The building which was Bernard Morgan House has now been pulled down. This is sad. It had a calm 1960s look, and ceramic tiles on the side.
I looked across the gap and could see the Welsh Church: Eglwys Jewin.
The church is the building with the green roofed turret and the long windows. It was founded around 1774. According to its website “capeljewin.org” in the 19th century it was “one of the most powerful and influential churches in the Calvanist Methodist tradition”. It was very well attended in the 19th century so they built a new and bigger chapel on Fann St in 1879. This was destroyed in the Blitz in 1940. The building I’ve drawn was built in 1960.
Lauderdale Tower is just visible, to the left of the picture, and Blake Tower is on the right. Ahead, behind the church, is Tudor Rose Court, a City of London building providing sheltered housing to people over 60: 16 leased, and 60 social rented flats.
Bernard Morgan House used to be a City of London building too. It was a police house.
I drew it in 2016:
Who was Bernard Morgan? There is a Bernard Morgan, born in 1924, who was a code breaker in the Second World War. Was it him?
Taylor Wimpey are going to build luxury flats: “The Denizen”. This is how the view I’ve drawn will look after “The Denizen” is built:
Here’s another view of “The Denizen” from the Taylor Wimpey website. See how big it is! Fortune Park is the trees in the foreground. You can see Blake Tower on the right and Lauderdale Tower in the Centre.
This is a post-card sized etching on copper plate, printed by the technique called Chine collé. Japanese paper is the coloured background, and is printed and glued to Fabriano Unica, all in one process. It’s a bit tricky, but gives a good result, I think. The Japanese paper takes the ink very well, and provides the coloured background.
The plate is made using a hard-ground etch, then aquatint. Hard-ground etch means I put a varnish on the plate, then draw the picture in the varnish, so revealing lines of bare copper. Then I dip the plate in acid for 20 minutes. The acid attacks the bare copper and makes lines. Then if I print it, it looks like this:
The next stage is aquatint, to make the tones. Aquatint is nothing to do with water, and nothing to do with colour. The name is misleading. The plate goes in a box, where I’ve turned a handle to make clouds of fine rosin. The rosin drops on the plate like rain. Then it’s annealed with a gas burner. Now there are lots of tiny dots in a random pattern on the plate. The skill now is to paint and dip the plate, so as to get the tones. The longer the plate stays in the acid, the blacker the tone. But if you leave it too long the acid bites off all the dots and the tone is light again.
The picture has 5 tones and plate tone. The darkest tone was in the acid for 4 minutes.
This morning I was again sketching in The Charterhouse. I’ve wanted to sketch in Masters Court, which has a fine façade on the Great Hall. But when I got there I preferred this view of the dark North West corner. Also there was a convenient seat.
I thought this view would be simple, but it wasn’t. The angle of those two roofs was a challenge.
While I was drawing, Mark came to mend the paving. He removed a heavy section of stone, and reset it. He looked at what I was doing. I asked him whether I should put in the crane, which loomed above the roof, and whose motor was clearly audible in the quiet courtyard. “Well,” said Mark, “it’s there!”
So I put the crane in. Then I met Robin, who asked if I would put in the crane driver, who was also visible at that point. So yes, the crane driver is in there too.
Here’s the picture:
Here are some pictures of the painting in the location. You can see the colour of the stone. Also there is the picture in pen and ink before the colour went on.
Pen and ink
on the Charterhouse stones
1hour45minutes, drawn and coloured on location. Very cold (6 degrees C), but dry.
As the daylight faded, I made this sketch from outside 37 St Giles, Estagun House.
St Giles is the name of the road going North out of Oxford, and also of the Church, which where the road starts. There has been a “St Giles” church near Oxford from at least 1120.
“St Giles is supposed to have protected a wounded deer from hunters, and images of him usually show him accompanied by a deer pierced by an arrow. Many churches dedicated to St Giles are situated just outside city limits, where they could minister particularly to those who resembled the wounded deer – the weak and defenceless, such as lepers and beggars, who might not be welcomed into the city. Today, the St Giles congregation continues this tradition by working with the homeless.” [St Giles Church website]
The building is from 1200, the lower part of the tower in the drawing is 13th century. The top was altered in the 15th century.
Behind the tower, you see a crane, which is building part of Somerville College.
I was staying in St Benets Hall, 38 St Giles. Here is the view from the window.