4 p.m.: This afternoon, the light is much the same as yesterday, so I get a chance to finish my watercolour. Working with a finer brush, a number 6 sable round, I start with the branches in the upper left-hand corner and work my way downwards.
I’m painting in a Pink Pig sketchbook on 270 gsm Ameleie watercolour paper which is smoother than the 300 gsm variety that I was using at the weekend but, as you can see from the close up, it still gives a hint of texture in the washes. It’s smooth enough to take a pen line.
It takes me about 45 minutes to an hour to finish the watercolour.
This afternoon, instead of starting with a pen drawing, I quickly sketched the outlines in pencil then, working from the sky downwards, I added a wash of the lightest background colour in each area.
It’s the same technique as the ‘half-hour’ demonstrations that I followed at the weekend but I find that working from life gives me a lot more freedom as I’m not trying to follow a series of step-by-step instructions. The dark masses of the bare ashes and willows are varied so as I work I keep adding touches of sap green, French ultramarine or sepia to my background colour, blending them wet-in-wet.
With only twenty minutes available, I don’t get the chance to move onto the next stage which would have been adding details such as twisting branches, patches of ivy and darker patches.
Sitting in the dentist’s waiting room, looking up Queen Street, I’m attempting to draw the spire of St Peter and St Leonard’s Church, Horbury.
The proportions are so subtle; the tower’s structure reminds me of a four-stage Saturn rocket, about to soar skywards but it might so easily, with the addition of an extra foot or so of girth, start to appear crushingly earthbound or, conversely, if too slender, become too spindly and emaciated to inspire confidence.
It’s the same with the individual pillars: there’s such a slim ‘Goldilocks zone’ between undernourished and elephantine. I think that he got it just right.
The architect, John Carr, (1723-1807), started his career working the stone in local quarries. As far as I know, he never had any formal training in architecture, nor did he ever make the Grand Tour, to absorb the classical influence of Italy but as bridge surveyor to the West Riding of Yorkshire, he had an eye for structure.
I walked past the church every day when I attended St Peter’s Junior School, which in those days stood close to where the dentist’s stands today. As I looked up at that wedding cake of a spire, so unlike anything else in Horbury, I’d imagine the kind of character that might be living in there, in the pilastered penthouse apartment above the rusticated clock section. Shutters and a the mini-balcony made me think of Spain or Mexico, so a mantillared señorita or a caballero.
The rotunda of columns could be a home for a minor Greek deity.
This ‘half-hour’ watercolour demonstration, again following the step-by-steps in Paul Talbot-Greaves’Collins 30 Minute Landscapes in Watercolour, actually took me almost an hour but, as with any watercolour, part of that was waiting for the paint to dry.
I went wrong with the colour wash for the distant trees, accidentally mixing a darker green intended for the middle-distance trees. In trying to dilute this mid-wash, I ended up with wash-backs. But they do have a dendritic look to them!
‘Sometimes working in a different medium can add that all-important spark of excitement’, writes Paul Talbot-Greaves in Collins 30 minute Landscapes in Watercolour. As a new year refresher, I’m trying out one of his half-hour demos.
I’m stepping out of my comfort zone because my habitual way of working is to start with a pen and ink drawing, then add a wash of colour but here, after a minimal pencil outline, it’s blocks of colour first and any suggestion of detail, such as the pattern of stones, is left until you add the final touches.
I’ve noticed recently that my brushes are looking the worse for wear, so before starting I bought two sable brushes.
Daler Rowney Aquafine Sable Round, 10 and 6.
Ready Mades
I’m interested in Talbot-Greaves’ choice of colours; I try and keep things simple by sticking to a couple of versions of each of the primaries in the pocket-sized watercolour box that I use on my travels but he suggests some useful shortcuts:
“There are a number of ready-mixed colour, such as Raw Sienna, Sap Green and French Ultramarine, which have been developed to make colour selection easier for the artist. Each one is like a shortcut to a popular colour that is found in the landscape – for example, Sap Green can be used to paint grass, Cobalt Blue is a good match for sky blue, and Cadmium Red is ideal for suggesting the warm glow of a sunset.”
The colours in my version of the demo aren’t as subtle as they are in the book and I think that could be due to having a brighter, yellower version of Sap Green in my range of watercolours and having to use Lemon Yellow and Indian Red as substitutes for two of his recommended colours: Naples Yellow and Light Red.
For the purpose of the exercise, all the colours are mixed on the paper, blended into each other, as you paint, not mixed in the palette beforehand. I need more practice at this; the wash-backs in the sky and on the road are caused by adding a bit too much water to my wash as I blended it with a still damp colour on the page.
I’ve learned a lot from trying another approach and look forward to trying another of the 30 minute demos in the book.
‘Purple Stem’ Sweet Box, Sarcococca hookeriana var. digyna*, is now tasseled with sweetly fragrant blossom on the woodland bank behind the bench by the Druid Bridge below the Cascade at Nostell Priory. Each blossom has just two styles and one central stigma; with a scent like that, who needs petals?
The generic name, Sarcococca, is from the Greek, ‘sarc’ meaning flesh and ‘kokkos’, berry.
Hookeriana
Benedict Cumberbatch as Joseph Hooker.
The species name honours botanist Joseph Dalton Hooker(1817-1911) who collected this winter-flowering shrub on a plant-hunting expedition in southern China. Hooker was a friend and confidant of Charles Darwin; Benedict Cumberbatch appears as Hooker in Creation, the biographical movie about Darwin. This weekend he appears in the final episode of Sherlock, so perhaps he’ll now be able to get back to playing Victorian botanists, which he does so well.
The newly planted Sweet Box by the bench should spread by suckers to form a thicket a metre in height.
* I guess that it’s possible that this is a garden hybrid, closely related to S. hookeriana.
After a week of wintry and sometimes very windy weather, it’s good to be walking through the parkland under blue skies with low winter sun picking out the textures on the trunks of the old beeches and oaks. It’s also picking out the bark-like layers in the sandstone of the old quarry in the Menagerie garden.
Walled Garden
Winter aconite
In the walled garden the first snowdrops have appeared and the winter aconites that we first saw opening midweek are continuing to come into flower.
In the shady shelter of the far northeast-facing wall of the garden, Timperley Early(right) is one of the few rhubarb varieties to have started sprouting leaves but Victoria is just ahead of it, with some of the leaves already opening out.
The wind has blown a few shoots off the yews in the woods around the lake at Nostell Priory. Yew, Taxus baccata, is dioecious – each tree is either male or female – and these mini-Brussels sprouts clustered on the stem in the axils of the leaves are the buds of the male flowers.
They will open in February to shed yellow pollen.
Male flowers.
Female flowers are less conspicuous and are solitary, borne at the end of the stems. They produce berry-like fruits each with a single poisonous seed surrounded by a bright red fleshy cup, the aril.
You could imagine The Lady of the Lake emerging with Excalibur from the Lower Lake at Nostell Priory this morning. There’s a mist hanging over it, which melts away as we walk along the shore. In the shade of the trees, ice still covers half of the surface but it’s covered by a film of water so that mallards can stand about in groups in the middle of the lake.
Most of the Middle Lake is ice-free and eight drake goosandershave gathered in the middle of it, probably accompanied by as many females, but it’s difficult to make a definitive count as at any time one or more of them is likely to be underwater.
As we stand on the top of the banking, trying to count them, I’m aware that the lake’s resident pink-footed goose has started swimming towards us. As I lower my binoculars, I’m astonished to find that it’s waddling along beside us. While we were counting goosanders it must have walked up the near vertical banking!
11.30 a.m.: In the woodland glade of the Menagerie at Nostell one nuthatch is chasing another. There’s an exchange of ‘tickety-tick’ type calls followed by a high-pitched repeated ‘Chuieee’ call.
What I take to be the male bird is posturing, following the female from tree-trunk to the bough of the neighbouring tree.
In subdued winter plumage, the yellow on the breast of a grey wagtail is a good match for the buff colour-wash on the buildings of the stable block that overlook the walled garden.
8.45 a.m.: We’ve been waiting to see whether the squirrel baffle on our new bird feeding pole would defeat a really determined squirrel.
After nibbling a few spilt sunflower hearts from the lawn beneath, a grey squirrel looks up quizzically at the feeders. Taking a leap at the pole, it gets to within a foot of the steel cone and hangs there for a moment until gravity kicks in and it starts to slide back down, like a fireman on a pole.
It scampers off towards the patio then climbs to the top of the cordon apple and looks back towards the pole. After checking out the patio table and discovering the odd sunflower heart that I’d spilt there, it goes over to the shed and climbs to the apex of the roof, to check out the challenge from another angle.
You can imagine the thought processes that it’s going through. It completes a circuit of vantage points by climbing the clothes pole and the crab apple (where it samples one of the squishy apples).
Then it’s back to the feeding pole for one last attempt. Taking a running jump, it succeeds in propelling itself right up into the cone. For a few moments all that we can see of it is a bushy tail, dangling and swishing slightly. That’s as far as it gets, then it lets itself gently back down to earth via the pole.
I think that now we’ll be able to go back to using plastic feeders, in addition to the robust ‘squirrel-proof’ metal feeders that we had to start using a year ago.
4 p.m.: This afternoon, the light is much the same as yesterday, so I get a chance to finish my watercolour. Working with a finer brush, a number 6 sable round, I start with the branches in the upper left-hand corner and work my way downwards.
In the shady shelter of the far northeast-facing wall of the garden, Timperley Early (right) is one of the few rhubarb varieties to have started sprouting leaves but Victoria is just ahead of it, with some of the leaves already opening out.
