Richard Bell's nature sketchbook since 1998
It’s our British summer and people are wrapped up against the wind and the rain in Ossett. I used a man in blue from my sketches as the walking character in my Clip Studio Paint animation, drawn on my iPad Pro.
It’s a very basic animation and I can see plenty of bits that I need to improve on but it’s a way to get familiar with the process so that I can go on to something a bit more expressive.
As the lockdown eased at the beginning of February, I couldn’t resist buying a packet of Spencer Mixed sweet pea seeds to sow indoors on my desk in the studio. I set them off in toilet roll tubes but as I was using garden soil from the greenhouse they had a bit of competition from seedlings of chickweed and sowthistle growing up amongst them.
The sweet peas were drawn with an Apple Pencil on my iPad in Clip Studio Paint, using the ‘Wet Blotting Ink’ brush for adding the colour. The brothers above (one morphing in a Pokemon character) were drawn in the iPhone version of Fresco, using a Bamboo stylus, as, so far, you can’t used the Apple Pencil on an iPhone screen.
The house across the road is another iPhone Fresco drawing, this time using Fresco’s appropriately named ‘Grungy Inker’ pen. I wonder if a matt-surfaced screen protector would make drawing with a stylus on an iPhone more controllable.
The title of this self-explanatory experiment is a tribute to Miles Kington’s Nature Made Ridculously Simple, which might be due for a reprint.
The ripening berries of the cuckoo pint look like bunches of party balloons. These were growing in a small group by the roadside but in the wood, where it grew with tropical luxuriance in the spring, we don’t see any berries.
For English school children, it’s just the beginning of the long summer vacation but there’s an end-of-summer feeling as we negotiate an overgrown footpath between the seedheads of shoulder-high false oat grass, stooping to avoid overhanging stems of bramble.
This meadow brown, enjoying the honey-scented flowers of creeping thistle alongside the footpath, looks a bit the worse for wear. One theory is that the eye-spots save the butterfly from serious injury because a bird would peck at them but it looks as if whatever attacked this butterfly went for the hindwings.
I’m reading James A. Michener’s The Hokusai Sketchbooks, so this morning at Newmillerdam, as a change from pen and watercolour, I’ve gone for Chinese brush and Noodler’s Black Ink.
Lying in the lakeside mud beside me, was a freshwater mussel shell, so I used that as a suitably oriental-looking palette to mix my grey ink wash. I dipped my cup in the water and, as I started to paint, realised that I’d caught two small water creatures – water beetles perhaps – which I released unharmed at the end of my session.
I wonder if the granular quality of the wash is a characteristic of Noodler’s, or whether it was debris in the water.
In England, our school holidays have now started and the lakeside path was a bit busier than usual however, in this willowy backwater, I had this corner of floating world to myself. Just me and a few passing mallards and a coot that came ashore within a few feet of me, apparently oblivious of me until I moved.
It’s there in the bottom right-hand corner of my drawing.
A test for my new iPad Pro: a pencil rough of a cartoon walk drawn in Clip Studio Paint. Now that I’ve familiarised myself with the way it works again, I’ll go on to try something more ambitious.
Just one thing to work out is how to export the finished animation – it’s disappearing into a black hole at the moment instead of saving to a file – which is why I’ve had to show it in a movie taken with my iPhone.
They brought us:
In the veg beds they’ve flattened our seedling Musselburgh leeks, broken into the netting over our dwarf French beans and dug a series of small neat holes.
The fun and games didn’t stop with stolen tennis balls: they also dug up several of our ball-sized Sturton onions and stashed most of them at the bottom of the hedge but one was taken over to the middle of the path by the shed at the other side of the garden.
A single broad bean pod was neatly nipped off and left in the middle of the now flattened leek bed.
As for once I hadn’t taken my sketchbook with me, I literally drew with a digit yesterday, using a finger on my iPhone screen in Tayasui Sketches Pro (left) as we sat with a mint and lime drink in the shaded courtyard of Horbury’s Flamingo Teapot Cafe but after all the large-scale pen and watercolour work that I’ve done for my Redbox Gallery show, I felt that it was about time I tried drawing with my Apple Pencil on my iPad Pro again.
The man in the hat and the sumac were drawn in Adobe Fresco, using its virtual ‘Blake’ pen for the drawing.
Would I find it easier if I used a matt screen protector, like Paperlike, on my iPad, to give it a more natural feel? Or a rubberised tip for the Apple Pencil, to give it a hint of resistance as it moves over the glass screen?
Drawing on the iPad is never going to be as familiar to me as pen on paper but I’m keen to have the best possible image so I’d have to avoid any matt screen protector because it adds a very slight amount of colour fringing to the image.
Thanks to my scale model, we found that my Addingford and Joby cut-outs just fitted into the Redbox Gallery, although we did have to do a bit of jiggling about with the lengths of 10lb breaking strain fishing line that are holding up the storks cut-out and the speech bubbles.
On Tuesday I drew St Peter’s Church spire from the dentist’s waiting room, which is just around the corner from the Redbox.
For my ‘Addingford’ logo for my Redbox show, I resisted the temptation to echo the Addingford Steps location by drawing 3D lettering chiselled from stone, like a Charlton Heston epic from the 1950s but I did feel that I needed something blocky so I’ve gone for what’s called an Egyptian-style hand-drawn font – one with squared-off serifs – and I felt that it should be slightly condensed.
The vermillion (Winsor & Newton ink) is a nod towards the telephone box setting of the show and intended as a colour contrast with all the green in the artwork. It also picks out, more or less, the colour of Joby’s pullover.