Adding flat colours is one of the pleasures of creating a comic in Clip Studio Paint but I found setting it up for the first time a bit technical so I needed to do a bit of searching online and watching YouTube videos to find some of the features which can be ‘hidden’, lurking in sub-menus. But once I got going the paint bucket worked well. It has a ‘paint unfilled areas’ options for getting the odd spots that inevitably get missed on the first pass.
The next stage is to add more colour using a virtual watercolour brush to get a bit of light and shade into the frames and I also want to try adding texture and a gradient.
There are also a couple of speech bubbles to add. The story seems to me to be self-explanatory without them, but it’s another technique that I want to practice.
