
Sow-thistle

Sow-thistle stems ooze a milky sap when broken, so the slug must have a way of dealing with this latex.
Richard Bell's nature sketchbook since 1998


Sow-thistle stems ooze a milky sap when broken, so the slug must have a way of dealing with this latex.
The rainbow chard looks bedraggled but I thought that it would be worth leaving it in because, if the weather improves, it should start sprouting fresh leaves. I remove dead and nibbled leaves plus any that I don’t like the look of; the test is ‘if I saw this in a the supermarket, would I buy it?’ If the answer is no, it goes on the compost heap.
Definitely not going on the compost heap are the white rhizomes of couch grass. There are just a few blades showing so I need to dig down now before this invasive spreads any further. There are also a few rosettes of forget-me-not and opium poppy but they’re not a problem.

In the half hour that I spent drawing this, down in the corner of the garden beyond the greenhouse, a few wood pigeons flew over the wood and a robin hopped amongst the branches of the hawthorn.

‘the twisted gorse on the cliff edge, twigs, like snakes, lying on the path, the bare rock, worn and showing though the path, heath hits, gorse burnt and blackened, the high overhanging hedges by the steep roads, which pinch the setting sun, mantling clouds, and the thunder, the deep green valleys and the rounded hills – and the whole structure simple and complex.’
Graham Sutherland,
Notes by the Artist, Tate Gallery, March 1953
On a walk alongside the hedge banks near the Pembrokeshire coast, Graham Sutherland came across a gap in the hedge that particularly appealed to him.
‘I may have noticed a certain juxtaposition of forms at the side of a road, but on passing the same place next time, I might look for them in vain. It was only at the original moment of seeing that they had significance for me.’
‘If at first I attempted to make pictures here on the spot,’ he recalled, ‘I soon gave this up . . . I found that I could express what I felt only by paraphrasing what I saw.’


Link: Paintings and Drawings by Graham Sutherland, Tate Gallery. In his statement, I wonder what Sutherland meant by ‘heath hits’. Perhaps a typo. In the context, I assumed that ‘steep rods’ should have read ‘steep roads’.


Before the afternoon rain sweeps in I roll up the tent into its dustbin lid-sized bag. I can never quite work out how such as large tent fits into such a small bag but it does, in what seems to me like the most 

Snow is a strange thing to draw. In fact you hardly draw it at all, it’s mainly the white spaces that are left when you’ve drawn everything around it.
‘It would be a pity if he disappeared to Yorkshire & just wrote for the Dalesman’
That was the typically wry comment of my professor, Brian Robb, head of illustration, as he looked through my folio at the Royal College of Art in March 1975. So, with apologies to Brian, you can probably guess what I’ve been writing for the last three years?

With this January article, I’m starting the fourth year of my Wild Yorkshire nature diary for the monthly magazine, described as the parish magazine for the whole of Yorkshire by Alan Bennett. As my deadline is always four or five weeks ahead of the month in question, I’ve based my articles on the observations and sketches in my online Wild West Yorkshire nature diary, which I started on Sunday 4 October 1998.
I’ve kept the focus of my Dalesman diaries on the kind of things that anyone can see in Yorkshire if they get out and about in their local patch and explore gardens, country parks, woodlands, waterside and moor. Now I’m ready to go a little further . . .

I should be able to find plenty of material for next year’s Wild Yorkshire diary!

4.30 p.m.: Two weeks or so after the shortest day, the light already seems to be lingering longer in the afternoons. It helps that today has been a lot brighter than the wet, overcast days that we’ve had so much of recently.
The purple loosestrife seed heads were drawn with a dip pen, using Winsor & Newton peat brown ink.