Richard Bell's nature sketchbook since 1998
Rather than go for regular architectural drawings I’ve used the exercise of drawing without lifting the pen from the paper for this facade of Harewood’s Grand Lodge for next month’s John Carr anniversary show in Horbury’s Redbox Gallery.
The split complementary colour scheme comes from my experiments with Procreate.
I’m going to experiment with 3D versions, building up the facade in card.
This looks like an Andy Warhol-style famous-for-fifteen-minutes portrait of John Carr but the idea is to come up with a colour harmony that will suit the Carr Tricentenary exhibit in the Redbox Gallery in Horbury.
Procreate includes a Colour Harmony Wheel so starting off with the colour of Yorkshire stone – the coal measures sandstone of St Peter’s Church – I’ve experimented with the various options available. Complementary does give me enough colours, Tetradic gives too many fighting against each other, so it’s the Split Complementary, Analogous and Triadic that are most likely to give me a workable colour scheme.
It’s so hard to find a birthday card with a Horbury theme, so it was back to the drawing board for this one, celebrating local architect John Carr’s towering achievement, the classical confection that is the Parish Church of St Peter’s & St Leonard’s.
Happy birthday to Alex!
Carr topped the spire with that rather un-Christian symbol, a Grecian urn, but this crashed down and was replaced with a wrought iron cross. The urn, which was about 7 feet tall, was carefully pieced together again and, in my teenage years stood as an oversize garden ornament in a house on Cluntergate which I believe had once belonged to a Mr Green.
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.