Category: Drawing

Lantern and Leaf

WE CALL at our niece Sarah’s new house in Wakefield and, while chatting over tea and homemade cupcakes, I draw this lantern and leaf.

Just as I’m uploading these sketches back in my studio I catch sight of a silhouette against the blue sky; a Buzzard soars across above me.

That’s the kind of thing that I was hoping that I’d see more of when I moved my computer to this end of the studio by the metre square Velux window in the mansard roof.

I notice that the cock Pheasant has now broken off his bowing and bullying display to a hen Pheasant who was sitting on the plank bench in the corner of my meadow area. He was strutting and bowing on the ground below the bench.

Every year I think that I might get around to doing a decent drawing of the Snowdrops, to start the season as I’d like to go on but, as in previous years, I’ve left it just that little bit too late and they’re already past their best. Those in the shade of the hedge look the freshest.

Put Your Feet Up & Draw

I’ve drawn my left hand so many times while in waiting rooms but drawing my feet is better left until I’m relaxing at home. As I said the other day, I’m enjoying these pen and ink drawings, although here I’m back to ArtPen rather than pen and Indian Ink.

I was taking a look at a Photoshop magazine in the supermarket. Most of the projects don’t appeal to me as they tend to focus on touching up portraits or adding surrealist flourishes to photographs but a step-by-step workshop on turning a photograph of plant pots on greenhouse staging into pen and wash appealed to my both in its subject and its treatment.

Put simply, I gathered as I scanned the pages with no intention of buying the magazine (this is a man thing according to a woman we were talking to the other day), you use a filter that selects edges only then tweak it a bit to give a pen and ink effect and you add a free watercolour layer by hand. It was remarkably effective in reproducing the free and easy charm of pen and wash.

Even taking a close look at the final drawing I think that I would have assumed it was hand drawn but it raises the question of why would you wish to deny yourself the pleasure of hand-drawing all those shapes.

Talking of Photoshop tutorials, the box that I drew around my drawing was prompted by Daniel Fieske’s Gnome tutorial that I followed through the other day. As I was trying to build up tone in my drawing in the weave of the jeans, the knitting of the socks and the out of focus background, it made sense to add an edge, rather than fade out in a vignette and have the tone fade out too.

I’m  very literal when it comes to drawing and you might say well there’s no box around subjects in real life but then there aren’t outlines, stipples and cross-hatchings either. As with Fieske’s Gnome I’m actually conjuring up a little world in any sketch even when I’m following what I can see with reasonable care and attention. The frame helps suggest that this should be taken as a view into a little world (in this case a rather unappealing corner of a world occupied by my feet).

I’m sure that I’ll get launched again on my book work soon and I wish that I could keep this kind of looseness and animation going in my illustrations, which will be in pen and ink. I seem to stiffen up my style and become rather earnest and uptight when I know that I’m working for publication.

Books and Binoculars

STRAIGHT FORWARD pen and ink drawings appeal to me at the moment as I try to settle back into creative work after our home improvements and the practice I’ve been putting in to find my way around the new computer.

This time I’m testing an old bottle of Nan-King Indian Ink and it’s still free-flowing – perhaps a bit too free flowing as I spill a drop of it from an overloaded nib.

I like drawing with no end use in mind, well apart from scanning it for this online drawing journal, because I can be freer with technique; it doesn’t matter if things turn out looking a bit odd because it’s not a commission and it’s not needed for a book. A bit of hatching here, a bit of stippling there. If one side of the binoculars doesn’t work out quiet right I can experiment with the other side.

A flexible arm magnifier on the top shelf, a microscope on the bottom and the binoculars in between suggest my interest, obsession almost, for looking at the world in close up and at a distance and that’s confirmed by the books on this end of the shelf, on botany, birds and landforms.

See How They Grow

As I’ve been reorganising my shelves, I’ve been tempted to read some old natural history books recently. Books that I bought as a student 40 years ago, which I still hadn’t got around to reading. I’ve caught up on Rachel Carson’s Between the Tides and I’m currently on See How They Grow, an illustrated popular introduction to plants published in 1952 and based on a series of time lapse films on plant growth shown in cinemas. Television was only then becoming established in Britain, given a boost by the live broadcast of the coronation the previous year.

I hadn’t realised how far back natural history filmmaking went. One of the three authors of See How They Grow was F. Percy Smith.  He ‘started film work with Charles Urban in 1908 and in 1925 was engaged in making Secrets of Life and Secrets of Nature films. He always worked alone or with one assistant, using relic cameras and home-made apparatus, and published over 200 subjects varying from popular nature films to specialised technical ones. He died as a result of bombing towards the end of World War II but still has an international reputation as a master of cine-micrography.’

Link: Percy Smith, British Film Institute

Drawer

IT’S GOING to take a long time to sort out the drawers in my new plan chest if I stop to draw everything! But drawing in dip pen gives me a chance to assess which bottles of Indian Ink are worth saving. The Rohrer’s, the ink that I used for the left side of the drawing, is starting to coagulate. It’s quarter full and years old, so that’s got to go but the Calli ‘non-clgging, pigmented waterproof calligraphy ink’ is still okay. It feels more like liquid ink should and I like the spidery quality of the lines is produces.

This cutlery box was left over when we built the extension and went for a fitted kitchen many years ago but it’s just as useful for art materials.

Chemistry Stencil

The perspex stencil, in the middle section, offers a lazy way to draw flasks, tripods, Bunsen burners, Liebig condensers and alembics. It’s something my brother used at school in the 1960s, manufactured by Sterling in the USA.

Young Ted

ONE OF THE reasons that babies and toddlers appear from time to time in my sketchbook is that they’re not aware that I’m drawing them, so I can sketch away without feeling that I’m being obtrusive.

It’s my mum’s birthday today so the family have gathered from as far afield as Edinburgh, Sheffield, Hull and the flat upstairs.

As we leave, we stop to say hello to that other new member of the family, Frank the Springer Spaniel. As I’m kneeling down to make a fuss of him, I’m aware of patches of white in the periphery of my vision and I start half-thinking ‘I’m surprised that there are still a few patches of snow about’. But of course it isn’t snow, it’s snowdrops, which are at their best growing in drifts alongside the back lawn at my mum’s.

Gnome

I’M ON A LEARNING CURVE so here, after a whole morning’s work, is the finished result of the tutorial on Drawing and Illustration in Photoshop that I started yesterday evening.

My colours look alarmingly computer generated but I should point out that Daniel Fieske’s version in the step-by-step example ends up looking more like an Arthur Rackham watercolour. I should improve with experience but the point is that I’ve been able to see every stage of the process – there’s no ‘here’s one I prepared earlier’ in the tutorial; you get to see every mossy rock drawn individually – and hopefully I’ll remember a lot of the useful Photoshop tips on alpha channels, selections, layers, blend modes and shortcuts and the time-saving ways that you can conjure them up without putting down the stylus of your pen tablet.

Fieske’s thoughts on tonal values, composition and keeping a hand-drawn quality can apply equally to artwork made with natural media so I hope that following his work process in such detail will feed back into my own work.

Links: Daniel Fieske’s The Wormworld Saga includes links to video tutorials on how he created the artwork.
The tutorial that I’m following is on a DVD supplied with the Intuos 4 pen tablet, Meet the Masters by video@brain

Sketch Pad

THIS KIND of Sketch Pad is unfamiliar to me; it’s the virtual Corel Painter version, Sketch Pad 4, which was available as a free download when I registered my Intuos 4 wireless pen tablet. Having worked out how to pair the tablet with my computer via a Bluetooth connection, this is my first attempt to draw with it wirelessly.

Thanks to Bluetooth, I can now rest the tablet on my knees but relating the angle of my pen strokes to the angle that will appear on the screen is going to take a bit of practice.

Some users report being able to work as far as 50 feet from the computer, so I could take the tablet down the garden. It would be interesting to see whether the resulting drawing bore any resemblance to reality. It would be like the blind drawing exercise in Drawing on the Right Side of the Brain.

This sketch of Netherton Hall, a little to the right of the pylon in my view across Coxley Valley was made using the tablet in Autobook Sketchbook Express. It shows how far I have to go until the techniques become second nature. Choosing colours from the various on-screen palettes and slider controls is an awkward process compared with mixing watercolours from the pocket box of Winsor and Newton’s that I use daily.

Pen Tablet

Whatever brush tool I select in SketchBook Express my lettering turns out wobbly when I'm using the pen tablet.

AFTER ALL that work putting up shelves, assembling my new desk and designing a new plan chest/worktop, I can now put the finishing touches to my studio. My old graphics pad, a Wacom Volito, won’t work with my new computer so I’ve gone for the Intuos 4 wireless pen tablet.

What better way to test it out than trying it out in Sketchbook Express, which has been described as a Mac equivalent to Microsoft Paint, available as a free download. I used  pencil, fibre tip, chisel tip pen and brush tools in this drawing.

It’s a strange experience to be drawing on the pad on my desk but reacting to the marks appearing on the monitor in front of me. It’s easy to draw a line at slightly the wrong angle.

One advantage is that for a change I don’t have to show my left hand holding a sketchbook.

Like the Volito, the main use for this Intuos tablet is likely to be for preparing scans of my drawings for print. It’s difficult to draw with a mouse and it can be a bit fiddly even to select shapes or erase with it. The Intuos is about as near as I’m going to get to being able to draw on screen without going to the enormous expense of a touch screen.

I’m happy to revert to ArtPen and watercolours as we drink our coffee after a meal at the Bar Biccari.

Book Clamp

I’VE DRAWN this subject before; a batch of my walks booklets – the black and white ones that I print here in the studio – stapled and folded and left between clamps overnight so that they’re crisply folded. But this batch is a bit of a milestone because, except for a handful of odd copies hastily printed to fulfil orders, these are the first that I’ve produced in the my newly reorganised studio.

It felt good to at last stand collating and stapling them at my new birch ply worktop, a unit that incorporates a couple of Ikea A2 drawer units. The set up works really well.

The studio has been my major project since the launch of Wakefield Words in November but, three months after I first made my plans, using cardboard cut-outs, it’s at last being used for its intended purpose of writing, illustrating, designing and in a few cases printing and binding books and booklets.

The drawing is in dip pen with a century old (approx.) ‘John Heath’s Telephone Pen’ nib in Winsor & Newton black Indian ink (fourth drawer down, righthand drawer unit).

Meanwhile, long ago in a distant galaxy . . .

Daz 3D are now offering the latest version of Bryce (7.1) as a free download. It seems to work fine, although, having not used my previous version of it for several months, I’m a little disorientated when I use the controls. I’m sure that I’m going to find a good use for it one day.

Link: Daz 3D

The Chateau of the Beast

DESIGNING SCENERY can be a relaxingly imaginative form of drawing, especially if you can give yourself enough time to sketch out your ideas, as I can this morning as a couple young recruits to our dramatic society roller over the previous backdrop. Sketching out my ideas is a pleasing combination of the imaginative and the practical because, although I’m not obliged to be historically correct or architecturally sound, I am constrained by the size of the backdrop (six 11 x 4ft flats) and by the requirements of the script.

This first sketch, in brown ArtPen on light brown sugar paper (absorbent ‘craft paper’ used in schools) shows the backdrop in proportion to the rest of the stage. The tabs, or wings, are black drapes.

Beauty, the Beast . . . and the Pantomime Dame

I’m designing the chateau of the Beast for Beauty and the Beast but this is a pantomime version, not to be confused with the 1740 original by Gabrielle-Suzanne Barbot de Villeneuve or with the Disney version. No, this is the panto version so the action is regularly interrupted by the Pantomime Dame swaggering on and engaging the audience in cheeky banter. What more could you ask from an evening’s entertainment? A few tickets are still available. And – you’re going to like this – there’s a slapstick hairdressing scene. But I think that I can understand why Villeneuve didn’t burden her magical morality tale with a scene in the salon.

So the chateau is a bit of a neglected, slightly spooky ancestral pile but, on the other hand, the Prince/Beast isn’t without a bob or two (note: bob = one shilling in old money). So those repetitive, gloomy arches aren’t quite what we need.

From Donjon to Chateau

How about this? Make the central arch larger, to add a focal point and a bit of drama, and, as this is a chateau not a donjon, a Versailles-style door, as if the Prince’s ancestors renovated their medieval castle keep in the 17th or 18th century.

The entrance to the chateau is seen first through rusty gates, centre stage, with the black side-curtains drawn to reveal only the middle third of the backdrop. Later this same backdrop has to serve as the banqueting hall inside the chateau, so, if you’re following me, this has to represent the exterior and interior of the chateau.

The structures at either end were intended to suggest towers when seen from the outside (only they’re not seen, because they’re hidden by the half-drawn side-curtains) and elephantine pillars of the great hall when seen as an interior but as the Beast’s magic mirror stands in the corner stage left (house right) we left them out of the final version.

From Sketch to Backdrop

While inconsistencies in a pen sketch add to the animation and character of a drawing, I can’t ever seem to translate that spontaneity to the full-size backdrop, drawn in black emulsion paint with a half-inch filbert brush. A good example is the fleur-de-lys shields on the pillars, a motif that I’ve taken from the gates that have been made, which also suggest the French connection. In my drawing I don’t want them to be precisely identical but when they’re painted and coloured on the backdrop it looks as if someone just got it wrong and failed to draw each to identical proportions.

Sketching out the ideas is definitely more relaxing than putting them into practice.

Family Gathering

I FEEL AS IF I’m being a bit intrusive if I start drawing people in a social situation. If I’m drawing people, I’d rather be in a public place; sitting in a cafe perhaps or at a street market. So as we talked after the meal this evening I found myself drawing corners of the room instead of assembled relatives from as far afield as Paris and Wath-on-Dearne.

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Categorized as Drawing