BOAT INTERMISSION

I was having a hard time progressing on the first few DD4 pages, I think because I didn't know my boat situation well enough. So I took some time out to do some boat research and make some choices in those regards. To paraphrase Stephen King from ON WRITING, often writer's block is simply a manifestation of a lack of research (and he is careful to point out that "research" does not necessarily mean looking something up in a book; it can also be a creative process, doing the work to invent and build up your understanding of entirely fictional elements). This has been true, in my experience. It ties in with lessons I like from Lynda Barry in WHAT IT IS: Always Be Moving That Pen. The two lessons combine to create the discipline that (ideally!) when things seem stymieing, work on something else, so long as you keep drawing/writing/typing/sculpting/etc. I was getting angry trying to come up with shots and compositions in and around a sailing ship, so I got to know my sailing ship better.

DID YOU KNOW?

Sailing ships cannot and do not exist in real life. Their geometry is impossible to represent in three dimensions. They are wholly unknowable.

HISTORICAL ACCURACY CHAT!

Originally, I had DD's family sailing from Smyrna to England as part of a two-ship convoy, simply because it looked good. Two ships makes for easier, better compositions. BUT then I learned about real ships, *groan*.

First I learned about Royal Navy ship ratings. According to Wikipedia (don't judge me) a fifth-rate was perfectly likely to be sent out on its own and was fast without being too frail. It seemed like a good ship to get Lord Nichols* home in a safe, expedient fashion. A fifth-rate also carried a complement of around 200 sailors. So if I added another ship—even a small one—we might have 300 or so sailors at hand when the ships seek shelter at the island. That seems like a lot, certainly many more than I had planned for initially. It is hard to imagine the inevitable pirates presenting too much of a threat against so many men.

So the Nichols will be sailing as one ship, because of Historical Accuracy. Which, by the way, I have to remind myself is not actually too important, and yet I just can't help but be lured in by its charms. Whatever. One ship is also narratively better than two, anyway.

PAPER!

Took some time to go out and get some drawing paper, because I was all out. I would have bought those yellow pads of Strathmore Bristol, but my shop didn't have any. Instead, I picked up the same paper in big sheets (Strathmore 300 Bristol Vellum), and 65LB Accent Opaque Vellum. 

I remember liking the weight and texture of the Strathmore, but the Accent is a bit of a brighter white, which makes for much better scans. Plus, the Accent is cheaper and one big sheet divides perfectly into four sheets of exactly the size I want (around 11x17). And on top of that, IIRC it is a little less soft, so pencil marks don't leave such deep grooves? I don't remember if that is true or if it is wishful thinking.

I use the vellum surface because the alternative—smooth surface—is not nice to draw on with the Ebony Black pencils I traditionally use. But! How will it handle ink? Only time will tell. For now, I'm making my bet that the rougher paper will produce a texture I like; that I can lean into both with pencil and ink.

*I forget if DD's dad is a "Lord Nichols," or what exactly his title is. I have to look back at my notes. I worked it all out a long time ago; some more of that Creative Research.