

There’s then a small hole that needs filling with soil. It might be a good idea to spread a bit of grass seed on the bare patch too, but I’m sure that at this time of year the surrounding grass will soon spread to fill the gap.
Richard Bell's nature sketchbook since 1998


There’s then a small hole that needs filling with soil. It might be a good idea to spread a bit of grass seed on the bare patch too, but I’m sure that at this time of year the surrounding grass will soon spread to fill the gap.


We’ve got a moth mystery. Small 






Latest from the blue tit box on the patio; blue tits were in and out of it a couple of weeks ago. A house sparrow briefly investigated it but 
For the first time in forty years as a freelance I got my accounts started, finished and even submitted my tax return online in just one day. They’re simple enough – working out the proportion of printing costs against book sales is as complicated as it gets – 
Now I haven’t got that hanging over me, perhaps I’ll feel more freedom to get off and draw.

We’ve cleared all three of our raised beds including the one with the leeks in. The freezer is now full to capacity after Barbara managed to fit in several bags of chopped leeks. It’s hardly the time of year for leek soup so hopefully we’ll find something else that we can make with them.


The blue and white design was the first to catch my eye. It was only when I took a macro photograph of the crazed white potshard that I spotted that it too has spots of blue glaze on it. A cross section reveals that both shards are made of the same kind of clay and are the same thickness. Both are very slightly curved so I think these are both pieces of a semi-rectangular, tray-like platter.

A view of the cross-section appears to show that it was made of two distinct layers of clay but in close-up you can see that the outer, darker layer fades towards the lighter inner layer. Is this an differential effect due to the way it was fired in the kiln?
It appears to have a light grey glaze on its outer surface. Perhaps it was slip-coated.


I’ve enjoyed two recent books which offer different approaches to which varieties of vegetables to grow and how to grow them. Kew on a Plate takes the view that for taste we might try going back to the heritage fruit and vegetables that predate the standardised, high-yield varieties required by the supermarkets. There’s been a tendency to go for varieties with a long shelf life, which are tough enough to survive transportation, but that doesn’t always go hand in hand with improved taste. But things are changing and most supermarkets are now making efforts to offer a range of locally grown produce.

Raymond Blanc devised the recipes, often inspired by his memories of the kitchen garden of his childhood in a village in Franche-Comté, eastern France.

He looks at simple ways to boost flavour, for instance by cutting down on watering. Overwatering results in bigger fruits and vegetables but often at the cost of diluting the flavour.
Trials have demonstrated that it’s possible to get improved results by deliberately putting a plant under a modest amount of stress, by tricking it, for instance, into thinking that it should start producing more fruit or into protecting itself from attack by pests, sometimes producing bitter-tasting compounds which result in a more complex flavour.

James Wong, Grow for Flavour
Grow for Flavour seeds are available from Sutton’s who also produce a Stacks of Flavour Crate Collection with all you need to grow salad leaves in three weeks, or if you’re more patient, a Pizzabox Crate in which you can grow the entire topping for a pizza in 8 to 10 weeks – blight resistant tomato, basil and oregano (pepperoni not included). You can even have your crate personalised with a message.
The Kew on a Plate garden



I tried going for a looser approach with pencil and watercolour but felt that I was losing my grip on its appearance.

This last, loose drawing with an ArtPen is less of a botanical study but is in the sketching from life style that I feel more at home with.