Archives for category: Art

Quick observations in the playground

I don’t often write about it, but I suffer from ME/CFS (which I’ve had for 30 years).  It’s one of the reasons that I sketch the way I do (in short bursts, and fairly quickly), and also why sketching is so important to me (more of this in a minute).

When I started sketching the restoration work at Cliffe Castle I didn’t know how often I’d be able to get up to the park or how much I’d be able to do, because my condition is variable and unpredictable, but it turned out that I managed quite a lot. And somewhere along the line I realised that Urban Sketching of this kind, with the support and encouragement of other Urban Sketchers, had made a huge difference to the way I felt and to what I was able to do.

I also began to think that it was important for other people to realise this as well, because it’s probably not obvious that sketching on location is something that can be so useful in managing a chronic condition – not just to people like me with a disability but also to people who aren’t disabled, to make it easier for them to understand what I can do and what I can’t. And an added bonus is that I’ve become more confident and better at explaining this, which makes things easier for everyone.

The exciting thing is that this month’s edition of Drawing Attention, the online newsletter of the international Urban Sketchers organisation has picked up on this theme, and back in December I was interviewed for an article on the subject which has now been published! (Note: it’s better viewed in an internet browser on a computer rather than on a tablet or phone).

When I sketch I disappear into a space and time that separates me from everything else that’s going on around me, which is one of the reasons it’s so important to me and why it’s such a useful tool in a situation that would otherwise be overwhelming and exhausting. Drawing is tiring, but much less tiring for me than talking and listening and interacting with people (no matter how much I’m enjoying the conversation!)

I’m amazed at what the last two years have taught me. I hope more than anything that other people can discover this too. 

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Fallen leaves

The days are so short now that the light is often fading by the time I get up to the park, so I’m watching where I put my feet (it’s often muddy) and with my eyes down what I mostly see is the ground. But this is often the best place to look for the most colour and beauty on a dark misty afternoon. I can’t help picking up leaves one after the other just to marvel at them – whole trees look spectacular when they turn gold, as some do – but individually every leaf is a world of beauty. There are so many of them lying around everywhere, making a nuisance of themselves on the paths and lawns and having to be raked and swept up – and yet each one taken separately is so incredibly lovely and every one unique.

Most of the trees have lost their leaves now, and this year some never turned the truly glorious colour we hope for in Autumn anyway, but near the Beechcliffe entrance there are three handkerchief trees that always turn a wonderful golden yellow, and these still glow in the fading light, so yesterday I did a fast sketch of one of them before the cold made me move on.

Handkerchief tree

I did a brisk walk, round to the pond, (enjoying the fountains) up to the Castle (a quick look at the animal houses that are still not finished, but it was too dark there to draw) and over to the playground where there were a few mothers, hands in pockets and coats zipped and buttoned, with children all open coated and un-gloved running about and climbing on things with never a thought for the cold.

Mothers in the playground

It may be damp and cold (and the forecast is for it to get colder) and the afternoons may be short and dark, but out there in the park there’s colour and life in the landscape. 

Not too long ago I was sketching up at the glasshouse terrace, the only part of the park that was still a building site. Walls were being built at the edge of the walkway that will curve along the front of the animal houses and aviary, and I was watching (and sketching) a skillful bit of bricklaying. After a while the bricklayer stopped to go off in search of something and as he passed me in the carpark he asked what I was doing, so I explained. (It seems he hadn’t been working on the site all that long and hadn’t seen me before). 

The conversation went like this:

Bricklayer: Are you an artist?
Me: Yes. I’ve been drawing this project since the beginning….
Short pause.
Bricklayer, thoughtfully: Only difference is, I draw with a trowel, and you draw with a pencil. 

I liked this, and wrote it down – though I didn’t really need to write it to remember it. It says a lot about what drawing is. Of course bricks (or Yorkshire stone) aren’t a sketchbook and a wall isn’t a drawing, but a trowel is a tool just as much as a pencil or a pen, and bricklaying and drawing both require eye/hand co-ordination and a lot of practice. When you do a lot of it and practise often, you get better at it and it more often goes well. Not always – and I imagine bricklayers have good days and bad days just as a sketcher does, though the consequences of a bad bricklaying day could be more serious and long lasting than the times that I do wonky unsatisfactory drawings. I can just turn the page and start another sketch, and try not to mind when things don’t go right – though it’s a fact that I never get over the feeling of uneasiness whenever this happens. After days of not drawing, when I need a lot of warming up before anything will flow there’s always a small sinking feeling, a nagging little voice that says you’ve lost it, it’s never going to go right. It does come right, eventually, after a fair bit of exercise, but it always feels the same. 

I was talking about this with a sketcher-friend of mine recently, Louise Garrett, and she had what I think is the brilliant idea of carrying a rough book around as well as a current sketchbook. Something to scribble in and do quick drawings with lots and lots of looking, lots of warming up. Drawing is like dancing, or singing. It’s a physical-neuralogical-emotional thing, and you have to respect that and be patient. And just do the work. 

My ‘Drawing The Work’ project and the exhibition now on in Cliffe Castle are going to be the focus of the October session of Bradford Museums’ ‘Responses to Art’ programme – this coming Thursday, 5th October, 10.30 – 3.00. Very unfortunately I’m not going to be able to be there myself, but Joe Bean from Yorkshire Urban Sketchers is going to come along and talk about Urban Sketching – and hopefully bring lots of examples of his own work. Joe loves building sites just as much as I do and draws them brilliantly – he’s just done a wonderful series of sketches of the demolition of the historic South Stand at Headingley Stadium. I’m thrilled that people will be able to see his work at Cliffe Castle and have a chance to hear him explain what Urban Sketching is all about – like me Joe is a passionate urban sketcher! 

Anyone interested in going along on Thursday should ring Cliffe Castle to book a place, on 01535 618231. It should be an interesting day! 

Demolition work in June 2016

Back in June last year when I started this project that I’ve called Drawing The Work, I had no idea quite what might come of it. Four and a half sketchbooks and a pile of looseleaf drawings later, and I realise it’s taken on a life of its own, and it isn’t finished yet. But since this Sunday saw the opening of the display of all my work in Cliffe Castle Museum it seems like a good time to talk a bit about what it’s like to sketch in the park, and how I go about doing it. So what follows is the How, followed by the Why, in two parts. 

1. Practical matters: tools and equipment 
People always seem interested in my sketching kit – well, other sketchers are, anyway – so here’s the chance to see what’s in my bag. (Part one may get a bit technical so if you’re not a sketcher you may want to skip to part 2).

Mini sketching kit in a bag

Essentials: small bag on a strap that I always wear. It’s just big enough to hold 2 or three pens with different inks, sometimes a pencil, 2 waterbrushes (one with water, one with indigo ink diluted about 50:50 with water) a couple of sheets of kitchen paper and my mini-palette (see below).

This is my absolutely basic essential kit and goes with me everywhere – most days I go out with just this little bag and a spiral bound sketchbook. Most of my pens are Lamy Safari, and the one I use the most (and love the best) is the one dangling from the strap on the front of the bag; it’s a Lamy Safari Vista filled with De Atramentis Document ink that’s permanent and waterproof. I have other pens with other colours of ink, some waterproof and some not, and those I vary from day to day. The strap across the front of the bag is mostly for hanging pens on when I’m actually sketching, for easy access and a quick draw (!) and there’s a mini-pocket and a flap-strap with velcro to hold other things, like kitchen paper for blotting and brush cleaning. I don’t often take a water pot with me but usually rely on waterbrushes; although they have their drawbacks they’re incredibly useful especially since I do all my sketching standing up. 

My homemade mini-palette

My homemade mini-palette made from plastic packaging for inter-dental toothbrushes. The watercolour pans are blister packs for indigestion tablets.

I try to keep everything I carry as lightweight as possible so this tiny palette is ideal as it weighs almost nothing. I’ve also added a strap across the back made from 2.5cm masking tape that I can slide a flat stick of rigid card through, and then this gives me a paintbox-on-a-stick, that I can hold in the same hand as my sketchbook:

Paintbox-on-a-stick

Paintbox-on-a-stick – looking a bit battered now. I may have to make a new one soon; the corners started to leak and I patched them up with nail polish. 

I’ve used many different sketchbooks over time but I’ve never got over feeling inhibited by books that have expensive paper. I want to be able to draw fast and fill pages with drawings that may be terrible, especially if I’m warming up after not sketching for a few days, so I use A5 sketchbooks by Crawford and Black which are really cheap, and are spiral bound so that I can open the book right up and fold it round to hold it easily in one hand. In fact the paper is surprisingly good – it works fine for drawing with a pen, and takes light watercolour washes, and I rather like the way watercolour behaves on this paper – washes tend to ‘bloom’ a lot because of the sizing.

A5 Crawford and Black sketchbook

A5 Crawford and Black sketchbook. I reinforce the cover by taping some of the first pages to the inside of it to make it more rigid. 

If I want to do a sketch that’s more painterly in a watercolour way, I use a loose sheet of heavy (300gsm) watercolour paper cut and folded into a concertina-fold strip – this way I can end up doing either a panoramic landscape view, or a series of sketches related to each other that make up a story. 

Panoramic sketch of the old toilet block

Panoramic sketch of the old toilet block on a concertina-fold sheet of watercolour paper

I’ve already mentioned that I do all my sketching standing up. There are several reasons for this; firstly I’m more comfortable that way, and also I’ve noticed that people don’t come up and peer at what you’re drawing as much if you’re standing rather than sitting. I don’t mind this and I like talking but it can be a bit distracting, and more importantly I need to get into exactly the right place to get the best view of what I’m drawing which often means walking about and moving frequently from one place to another, especially if I’m sketching work that’s in action. This is fine, but standing in one place to do a drawing for more than ten minutes gets tiring. Holding a sketchbook in one hand like this can be a strain. So I have an adaptable contraption like a tray with a strap, that supports my sketchbook and takes the weight of it off my arm. The strap goes round my back and over my shoulder, like a guitar strap, and the whole thing is held together with binder-clips. 

Wearable drawing-board with a strap

Wearable drawing-board with a strap, made from two hardback A4 desk-diaries with all the paper removed, and only the hard binders remaining. Overlapping and clipped together they can make a longer rectangular shaped board…

Wearable drawing-board with a strap, unassembled

…. when unclipped, the two A4 binders sit next to each other to make them more compact to carry about. 

I carry all this stuff in a cotton bag with a long strap that I can sling across me to walk easily, and I’ve become easily identifiable at a distance because of this bag. I don’t know if this is a good thing or not – it means I can’t easily sneak up on people and draw without being noticed… 

Cotton carrying bag

Cotton carrying bag, not rain proof, so I have a plastic carrier bag in it just in case.

I always have my phone camera with me and I do sometimes take reference shots, to remind me about colour if I add watercolour later at home – I sometimes do this if there isn’t time to paint on the spot or if there’s a lot of rapid complicated work going on, just so I catch anything that happens a bit too fast to sketch. But I do this as little as possible and I seldom actually draw from photos. I find this quite hard to do as I’m not really seeing the thing itself but just an image of it, and it feels unresponsive. The exception is if I want to do a recognisable and careful portrait of someone, and then a photo helps. 

Michael Scarborough, of The Friends of Cliffe Castle and the Conservation Group

Michael Scarborough, of The Friends of Cliffe Castle and the Conservation Group, at the occasion of the raising of the dome on the glasshouses

This pretty much sums up the how, but then there’s the why.  

2. Why Draw? And Why Cliffe Castle? 

People sketch for different reasons, all individual, all of them valid. I can only talk about why I do it, and there are two reasons; one is to record – actually it would be better to say witness – and the other is to understand, discover, and connect. Something happens when you stand in front of a thing and draw it that is quite different from simply looking at it or taking a photograph of it; sketching is an encounter, and after drawing something you have a relationship with it that you didn’t have before, and that you’ll never forget. This is what Urban Sketching is about. 

I first discovered the Urban Sketchers movement back in 2015 and it’s had a huge influence on my drawing. Realising that there are people all over the world who have the same compulsion to sketch from life as I do, and being able to see their work online and share mine as well has been absolutely life changing. Without this feeling of being part of a sketching community I would never have had the confidence to start my sketching project Drawing The Work, and as it’s gone on I’ve had so much encouragement and support – especially from Yorkshire Sketchers. 

And I can’t talk about Urban Sketchers without mentioning  Richard Johnson, news illustrator and Urban Sketcher whose extraordinary drawings – and writing – have made such an impact on me. Rather than try to explain what his work is like I’ll leave it for you to discover yourself; have at a look at Why We Draw and you’ll see what I mean. 

Cliffe Castle is on my doorstep, which means I’m extremely lucky to have such good sketching opportunities close enough for me to reach. My condition with ME/CFS means I can’t make long excursions but I can get to the park almost every day. The Parks Department and Museum staff have been an enormous help, always interested and encouraging and ready to give me time to answer questions (sometimes very long lists of them) and now and again take me on supervised tours of the building site. 

So, special thanks to Dan Palmer the Heritage Officer (seen above, one grey and muddy day back in March), Mel Smith the Parks Manager (who I have yet to sketch – I promise I will!), Dave Bennison the Parks Technical Officer, Daru Rooke the Museum Manager (it was Daru and Dave who first made contact with me when I was sketching them peering excitedly into an excavation at the site of the pond) and Geri Abruzzese (whose job title I’m not sure of, but who always seems to be around in the Gardener’s Lodge whenever I need something). And a very big thank you to Kirsty Gaskin the curator at the museum who has made such an exceptional job of the exhibition of my sketches. 

Thank you all, for reading. And as always, do get in touch if you’d like to – leave a comment here below this post or send me a message through my contact page. 

If you’re already a sketcher, happy sketching – and if you’re not, why not give it a try? 

Deborah 

Cliffe Castle Park in Keighley is being restored with funds from the Heritage Lottery Fund. Work started on site back in June 2016 and I’m following progress and sketching whenever I can.

Finishing the animal enclosures

Everywhere in the park things are taking shape and getting nearer to completion, and even though there’s still a lot to be done, every day there are signs that we’re in the final stages. The animal enclosures and the aviary have now been constructed and the back wall is clearly visible (with work still going on) behind the Grotto – which has now been fully cleared of its tangle of ivy, and has a smart new pair of Victorian style street lights. You can now see the steps of the aerial walkway that climbed from the cave up and across to the flower gardens behind the castle (I haven’t drawn these right, because in my sketch they don’t seem to end up in the cave as they should – the sunlight was very bright that afternoon and the shadows too dark for me to make it out properly). 

The Rose Garden

Beneath the bank of rhododendrons the rose garden has been planted with red and white standard roses in neat lines that look like something straight out of Alice-in-Wonderland, and dainty wooden slatted benches are appearing all over the place, all curvaceous and pretty. (Will they be comfortable? I’m not too sure about this, but time will tell.) 

Glasshouses

Glasshouses and dome

The glasshouses are still getting finishing touches but at least we can see them properly now the hoardings have been removed. A chance for me to try drawing the dome, and make a mess of it – I got all the elipses wrong and the proportions aren’t right either, even after a couple of attempts – but there’ll be plenty of opportunities to practise from now on!

Cherub on the north fountain

And at long last the fountains are complete, cherubs and all. I wish now that I’d had the chance to sketch the top bits before they were hoisted up and fixed in place because actually it’s quite hard to see all the detail, as they’re so high up – but they look lovely.

Cherub on the south fountain

Next Sunday is the Cliffe Castle Garden Party – not the official opening of the completed park as was originally planned (this will happen at a later date) but a chance to celebrate everything that’s happened so far, and with work going on at the speed we’re seeing now, there’ll be plenty more finishing touches ready by then….


More updates on the work of the conservation project, photos, plans, and background information here, and at the Cliffe Castle Park Conservation Group website and on the Parks Service page of Bradford Leisure Services.

Cliffe Castle Park in Keighley is being restored with funds from the Heritage Lottery Fund. Work started on site back in June 2016 and I’m following progress and sketching whenever I can.

It’s now more than a year since work started in the park and we’re past the deadline for completion, but with a project of this scale these things can happen.

This means that the Grand Opening Event on July 30th has had to be trimmed down accordingly and won’t be the full-blown celebration that was originally planned; instead it’ll be a day of music and other attractions, re-titled the Cliffe Castle Garden Party. But for me, the fact that work is still going on means there are still interesting stories unfolding and lots still to record. 

Lowering the carved dolphin support onto the fountain base

The restored marble fountains are being put back together, and I caught the act of lowering the carved dolphin support and fixing it into place on the north fountain. These structures are like tiered wedding cakes – two great dishes one on top of the other supported by carved middle sections, topped off by carved cherubs (which had been badly damaged – one was missing a head, and the other was riding a headless goose. Or swan? You can see the whole post I did on the unrestored fountains here.) 

Fountain before restoration

Fountain before restoration in 2016

It was exciting to see the cleaned up dolphins back, and interesting to watch as holes were drilled in the marble so the whole piece could be pinned in place on top of the first dish with stainless steel threaded rods. The blue pipes that supply water up to the top of the fountain had to be carefully threaded through each section…but before that could happen the crane had to carefully raise and lower the thing into place. Guiding it into position was a two man job and the best way to grasp hold of it was generally one hand firmly in a dolphin’s open mouth… 

Drilling holes and lowering the dolphins into placeThreading water pipes through dolphins Quite tricky, as the dolphins all have to end up facing in exactly the right direction. 

Then it was all about making sure everything was level and perfectly upright…. and in a day or so the next section will be going up. Before long now we’ll see the fountains looking as they once were – and I can’t wait to see water spouting and gushing and overflowing! 

In the meantime I hope I catch more of these moments as the restoration story continues. It’s easy to miss – and often things happen before I know it and take me by surprise. This was a lucky day. 




More updates on the work of the conservation project, photos, plans, and background information here, and at the Cliffe Castle Park Conservation Group website and on the Parks Service page of Bradford Leisure Services.

​Cliffe Castle Park in Keighley is being restored with funds from the Heritage Lottery Fund. Work started on site back in June 2016 and I’m following progress and sketching whenever I can.

After a long pause at the site of the pond when nothing much seemed to be happening, in the last couple of weeks things have really started to move. 

I hadn’t sketched in this part of the park for a long time, but I didn’t realise just how long until I looked back and found that it was back in the summer of last year. Things have moved on quite a bit since then, but there have been delays – mostly because of the complicated infrastructure needed for the workings of the pond and the two fountains – and for a long time there hasn’t been anything much to record. 

But all that changed recently when mysterious box-like brick structures started to appear in the pond itself, and then a great deal of digging and landscaping began all around the perimeter. Pipes were laid in deep trenches that seemed to be going in all sorts of directions. Mounds of topsoil were built up around the site and rockwork began to be laid along the edge of the pond itself – these lines of rock will define the edges of the pond and the path that will go around it. And then a large green cupboard the size of a small shed was installed, evidently full of electrical connections – the control centre for all the filtration and supply for the pond and both the fountains. I haven’t had time to study all this groundwork and infrastructure enough to be able to describe it or explain it properly, but I did manage to catch some of the work as it developed – and things are moving along fast. 

Looking more carefully at all the sketches I’ve done of the pond, I wish I’d thought of doing some drawings at regular intervals from a fixed point. What I’ve got is hardly an accurate record of how the landscape has changed – I can’t even work out if I’ve got the trees in the right places, though the largest ones are roughly where they should be. A landscape architect would have drawn this in a much more faithful and recognisable way! It’s just another of those things that I’m learning as I go along. 

The next exciting thing will be the return of the fountains, fully restored and ready to go back on their bases and have the water supply connected; there’s still a lot to do, but things are shaping up! 

More updates on the work of the conservation project, photos, plans, and background information here, and at the Cliffe Castle Park Conservation Group website and on the Parks Service page of Bradford Leisure Services.

As part of the Grand Opening Event at the end of July, I’m excited to say that Cliffe Castle Museum are going to be putting on an exhibition of all my sketchbooks and drawings from the Drawing The Work sketching project! 

Kirsty Gaskin the curator has come up with a really clever plan for the exhibit – to have a static display with the drawings and sketchbooks behind glass with the pages turned over day by day, but also to make two facsimile sketchbooks for people to handle and look through. I think this is a real brainwave, and I’m so lucky to have the museum putting all this into action. 
I’m absolutely delighted about the exhibit because I hope it can demonstrate how sketching can be a really unique and exciting way to record a project of this sort – and I’d love to encourage more people to do it. It’s been interesting to realise over the course of the restoration project just how how my sketching has had unexpected benefits – not just for me, but also for the Conservation Group, the museum, for workers on the site and for visitors to the park (- I’ll write a bit more about this later on in another post as it’s something worth exploring). 

While I’m announcing things – I want to say a big thank you to Yorkshire Urban Sketchers and to the international Urban Sketchers movement for all their inspiration, support and encouragement, because without them I would never have started any of this, let alone been able to carry it through. 

The Grand Opening is on Sunday 30th July, and will be an extraordinary Victorian themed day with some amazing attractions – follow the link to the announcement on Facebook and more details will be posted nearer the time. Posters are already up in the park. Put the date in your diaries!  

More updates on the work of the conservation project, photos, plans, and background information here, and at the Cliffe Castle Park Conservation Group website and on the Parks Service page of Bradford Leisure Services.

​Cliffe Castle Park in Keighley is being restored with funds from the Heritage Lottery Fund. Work started on site back in June 2016 and I’m following progress and sketching whenever I can.

Tucked away beyond the Conservatory lies the Grotto… 

If you arrive at Cliffe Castle from the car park and make your way down the path towards the museum the first thing you come to is the mouth of the tunnel, dark and spooky; long ago the entrance was planted with ferns (which would have looked lovely) and more recently it was liberally draped with ivy which added to its darkly gothic tone. Up until now I have to admit that it gave me the creeps. 

But I’ve always found that drawing something is a good way to overcome any misgivings, and now I’ve sketched it from all sorts of directions I feel quite differently about it. 

As you come further down the path you realise the tunnel is part of a larger structure, a sort of conglomeration of rockwork that’s quite hard to describe. Most of the vegetation has been stripped off it and now you can see more or less what it must have looked like when it was first built and before it was planted – mostly with rhododendrons – and it’s very strange indeed. 

To understand it better it’s helpful to know a bit of its history…. 

In the late 1870’s when Henry Isaac Butterfield was executing his grand building and landscaping plans at Cliffe Castle, he employed a French stonemason Monsieur Aucante, a specialist in the field of ornamental rockwork to create a marvellous structure that would provide – 1. a cleverly concealed entrance by means of a tunnel, for tradespeople and goods to enter the house with their deliveries unseen by the family and guests;  2. an aerial walkway leading up to the flower gardens and glasshouses at the back of the Castle; 3. an intriguing rocky retreat rather like a natural cave, that would look eye-catching and romantic and serve as a cool place to sit in on a hot summer’s day; and 4. a striking piece of architectural landscaping that would shape the wonders of nature’s creation into something even more grand, and provide a support for an attractive natural display of flowering shrubs. 

Clearly Monsieur Aucante set about the task with skill and ingenuity, creating a striking feature with natural pockets in the rock to be filled with soil that would support plants, but it wasn’t until I was drawing the strange fluid shapes of this flowing convoluted limestone that I realised what I was looking at, and why it looks so strange. These swirling holes and curling channels have been eroded by churning water and pebbles – they’re exactly what you find for instance at The Strid – and they would have been formed horizontally, not vertically, which is what makes them look so odd in a vertical wall. It makes you wonder where exactly all this rock was collected from, and how it was extracted and transported from its original site, presumably by horse and cart. 

Nevertheless the skill of the craftsman didn’t stop there. Some of the stone has been worked – if you look closely you can see that the central pillar supporting the front of the cave is carved in the form of a tree trunk. Because it’s now closed off with locked iron gates you can only stand outside and wonder what it might have been like in its heyday, and speculate as to whether the bricked up wall to the right as you peer into the gloomy interior hides the beginning of the flight of steps that led up to the aerial path that wound its way to the gardens beyond. 

The whole place is a bit of a mystery. Although it’s referred to as the Grotto, this is one thing that it’s not; a grotto is a highly decorated, often shell-encrusted whimsy and this was never conceived as such a thing, but it’s hard to find a simple word to sum up what this whole feature is and the word Grotto has somehow stuck. And in a way it sounds right, I think, even though to be pedantic we should be calling it something else. Grotto. A strange, fantastical, weird place, full of possibilities and probably odd stories that we may never know. It deserves more attention and with some loving care, who knows what strange and beautiful things may develop in this rather forgotten corner? Only time will tell. 

More updates on the work of the conservation project, photos, plans, and background information here, and at the Cliffe Castle Park Conservation Group website and on the Parks Service page of Bradford Leisure Services.

​Cliffe Castle Park in Keighley is being restored with funds from the Heritage Lottery Fund. Work started on site back in June 2016 and I’m following progress and sketching whenever I can. 

From time to time the Conservation Group volunteers organise a guided walk in the park to give people a chance to find out a bit about what’s going on, and learn something of the history that’s the reference for all the restoration work – and last Saturday morning was a spectacularly beautiful day for a walk in the park. I tagged along and observed from a little way off, sometimes hiding behind a tree in the hope that people wouldn’t notice me sketching and get self-conscious.

Starting at the museum entrance where people gathered on the steps, we trooped around the corner to the Grotto behind the Conservatory to learn some interesting facts about this strange and rather neglected part of the park (it’s a weird feature and I’ve been studying it recently, intending to do a whole post on it; here’s a sketch by way of a preview) – 

Those who weren’t daunted by the damp gloominess of the tunnel obediently shuffled through it and out into the spring sunshine on the other side, and I got chatting to Councillor Zafar Ali from Bradford Council who had noticed me sketching and wanted to have a look. (We exchanged cards, and I ended up using his with a picture of him on it to cover up the drawing I did of Claire as she delivered her commentary at the Grotto. I’ve been trying to sketch members of the group whenever I get the chance and so far I’ve only captured her from a distance so I thought this was an opportunity not to be missed, but it was such an appalling drawing I had to find a way to get it out of sight. I’m determined to do better soon.)

The next stop was at the other end of the Castle at the children’s playground, a good place to sketch from a slight distance without being too obvious. By now Claire was really getting into her stride; I was really enjoying her commentary and it was obvious a lot of other people were too… 

Then it was down the hill to Dark Lane and across to the other side of the park by the Holly Lodge entrance, and I stalked the walkers as they wound along Dark Lane path and then crept up on various individuals in the crowd. 

Next the bandstand. This is always an interesting talking point as many people wonder why the 1960’s design is not being rejected in favour of something more Victorian, but the fact is that it does a really good job, acoustically, and what we want is a bandstand that works. So it’s getting a makeover – the roof has been repaired, and it’ll be made sound and spruced up. Philip did an acoustic demonstration – 

Last stop was the pond, and by now I’d filled several pages of sketchbook and run out of steam. The next Heritage Walk run by the Conservation Group will be on Saturday 29th April, starting at 11.30 – so if you fancy a walk in the park, put the date in your diary! 

More updates on the work of the conservation project, photos, plans, and background information here, and at the Cliffe Castle Park Conservation Group website and on the Parks Service page of Bradford Leisure Services.