Ring-tailed Lemurs

lemur sketch

Ponderosa Rural Therapeutic Centre, Heckmondwike, 11.15 a.m.: One of the ring-tailed lemurs is keeping an eye on the silver fox in the next enclosure. It backs up to a post and scent-marks with its anal gland, rubbing against the timber, then turns around to check, pressing its nose close to the spot.

It relaxes with a little grooming and pauses to watch a bit of thistledown drift up in front of it.

A male settles down to take a look out of the far corner of the enclosure. Soon the female comes over and displaces him and he climbs out of her way instantly, without any dispute. Lemur society is matriarchal.

One of the females does a handstand to leave her scent mark on a post but I get the impression that it’s mainly the males who act as look-outs for the group. They’re the ones getting up on their hind legs at the back of the enclosure staring at me as if they’re thinking ‘What’s he up to?’

There are four or five lemurs in the Ponderosa group.

The males appear to have scent glands on the inside of their wrists. Often when a male sits looking out of the enclosure at me or the other visitors, he’ll rub the end of his tail between his wrists. I don’t think that I saw a female do this; females seem more likely to use their anal glands for scent-marking.

It’s surprising how long they are when they stand on their hind legs or when they jump up onto the the mesh at the front of the cage, apparently to challenge me.

When one of the lemurs yawns, the shape of its jaw reminds me of that of a dog. In the brief glimpse that I get of its teeth, I think that I can see a pair of small canines at the front of the jaw.

Their feet look rather like hands. They bound around balletically with backs alternately arched then stretched.

I made a couple of quick colour notes then added the watercolour as we waited for our lunch. It was surprising how ochre, grey and black, plus a spot of dull amber for the eyes, brought the drawings to life.

As you can see, with these visual notes; I was observing behaviour rather than trying to complete a portrait of a particular animal.

Link

Ponderosa Centre

The origins of place names in the Huddersfield area, including Heckmondwike

A Lot of Duckweed

I haven’t turned on the hose pipe during this long dry spell but this weekend the pond had got so low that I felt I had to. The surface was entirely covered with duckweed, so I put on my arm-length waterproof gloves and pulled it out around the edges, then used a pond net to scoop up the remaining clumps in the middle.

A A Milne’s poem Bad Sir Brian Botany came to mind. The bit where Sir Brian gets his comeuppance from the villagers:

“Sir Brian went a journey, and he found a lot of duckweed . . . “

I left the piles of duckweed at the water’s edge to give the pond life a chance to find its way back and gave a helping hand to a few ramshorn snails, dragonfly larvae and black water beetles that I spotted struggling.

I didn’t see any frogs or newts but I was skimming the surface layers and they were probably lying low.

Continue reading A Lot of Duckweed

Goodnight to Flamboro’

Another link with Yorkshire composer and pianist William Baines (1899-1922): Alan Cuckston’s 1990 recording of a selection of his piano music is the only CD that I’ve ever provided the cover artwork for; a pencil and watercolour of one of Baines’ favourite places, drawn on location at Flamborough Head.

The centre piece of Cuckston’s recital, recorded at Leeds Grammar School on a Steinway piano, are two sea pieces, published as Tides (1920):

“Tonight I have written a lovely mind’s-eye impression. . . Goodnight to Flamboro’. The waves persistantly roll on the rock and in the caves. . .  A beautiful ecstatic sorrow surrounds everything about. . .”

William Baines, 1/7/1920

“This is an important disc,” Baines biographer Roger Carpenter tells me, “because it includes several items not otherwise issued commercially, such as Glancing Sunlight and Island of the Fay.”

At the Grave of William Baines

In 1995 Eric Parkin recorded a CD of the Piano Music of William Baines, which includes the Seven Preludes (1919) and Twilight Pieces (1921).

There’s a Baines connection to the music included on Robin Walker’s CD, I thirst. His piano piece At the Grave of William Baines was composed in 1999 to mark the centenary of Baines’ birth in Horbury. Walker writes:

“He was a composer who lived in his own reality, was solaced by Nature, and composed with a wild spirituality that always retained musical integrity.”

Links

Alan Cuckston’s Goodnight to Flamboro’ on Music Web

Eric Parkin’s Piano Music of William Baines in the Gramophone

Robin Walker

Clip Studio Sketch

After a bit of a break, I’ve gone back to Clip Studio Paint on the iPad Pro, drawing with an Apple Pencil. Struggling to draw from memory on the iPad (see below), I decided to re-familiarise myself with the process by drawing three India ink bottles that happened to be sitting on my desk.

As usual, I started with a pencil layer, which proved useful because I made the third bottle that I drew a bit too small compared with the others. I realised that it wasn’t going to work as I inked it in (below) so it was easy to go back to the pencil outline, to correct the proportions (right). Virtual erasers don’t chew up the virtual paper.

I created a new layer labelled ‘pen’ and drew with a G-pen, one of the standard pens in the Clip Studio toolbox.

I added a ‘paint’ layer and painted with some of the watercolour brushes but then felt that I needed some darker areas, so added another layer for different ink brushes.

I decided on a tonal background rather than the white of the virtual paper, so used the rectangle tool to draw a box around the subject which I then followed on one final layer, using the pen tool to trace around the box, so that the line matched the drawing.

Teacher in Tweed

This is the drawing from memory that I was struggling  with. It was supposed to be one of my teachers but I haven’t caught his character as I remember him. After a bit of drawing from life, I’m ready to try drawing from memory again.

Links

Clip Studio Paint

iPad Pro

William Baines Leaflet

Following a discussion on the Horbury and Sitlington History Facebook page, I looked out a copy of my leaflet, The Yorkshire of William Baines, produced as part of my Major Project on the Communication Design (graphic design) course at Leeds College of Art.

The project grew and grew until it included an exhibition and a recital by pianist Eric Parkin at the Harrogate Festival in August 1972, followed by another recital in Horbury, Baines’ home town, in the November (the 50th anniversary of his death, aged just 23), when Parkin was joined by contralto Caroline Foster, who performed five songs by Baines. I transcribed the songs from copies of the original manuscripts but fortunately pianist and singer were able to perform despite my inevitable errors.

Since my degree show days, my enthusiasm for pen and ink drawing and my interest in local history remain undiminished, but I’m so glad that my struggles with Letraset Times New Roman are a thing of the past. Letraset was rub-on lettering supplied on a plastic sheet, which was almost impossible to apply successfully. I wish that I could have had access to a time machine to pop forward 46 years to set up the project on my current iMac!

Victor Ambrus

My pen and ink style was heavily influenced by Victor Ambrus, at that time a prolific illustrator of history and children’s books, and later a regular on Channel 4’s Time Team. He incorporated finger prints into his drawings, so, so did I. I felt that if I could use the same pen and the same paper as he did, I might be able to achieve the assured springiness of his line.

I was lucky enough to get a chance to ask him about his technique when he did a session at a Children’s Book Fair in Leeds. I remember him telling me that he used layout paper for pen and ink work, and some readily available dip pen nib (if I remember rightly, he didn’t use a mapping pen).

Gathering material for the leaflet, I borrowed photographs and drawings from residents and former residents of Horbury and ordered copies of documents and photographs from the Baines archive in the Additional Manuscripts department of the British Library, which was then housed in the British Museum.

The publication was to be a booklet, but one of my graphic design tutors, John Daffern, persuaded me at a late stage to try something more adventurous, so it became two broadsheets in a card cover plus a facsimile of a career-changing telegram that Baines received from composer Arthur Eaglefield Hull. All this in a decorated envelope, that I sent out mail order, stamp stuck over the price tag – 5p – in the top right-hand corner.

The leaflet is currently available from the Rickaro Bookshop, Horbury.

Links

Rickaro Bookshop

Horbury and Sitlington History Page Facebook group

Mastering Comics

I’ve drawn comic strips since since I was aged eight or nine and I’ve published a few of them, from as early as 1979 in my Sketchbook of the Natural History of Wakefield, so you might think that I’ve left it a bit late in my career to read Mastering Comics, the sequel to Drawing Words & Writing Pictures by Jessica Abel and Matt Madden.

I’ve learnt a lot from it and I’ve especially enjoyed being immersed in all things comic: writing, planning, printing, binding and trying to make a living. It reminds me of the years that I was lucky enough to spend in total immersion in graphics and illustration during my time at art college.

Comic creators Abel and Madden teach the subject at New York’s School of Visual Arts, so they’re well aware of the practicalities and the questions that are likely to arise during the creative process. I can’t get to New York to take one of their courses, I’d get a lot out of that, so this is the next best thing.

Homework

Perspective homework: examples by Jessica Abel and Francois Ayroles. An activity I’d like to try for myself.

I decided to read right through the book but I’d like to go back and try some of the activities they suggest:

  • a sketchbook comic drawn entirely on location (which still evokes some kind of story)
  • a comic with no people that includes examples of different perspectives and viewpoints
  • a traditionally coloured comic using black line and CMY (cyan, magenta, yellow) colours.

Link

Drawing Words & Writing Pictures

Black Swans Preening

The Calder Valley beyond Mirfield is disappearing into the haze this morning.

In the waterfowl pen at Charlotte’s Ice Cream Parlour, black swans are preening.

This disconsolate-looking West Highland terrier was sitting by a table at the the Caffe Capri.

These are the first scans from my sketchbook made using Affinity Photo. Aspects of the process are still slightly unfamiliar but there are plenty of short tutorial videos on specific subjects, like setting levels, so I’m not finding it too difficult to get into the program.

I do still miss the the preview that you get in Adobe Photoshop, which takes the guesswork out of exporting an image for the web. In practice, as I stick to pretty much the same settings every time, it’s unlikely that I’m going to be surprised by the end results.

The sketch of black swans preening looked very similar when I saved the same image in Photoshop.

Cinnabar Caterpillar

Cinnabar moth caterpillar on common ragwort at Ashbyville Local Nature Reserve, Scunthorpe.

Published
Categorized as Drawing

Affinity Photo

Affinity Photo: for readability, I’ve gone for the light version of the user interface with large print, and with the tool names popping up as soon as I hover the mouse over the icon.
My original scanner, in a GIF image from 2002, so please forgive the pixelation.

I’ve been using Photoshop for twenty-two years but I might finally be moving on.

In 1996, I bought my first scanner which came with an OEM version of Adobe Photoshop 4.0 included in the box. This was quite a bargain as, at that time, if you wanted to buy the same version of Photoshop on it’s own, it would have cost you more than the scanner and Photoshop bundled together!

Continue reading Affinity Photo

Patio Patrol

In close-up, this paved area at the end of Barbara’s brother’s South Ossett garden is a miniature landscape; a sun-baked plateau dissected by a network of canyons. Brown ants patrol the edges of a dense forest of mosses.

Moss is still green in the crevices but on the surface of the concrete paving slabs, it’s dried up. White whiskers give the clump a little protection from the direct glare of the sun.

Spore capsules of the mosses are like pepper-pots on wiry stalks. One (left) has split open, leaving the teeth around the rim splayed out, like the petals of a miniature daisy.

Spots, Stains and Splatters: Crustose Lichens

There are a few spots of a dirty yellow crustose lichen on the concrete. It’s dotted with orange sporangia, each with a narrow yellow rim.

This black crustose lichen looks like little more than a tar stain on the concrete but my macro photograph reveals a surface cracked like dried mud.

A white lichen looks like splatters of paint. In close-up almost every individual scale in the colony is dotted with a small depression, perhaps the lichen’s spore-producing body.

I’m guessing that the single orange sporangium is a different species of lichen – probably the yellowish species – that has become engulfed by the white one.

Bluebottles and Bumblebees

When I drew these a month ago on 11 June the temperature was climbing to 34°C, 92°F, in this sunny corner, so insects were active. A half-size version of a bluebottle touched down while a small marmalade-coloured bumblebee visited the white clover at the edge of the lawn.

I was soon adopted as an extension of the habitat by a small brown spider which climbed over me.