Category: Drawing

At Home with the Watertons

Waterton, Eliza and HelenI’ve enjoyed the detective work involved in researching the scene in my comic strip biography in which we meet the Waterton family at home in Walton Hall. I’ve been unable to track down any portraits of Charles Waterton’s young sisters-in-law, the Miss Edmonstones, so photographs of their close relatives have been the next best thing but I’ve also found a clue from art history.

As I understand it, Eliza and Helen, were, like Waterton’s late wife Ann, half Scottish, half Arawak. Whether this is true or not, I can take Edmund, the only son of Waterton and Ann as my starting point for the Edmonstone look. In photographs, he has a broad face and tightly curled hair which I’ve also found in a photograph of a Josephine Waterton, who I assume is Edmund’s daughter.

St Catherine, detail from an etching by Maratta.
St Catherine, detail from an etching by Maratta.

Ann Waterton died shortly after the birth of Edmund in April 1830. Charles later acquired a painting of St Catherine by Carlo Maratta (1625-1713) which he felt bore a close resemblance to Ann. I’m unable to track down this particular painting but Maratta’s models for St Catherine and the Virgin Mary do have a similar look to the photograph of Josephine.

The hair style and the full-sleeved dress in Maratta’s etching of St Catherine aren’t so different to the fashions of the early 1830s that I’m using in my illustration.

Charles Waterton's seal on a letter dated 2 June 1855.
Charles Waterton’s seal on a letter dated 2 June 1855.

Although I’ve yet to discover a portrait photograph of Charles Waterton himself, there are contemporary sketches, a bust and a portrait, plus a death mask which I have yet to arrange to see.

Links; An icon in York Art Gallery, Virgin with a Breast on her Neck appears to have links with Edmund. He liked to style himself ‘Lord of Walton Hall’ and he collected rings so I think that the flamboyant seal on the back of the York painting must be Edmund’s. Charles Waterton’s seal (left), was a simpler affair.

My reference for fashions from the Wonderful 1830s, from Whilhelmina’s Antique Fashion blog.

Ann Mary Edmonstone on the Overtown Miscellany website

Moon Lighting

Waterton's room in colour

Final inked in rough.
Final inked in rough.

Waterton looks suitably sepulchral as, in 1830, in what could be seen as a kind of penance, he takes to sleeping on the bare boards of his work-room after the death of his young wife soon after she gave birth to their son Edmund.

In a moonlit room, the lightest tone is going to be the sky seen through the window but I’m going to have to redraw all or part of this frame of my section of the Waterton comic because I need more emphasis on the figure of Waterton. Your eyes adapt to the varying levels of illumination as you look around a dimly lit room, so I feel justified in introducing silvery highlights to the main subject. Could I also introduce a few beams of light streaking down from the window. That might be overdoing it but it would be fun to try.

Waterton the Box Set

room set

I rearranged the furniture slightly from my first floor plan, using doll's house furniture made by my great great uncle Joe Truelove for my mum c. 1924.
I rearranged the furniture slightly from my first floor plan, using doll’s house furniture made by my great great uncle Joe Truelove for my mum c. 1924.

Any of our Pageant Players’ dramas or farces set in a room called for what our producer called a box set, which was constructed of 12 x 4ft flats, one or two with doors in them. There were often French windows too. I feel as if I’ve been designing a theatre set for this introductory scene to Act 2 of my Waterton comic.

After thinking about the spaces on the upper floor of Walton Hall, I’ve focussed on one corner into which I can fit all the points mentioned in Norman Moore’s description of Charles Waterton’s work-room. I was going to omit the fireplace but as an old map of Guiana hung above the mantlepiece, it has to be included.

In this scene, Waterton is lying awake with a tear welling up in his eye. I’ll have to leave that detail to the reader’s imagination because I want to include the whole of his recumbent figure, lying there on the bare boards like an Egyptian mummy. The lighting and the bare boards serve to tell the story of his loneliness after his bereavement.

Designing a Victorian room that reflects eccentric interests and a colourful adventures of its occupant makes me think of the various room sets that I’ve seen for Sherlock Holmes’ consulting rooms at 221b Baker Street.

lightboxI’ve found the Huion light-pad that I bought for tracing my roughs equally useful for sorting slides, when I was searching for my 1977 photographs of Walton Hall before its restoration.

The Poachers Re-poached

knifeworkI’ve been struggling to get this knife to break out of the frame, cutting across the border in the program that I’m using to lay out my comic strip artwork, Manga Studio EX5. Even after watching a YouTube tutorial by Manga Studio doyen Doug Hills, I’ve had to go back to Photoshop, which I’ve been using since the 1990s, to the cut around the artwork. There must be a way to do that in Manga Studio, but I’m not there yet.

first pagesPasting up the comic on screen is a flexible way of working but the finished product will be printed on A4 paper so, as I’m now a quarter of the way through the project, I decided it was a good time to print out my pages to see how it’s all coming together.

I like the splash of colour in the opening frame and the low key colour of the soap works page but my favourite frame so far is the one where the poacher is forced to drop his knife. And it looks even better with the knife looming out of the frame and coming towards you!

Link; Doug Hills Manga Studio 5 Webinar; Drawing Digital Comics for Beginners

One Eye Closed

The squireIt’s time to move on from this first page of the Waterton comic, but here it is at last. I feel that I’ve overdone a scene that should have been given the lightest of touches but, having worked out the staging and the details, I can always come back to it later, when I’ve had more practice and I’ve developed a house style.

page 1I don’t think that it harms to overdo artwork occasionally, you need to feel free to experiment, so I’m glad that I’m not up against a tight deadline.

I was surprised how difficult it was to get Squire Waterton to look as if he is winking at the reader. Although I’m always thinking in terms of scenes from a movie, a single drawing represents just one moment, much as I try to relate it to the next or the previous frame.

A wink depends on the recipient of the gesture seeing the start and finish of the movement. One eye kept closed indefinitely doesn’t have the same meaning, but in a single drawing, it’s difficult not to give the impression that an action is frozen in time. A freer style might suggest the the movement was in progress.

Beatson; Girl with a Book

Gladys Joan Bell, 1924My mum, Gladys Joan Swift (as she was then), looks about six in this portrait, so it must have been painted around 1924.

signaturecanvasIt was painted in Sheffield by Charles Beatson (1864 – 1949). He painted historical subjects including a Portrait of a Cavalier. In those subjects, I can see the influence by of Dutch painters and I think there are hints of that in this portrait, that’s if you can get past mum’s 1920s party dress!

The canvas is 3ft x 2ft 6 inches. There’s no makers name on the back.

book

mumbook2I’d love to identify the book that my mum is holding. It might be there to add a splash of colour but, even so, it looks like a particular title. It’s possible that my mum had brought a book with her to the sitting but I think that it’s more likely to be a prop, something Beatson was able to put his hands on in the studio.

When I invert and stretch it in Photoshop, the illustration on the back cover looks like a woman reading from an open book to a boy.

Gladys Joan Swift, oil painting by Charles Beatson.One of my mum’s favourite books was Alice in Wonderland. In her final illness, in January this year, when she was confined to bed in a nursing home, she asked me to look out her childhood copy of Alice and to bring it in and read it to her, describing to me just where I’d find it on the bookshelf. I’m sorry that I didn’t get around to doing that before she passed away but between the two of us we managed to remember a few of the lines from the Mad Hatter’s Tea Party.

Talking Hats

conversationwild eyesWe’re back to that staple of Victorian melodrama, gentlemen in top hats in rapt conversation. As a contrast to the businesslike surveyor (on the left) I’d originally had Waterton going hatless but then he looked too much like a canal worker so I’ve imagined him in threadbare coat and battered hat.

Battered hats are more fun to draw.

WatertonThe script calls for Waterton to look wild-eyed so I’ve been trying different eye-shapes to get that across. I’m thinking of castaway Ben Gunn prattling on about Flint’s treasure or the Ancient Mariner stopping one of three to tell his tale. But Waterton is playing a practical joke on the surveyor, so he can look amused as well as manic.

With that in mind, I felt that his thumb and finger gesture looked as little too precise in my pencil rough. I was concentrating so much on this gesture that I gave Waterton five fingers!

conversation

eye and handAfter struggling with the final artwork in my last frame, I decided to work out everything carefully in my roughs. I even thought about the direction of the shading.

Even after producing the elaborate rough above, I felt that I needed to tweak the eyes, and as I’ve mentioned already, the hand.

Once again my light pad has been in use again and again throughout the day.

On the Banks of the Barnsley Canal

canalsideI’ve got there at last with my introductory frame for the Waterton comic and I enjoyed finishing off adding the colour this morning. There are a few things that I’d change if I’d started again but my main consideration is to tell the story as clearly as I can. This packs in the necessary elements. Time to move on to the next frame.

The Ragged-Trousered Conservationist

first roughCharles Waterton was a hands-on conservationist so as he set about turning the grounds of his ancestral home, Walton Hall, into the world’s first nature reserve, visitors sometimes assumed that he was a gardener or labourer. In the first frame of my comic strip, a railway surveyor mistakes him for a tramp but when I put the meeting in its location by the Barnsley canal, he looks more like a bargee.

Barnsley canal

Sitting on the Fence

sitting on the fencesitting on the fenceHow do I make him look more like an idle bystander? How would that come across in his body language?

Instead of standing on the towpath making a mock-deferential bow, I try him sitting on the fence. And instead of having him wear a shirt and a waistcoat like a bargee, I give him a battered top hat and a rumpled tailcoat.

Waterton could climb trees with ease right into his 80s but I’m struggling to make him look at ease while sitting on the top rail of a fence. Barbara suggests that no one is going to look comfortable sitting on a fence so why not have him reclining on the canal bank?

Barefoot in the Park

fence roughWaterton liked to walk barefoot which helps identify him as a dishevelled tramp-like character but to look down at Waterton’s bare feet as well as up at the tree tops of the park beyond that high defensive wall means that I have to fall back on that old cheat used by illustrators, rubberised perspective. It’s not so much of a cheat though because, if this was a film, which is the way that I keep thinking of it, and this was a panning shot, the perspective would keep changing as the camera tracked across the scene.

final rough

Yes, Waterton has ended up looking like Willy Wonka, but I think that this version tells the story more clearly than my first rough. It also leaves plenty of space for the three speech bubbles that we need in the space between the characters.

Main Title

titleI’ve added the lettering to my opening title frame, which brings things together. I can decide later whether I want to stick with these colours and whether I want to introduce hand-lettering for the captions. As the script has yet to take on its final form, it would be wise for now to stick with a computer generated font for the speech bubbles.