SOMEWHERE DEEP in the vaults of the new Hepworth Gallery by the river in Wakefield, in the reserve collections, there’s one of my paintings; a 6ft 6 x 4ft acrylic on canvas of Waterton’s World, along with a sketchbook of the working drawings that I made for it. These were of South American birds collected by the naturalist Charles Waterton between 1812 and 1824. The sketchbook is handmade; a large-format section-sewn hardback filled with Saunders hot-pressed paper. It proved too cumbersome for everyday use and I only ever filled a quarter of the pages. I must pop in to the Hepworth and draw something special in it some day!
My painting has yet to make it into the public galleries but this cuddly bear and the bear tile, the work of our talented neighbour Alice, aged 6, have been exhibited at the Hepworth as part of a show of work by local children. An artist came into her school to work with them.
Alice tells us that her favourite modelling clay creation is this cheerful hedghog(right) but she explains that as it was made more recently it wasn’t included in the show.
Finding a battered butterfly in the garden, she used her watercolours for this large painting which she kindly presented to us.
I PICKED up these crow feathers in a pasture as we walked from Hope to Castleton on Wednesday. I’ve drawn them in dip pen using Winsor and Newton black Indian ink but the wash is dilute Chung Hwa Chinese Ink (see Dark Materials, 11 March 2006) which I keep ready-mixed in four different strengths from pale to dark. I’ve used the two palest shades here. I used these pre-mixed washes regularly when working on my black and white sketchbook published as High Peak Drifter (Willow Island Editions, 2006).
For this gull feather, which I picked up when I drew at the pond at Dewsbury hospital on Tuesday, I used Winsor and Newton Peat Brown ink with pen and wash.
I find feathers quite a challenge to draw because of the gentle curves of the outline and quill and all the curving parallel lines of the barbs. I admit to putting this feather on my desk with the quill curving up in the middle because I thought I’d find it more difficult to draw it the other way up, against the natural curve that a pen makes as you rotate your hand at the wrist.
It would be good practice for me to keep picking up feathers and drawing them until I get a feel for them.
Absent Feathered Friends
‘. . . its flesh is good and wholesome eating. It is a silly simple bird, as may very well be supposed from its figure, and is very easily taken. Three or four dodos are enough to dine a hundred men.’
‘The Auk, which breeds on the islands of St Kilda, chiefly differs from the penguin in size and colour : it is smaller than a duck ; and the whole of the breast and belly, as far as the middle of the throat, is white’
Oliver Goldsmith, History of the Earth, 1774
In his footnotes for the 1832 edition Captain Thomas Brown describes the dodo as extinct but says of the Great Auk that it ‘inhabits Europe and America ; is three feet in length ; is very timid ; it has not the power of flying ; its food is chiefly fishes.’
The last Great Auk was killed in June 1844 on Eldey Island, Iceland.
Mystery Bird
Engraving by R. Scott, 1832.
Reading the chapter on Penguins in Goldsmith, it’s surprising that they have escaped extinction: ‘Our sailors . . . give these birds the very homely, but expressive, name of arse-feet.
‘ . . . They have stood to be shot at in flocks, without offering to move, in silent wonder, till every one of their number has been destroyed.’
But what’s that bird standing between the Rockhopper and the Patagonian Penguin? Is that another extinct sea-bird? The down-curved bill is curious, more like a curlew’s, and, in the context of penguins and guillemots, the lack of webbing between the toes looks distinctly odd.
I think that what has happened here is that the artist has been given a cabinet skin of a kiwi, Apteryx, which wouldn’t give a true impression of the shape of the bird and he’s found it appropriate to depict it amongst the southern hemisphere penguins. I’ve yet to find Goldsmith’s description of the bird because neither ‘kiwi’ or ‘Apteryx’ appear in the index of History of the Earth.
In my Walks in Robin Hood’s Yorkshire I follow the career of 14th century Robert Hode of Wakefield so Prince John and Richard the Lionheart are long gone but Edward II and his rival Earls (and rival lords of the manor of Wakefield) John de Warenne and Thomas of Lancaster provide a suitably dramatic and violent context. Their rivalry culminated in the Battle of Boroughbridge after which many men were declared outlaws.
I enjoyed illustrating the knockabout Little Gest of Robin Hood but I felt quite emotional when it came to the humiliation, mock-trial and execution of Thomas of Lancaster at his own castle at Pontefract. Here I was trying to imaginatively recreate real events which happened to a real, not a semi-mythical, person in a local town that I’ve long been familiar with.
Whatever his faults Thomas, Earl of Lancaster, didn’t deserve that kind of treatment. No wonder he was soon hailed as a saint!
Artwork from ‘Walks in Robin Hood’s Yorkshire’, Willow Island Editions, ISBN 978-1-902467-19-1, from my display ‘A long, drawn out process . . .’ exhibited at the Robin Hood Scholars’ Conference at Beverley, 10 July 2011.
The outlaws were the least of my worries; in Walks in Robin Hood’s Yorkshire, I had two earls, a king, a pinder, several Knights Hospitaller, assorted peasants and, not least, a Sheriff to design and draw.
George-a-Green
The Potter
Mak and Gill
Shepherd, Wakefield Mystery Plays
The Other Robin Hood
Knights of St John
Knights Hospitaller
Richard de Heya
Henry de Faucumberg
Stealing Wood
Burgess Court
Robin’s Maidservant
Artwork from ‘Walks in Robin Hood’s Yorkshire’, Willow Island Editions, ISBN 978-1-902467-19-1, from my display ‘A long, drawn out process . . .’ exhibited at the Robin Hood Scholars’ Conference at Beverley, 10 July 2011.
In the comic strip section of my Walks in Robin Hood’s Yorkshire, I needed to make Robin instantly recognisable in every one of dozens of two inch square frames. I wanted to get away from the traditional Robin Hood hat, so I went for the medieval equivalent of a trilby!
Robin Hood
Robin Hood goes Fishing
Robin the Butcher
Adam Hood
Robin Hood’s Wind
The Two Robins
Robin Hood’s Well
Outlaws
Barnsdale
Sorrowful Knight
The Merry Men
Robin and Deer
Artwork from ‘Walks in Robin Hood’s Yorkshire’, Willow Island Editions, ISBN 978-1-902467-19-1, from my display ‘A long, drawn out process . . .’ exhibited at the Robin Hood Scholars’ Conference at Beverley, 10 July 2011.
There were 6 picture maps to draw for the 19 miles of my Walks in Robin Hood’s Yorkshirealong with two short town trails, plus local views and historical details.
I love the maps in Tolkien and The Wind in the Willows and my aim is to try to make the places look delightful enough for my readers to feel they’d like to walk there but accurate enough for them to follow the directions in the text without the need for an Ordnance Survey map (although I do recommend people take one with them in case there are unexpected footpath closures or if they decide to stray off the route).
Robin Hood’s Yorkshire
Arms of the House of Lancaster, built into a wall near Pontefract Castle
Little John’s Well
Robin Hood’s Well
St Mary Magdelene, Campsall
St Mary’s Abbey, York
Robin Hood’s Tower, York
Brockadale Map
Rough for Brockadale Map
Artwork from ‘Walks in Robin Hood’s Yorkshire’, Willow Island Editions, ISBN 978-1-902467-19-1, from my display ‘A long, drawn out process . . .’ exhibited at the Robin Hood Scholars’ Conference at Beverley, 10 July 2011.
144 illustrations to plan – and that’s just the comic strip section! The idea of these lightning sketches for my Walks in Robin Hood’s Yorkshire was to make sense of my months of research and get rid of all those scary white pages by populating them with lively historical detail and traditional tales.
Robin Hood’s Wind
Humble Jumble
Robin Hood and the Potter
Seige of Sandal Castle
Deer parks around medieval Wakefield
The French Guard
Robin Hood’s Well
Robin Hood goes fishing
Queen Isabella
Robin and Little John
Wine Taster
King Edward
Rough visuals for the illustrations from ‘Walks in Robin Hood’s Yorkshire’, Willow Island Editions, ISBN 978-1-902467-19-1, from my display ‘A long, drawn out process . . .’ exhibited at the Robin Hood Scholars’ Conference at Beverley, 10 July 2011.
I WAS FACED with the problem of how to depict Robin Hood in the comic strip sections of my walks booklet (Walks in Robin Hood’s Yorkshire), so at a workshop session at this weekend’s Robin Hood Scholars Conference I’m interested to see how some of the assembled academics would picture the outlaw.
Despite protestations that they never draw, I get a group together. In our first sketch, we need to dispense with the traditional storybook image of Robin; a feather in his cap, a bow in hand and a quiver of arrows over his shoulder (left), wearing a Lincoln green costume with scalloped edges to his cowl.
My version is on the right (as it is in the examples below). Barbara says I have a tendency to make all my characters look like me! I certainly ended up with a lot of bearded characters with straggly hair when imagining the outlaws, earls, kings and peasants of the medieval world in my Robin Hood booklet.
The ‘Real’ Robin Hood
Next we imagine Robin as he might have been if he really was a historical character (as I believe he was); an outlaw living rough in the greenwood, quite a contrast to the dashing hero of storybooks and the movies.
My group of post-graduate academics get more expressive in their drawings when they’re allowed to get away from the storybook cliche.
The moody Robin (left) has a brooding physical presence. I definitely wouldn’t like to meet him as I walked through Sherwood Forest.
Robin & Reynaert
With yesterday’s talk on Reynaert the Fox in mind, I ask them to attempt an atavistic Robin, going back to the ancient roots of legend. They can draw their character anywhere on a sliding scale between a wily fox-like human Robin to an anthropomorphic character like the fox hero of Disney’s animated version Robin Hood.
Animal traits can help when designing a human character. The Robin Hood meets The Simpson’s figure (above, far left) is a cheeky, cheerful character – you can imagine his cute cartoon voice – a contrast to the Robin/Reynaert figure (right) who occupies the dappled shade of the forests we visit in fable and folk tale. I think he’s from a dreamlike Jungian world; from the animalistic depths of our storytelling collective subconscious.
The Sheriff
Robin can be an enigma, something of a blank at the still centre of the legends. At the start of The Gest he’s just there, with no explanation of his origins, leaning against a tree in Barnsdale Forest. It’s often the other characters who actually do things. Robin can’t be Robin without his friends and, of course, his foes . . .
I’m not alone in feeling that, in most of the movies and television adaptions, the Sheriff is my favourite character. Someone suggests this is because the role of the Sheriff always requires a good actor; Alan Rickman, Keith Allan and, in the 1950s television series that I grew up with, the urbane Alan Wheatley, bring a great deal more than pantomime villain to the role.
Henry de Faucumberg, the 14th century Sheriff of Nottingham who features in my version of Robin Hood was evidently an able administrator as he is one of only two men in history to be, at different times in his life, appointed both Sheriff of Nottinghamshire and Sheriff of Yorkshire. As commander of the King’s ‘Yorkshire Array’ he played a decisive role in the downfall of Thomas of Lancaster after the Battle of Boroughbridge, an event which resulted in ‘my’ Robin being declared an outlaw. And yet, in his early years in Wakefield, Faucumberg was fined for stealing wood from the lord of the manor’s barn and of refusing to take the oath in the town’s Burgess Court. An intriguing character.
My thanks to the group for allowing me to feature their drawings here.
Conference of the International Association of Robin Hood Scholars, Beverley
THIS IS my first academic conference and I’ve really enjoyed it – although it’s surprising how exhausting it is just to sit and listen to ten short talks in one day! Unfortunately I miss the opening session – which included a talk by Professor Helen Phillips on Guy of Gisborne – otherwise I would have heard a dozen.
One of the delegates tells me that I’ve chosen a good conference for my first; the Beverley Arms hotel, a former coach house dating back to 1794, is a friendlier setting than a big university would be. As it’s on a smaller scale, you get to know everyone who’s here, and, as there aren’t multiple talks going on at once, you don’t have to make difficult choices about which papers you’d like to hear.
Dr Lesley Coote of Hull University, who is organising and chairing the conference, tells me that she has experience in the theatre, working both on stage and behind the scenes as stage manager; ideal qualifications for a running a successful conference, which is a performance in itself.
People must think that I’m taking a lot of notes, but it’s an ideal opportunity for me to draw figures, something I’ve felt an urge to do recently, while catching up on the latest Robin Hood studies.
Storytelling
The first speaker (right) has been investigating interactivity in storytelling. He suggests that when the original Robin Hood ballads were told, in taverns or around camp fires, there was a degree of audience participation. Once a story is set down in writing there’s less opportunity for the audience to influence its progress.
There’s a parallel with the story structure of computer games; there’s a strong narrative framework but how the player gets from one set piece to the next involves a number of choices, drawing them into the story and making them feel that it’s their own.
John Marshall of Bristol University has made some new discoveries about Robin Hood pageants and how the tradition spread to London. It’s known that in 1516 Henry VIII attended a Robin Hood pageant at Shooters Hill. By checking out the date in the royal accounts Marshall has been able to supply some fascinating details about who supplied the costumes, the names of some of the performers and he’s thrown some light on the introduction of Friar Tuck as a member of Robin’s outlaw band.
I didn’t expect to hear a talk on pirates today but the next speaker charts the career of privateer turned Barbary coast corsair John Ward (c 1553-1622) who captained a ship called The Little John.
A French post-graduate student talks on how the medieval concept of chivalry was reinvented by Louis XIV and others.
In the afternoon we have talks on the inscriptions on Saxon swords and on how Disney has influenced the way we think of the middle ages; they’ve become a kind of historical playground, sufficiently removed from the present day.
The final talk is the story behind Richard Lester’s 1976 film Robin & Marian starring Sean Connery and Audrey Hepburn.
If pressed, I think I’d have to say that Sean Connery was my favourite Robin Hood.
I SPENT MOST of my day at Horbury Primary School book week encouraging the children to draw but had time to do some drawing myself during the morning assembly and when the teacher was taking the register.
I like the way that with a quick sketch of the details and pose of a figure you can start building up a character. Adding a quick wash of colour helps to bring the drawing to life. I’d like to do more little sketches of a variety of characters.
Although I’m only here for the day, I felt quite emotional when they sang ‘The Leavers’ Song’ in assembly. The older children are going to have to make the break from this school where everyone knows each other to the High School next door, which specialises in teaching languages and is the size of a small university. It must be difficult to get to know all the teachers, let alone the pupils in an institution of that size.
‘When you look under the rocks and plants . . .’
In the assembly the children sang The Bare Necessities from Disney’s version of The Jungle Book in which Balou the Bear advises Mowgli:
‘If you act like that bee acts, uh uh. You’re working too hard. And don’t spend your time lookin’ around. For something you want that can’t be found ..’
I’ve got a lot of sympathy for Balou’s point of view but I don’t think that would serve as a motto for life at the High School! You’re really getting onto the treadmill when you commence your studies there. I think this is why I find the older primary years, aged around 8, 9 or 10, the right age for my workshops. They can enjoy the world for what it is, and the drawing and writing as activities in their own right, without looking over their shoulders wondering how it’s going to relate to their curriculum and their future job prospects.
Horbury Primary is 1950s redbrick but, in addition to the asphalt playground that normally accompanies schools of this period, there are leafy grounds to the rear with picnic tables under the trees where I could start my drawing sessions with the children. The trees gave a certain amount of shelter from the odd bit of drizzle and we managed a good 45 minutes drawing before heavier rain brought both the morning and the afternoon sessions to a close.
I gave them five minutes to draw a tree to get them started but also to get them to focus on a particular tree, rather than the standard tree symbol that younger children sometimes draw. Some of the children particularly enjoyed the next drawing which was a close-up of a piece of branch or bark from the chippings around the tables. They were fascinated by the detail and texture, as if they were drawing a whole landscape in miniature.
Vegetable Plot
Next we moved on to the school vegetable plot. The onions were looking good and are well ahead of ours. The children who chose to draw them were able to capture that sense of life and growth that comes from the swelling bulb and lush spikes of foliage. Some subjects have such a strong visual identity that they seem to help you get their image onto paper.
We settled in a corner of the playing field at the edge of a narrow strip of woodland and I got them to listen for 5 minutes and to write down what they heard. I thought that possibly we could work this up into some kind of poem but when we asked several of the children to read their notes, I realised that they had effectively written poems already with specific observations, cadence and rhytmn in the way they’d listed what they’d heard and a real sense of atmosphere; the breeze, bird song, distant traffic noise.
There was time for a short ‘nature notebook’ session where we drew and made quick notes about the bees, hoverflies and birds visiting the brambles and bushes on the woodland edge. Balou would consider that the bee was working too hard.
During the afternoon session we ran to a wooden shelter and drew what we could, including my usual standby, a hand. They soon got into the intricacies such as the folds of skin on the fingers and the true shape of a finger nail.
Picture Map
I was impressed with their writing and drawing skills. Back out of the rain, I got them working on another of my favourite ways of a recording a location; a picture map. Being in a 21st century classroom, we were able to conjure up a Google-map satellite image of the school grounds on the computer-linked projector.
Each child, while producing a perfectly accurate sketch map, was able to bring out a different character in the patch of landscape they’d just walked through, from architectural precision (one boy used a ruler to produce an immaculate plan) to expressionist wildness in the tangle of the woodland edge.
With the sausage shape of the running track, topped by two zany ‘eyes’ formed by two areas marked out for rounders the aerial view of the playing fields resembled a cartoon frog . . . wearing a fuzzy toupee (the strip of woodland).
SOMEWHERE DEEP in the vaults of the new Hepworth Gallery by the river in Wakefield, in the reserve collections, there’s one of my paintings; a 6ft 6 x 4ft acrylic on canvas of Waterton’s World, along with a sketchbook of the working drawings that I made for it. These were of South American birds collected by the naturalist Charles Waterton between 1812 and 1824. The sketchbook is handmade; a large-format section-sewn hardback filled with Saunders hot-pressed paper. It proved too cumbersome for everyday use and I only ever filled a quarter of the pages. I must pop in to the Hepworth and draw something special in it some day!
My painting has yet to make it into the public galleries but this cuddly bear and the bear tile, the work of our talented neighbour Alice, aged 6, have been exhibited at the Hepworth as part of a show of work by local children. An artist came into her school to work with them.
Finding a battered butterfly in the garden, she used her watercolours for this large painting which she kindly presented to us.
