Richard Bell's nature sketchbook since 1998
I drew the buildings from the Seed Room at Overton recently but added the colour later. I thought about taking a photograph as colour reference but decided it would be a better exercise for my memory and imagination to recreate my impression of the colour.
I added the colour later to the sycamore from Ossett (left) but had a few minutes to add a quick wash when I drew the sycamores bursting into leaf at Newmillerdam last week (below).
I’m reading Marcos Mateu-Mestre’s Framed Drawing Techniques and trying his suggestions for using tone. This cloth hat lying on my desk was drawn with an Apple Pencil on my iPad Pro in areas of tone only – no initial line drawing – using the Lasso Fill tool in Clip Studio Paint.
Previously, as in this drawing of chitted potatoes, I’ve gone for a linocut or silkscreen printing effect using areas of solid tone, set to 100% opacity.
But following Mateu-Mestre’s method in his chapter on The Gray Scale, these tone swatches are actually all based on pure black.
Tone number one really is black but it was applied with a Clip Studio brush set to 70% opacity. The resulting grey was then sampled with the eyedropper tool and painted as swatch 2 but again at 70% opacity, making it that bit lighter and so on, grading the tones almost to pure white.
Meteorologist Tomasz Schafernaker apologised for using the phrase ‘easterly breeze’ repeatedly through his forecast yesterday but that’s what’s dominated the weather today. My barometer is showing 29.6 in Hg, 1002 mB, so it’s fine but the breeze from across the North Sea is keeping it cool and keeping the cloud moving.
This opium (not Himalayan) poppy had seeded itself on one of the veg beds, so I’ve transferred it to my plants for pollinators bed and it seems to be settling in.
This foxglove rosette will be relocated too, when we put in the runner beans and dwarf French.
Last month I was interviewed in Vis News, the Visual Narratives Academy Newsletter, by David Haden, who writes:
This issue we interview a fine British comics maker and illustrator who clevely combines digital methods with traditional looks. It’s a long and informative interview.
Vis News, March 2022
You can download a PDF of the article below (and it looks good if you can view it as double-page spreads).
I’m reading Shawn Martinbrough’s How to Draw Noir Comics so I’m on the look out for seedy characters and bleak urban settings on the mean streets of Methley and Birstall.
He suggests that you should take photographs of characters, cars and ‘still lives’ – plants, tables and chairs. Set the camera to black and white because that gets you looking for compositions in dark and light.
There were several diners in Pizza Express who would have made suitable characters but I didn’t have the nerve to ask them if they’d mind being photographed and opted for a discrete sketch instead.
I used the ‘Image Trace’ function in Adobe Illustrator on my iMac to convert my pen and ink drawing of a sofa into a vectorised image. On a layer below I used the pen tool and – my new favourite – the blob brush to add a few areas of solid colour.
You can then re-colour the image either by changing colours individually or selecting the whole image and going for an alternative scheme from a colour theme library. Here I’ve used ‘Pop Art’, ‘Prehistoric’ and ‘Ice Cream’ (the one in chocolate and pistachio).
I converted this sketch of our shed in the snow in Illustrator for iPad. Instead of ‘Image Trace’ there’s a very similar vectorise function, which can convert it into something nearer to a woodcut or lino-cut.
I’ve just read Marcos Mateu-Mestre’s tale of medieval mercenaries, ‘Trail of Steel’, so I’ve tried to put a bit of his swashbuckling mayhem into my drawings of a sofa, a cruet and various piles of books and CDs.
I’ve been doing so many birthday cards recently that I’ve run out of De Atramentis black so I’ve moved on to the brown.
I drew this trackside junction box from a photograph in Adobe Illustrator. There’s a lot more planning involved in the process and mapping out shapes with the pen tool seems more like cutting shapes for a collage than drawing.
So far manipulating anchor points on the outlines of shapes seems rather random to me. I find it easy to inadvertently delete an anchor point and lose a section of the shape. Converting between an anchor that results in a straight line and one that results in a curve seems equally obscure.
The only way that I’ll learn is to keep practising.