скачать книгу бесплатно
The Indoor Artist
Linda Birch
The Indoor Artist is an ideal guide for all those who, for whatever reason, prefer to paint at home. Packed with original ideas and practical projects, as well as expert advice on techniques, this is an inspiring book for beginners and experienced artists alike.For many people, indoors is the best location in which to paint – convenient, undemanding, safe, not subject to the weather and free from curious onlookers. But inspiration can sometimes run dry and the amateur artist may also need some instruction to help gain essential skills.The Indoor Artist is a practical resource for such painters. Professional artist and writer Linda Birch takes the reader through the basics – establishing a simple home studio area, selecting the right medium and getting to grips with shape and form – before looking at a number of enjoyable projects in watercolour.These include:• working from photographs• painting still lifes• creating the outdoors indoors• painting from your window – skies and roofscapes• painting flowers, gardens, people and animalsShe also encourages the reader to explore their experimental side by varying scale, using colour creatively and adopting a number of different styles.An ideal introduction for the beginner and a source of inspiration for the more advanced artist, The Indoor Artist is an essential resource for those who paint at home.
THE
COPYRIGHT (#ulink_7ad94c85-58f8-53d4-8e90-5f97b67447d6)
Collins, an imprint of
HarperCollins Publishers 77-85 Fulham Palace Road Hammersmith, London W6 8JB
The Collins website address is:
www.harpercollins.co.uk (http://www.harpercollins.co.uk/)
Collins is a registered trademark of HarperCollins Publishers Limited.
First published in 2004 by Collins
Editor: Diana Vowles
Designer: Anita Ruddell
Photographer: Syd Neville
© Linda Birch, 2004
A catalogue record for this book is available from the British Library
Linda Birch asserts the moral right to be identified as the author of this work.
All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the nonexclusive, nontransferable right to access and read the text of this e-book on-screen. No part of this text may be reproduced, transmitted, downloaded, decompiled, reverse-engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereafter invented, without the express written permission of HarperCollins e-books.
The illustration on page (#litres_trial_promo) is reproduced courtesy of the Tate, London.
HarperCollinsPublishers has made every reasonable effort to ensure that any picture content and written content in this ebook has been included or removed in accordance with the contractual and technological constraints in operation at the time of publication.
Source ISBN 9780007151486
Ebook Edition © NOVEMBER 2014 ISBN: 9780008124281
Version: 2014-11-14
DEDICATION
To my mother, Elizabeth Birch
CONTENTS
COVER
TITLE PAGE
COPYRIGHT
DEDICATION
INTRODUCTION
A PLACE OF YOUR OWN
SELECTING THE RIGHT MEDIUM
WORKING FROM YOUR PHOTOGRAPHS
LOOKING AT SHAPE AND FORM
PAINTING STILL LIFE
PAINTING IN THE HOUSE
INDOOR LANDSCAPES
PAINTING FROM YOUR WINDOW
PAINTING FLOWERS
PAINTING YOUR GARDEN
PAINTING PEOPLE
PAINTING ANIMALS
WORKING BIG, WORKING SMALL
EXPLORING COLOUR
CREATIVE & EXPERIMENTAL TECHNIQUES
ACKNOWLEDGEMENTS
ABOUT THE PUBLISHER
INTRODUCTION
This book came about as a result of my encountering many painters who cannot – or choose not to – paint outside ‘in the field’. There are a variety of reasons for this: some live too far from the countryside or lack transport to reach it easily; some are discouraged by unreliable weather conditions; others are not in sufficiently robust health to undertake a trip to paint outside, while many women do not feel safe alone in isolated places.
If you are one of these artists who are not able to paint outside the home you probably feel frustrated and disappointed by your apparent lack of subject matter. However, being indoors can be a real advantage. Your home really is a place where you have the privacy and time to try out new things, hone your skills and find inspiration. I know there are some who maintain that you can only produce a real painting if you work al fresco. Not true! Until the 19th century, all artists painted indoors. Even Turner regarded his outdoor work as sketches meant for his eyes only, prior to painting his more finished work. While his sketches are sometimes prized above his studio paintings, being indoors does not mean you necessarily lose freshness – it depends what and how you paint.
Indoor Flowers
36 × 26 cm (14 × 10
/
in)
Being indoors provides an ideal opportunity to paint flowers and still life. It also gives you time to study form and colour at close range.
Country Path
27 × 27 cm (10
/
× 10
/
in)
Being inside doesn’t have to stop you painting the outside! You can work from sketches or photographs, or even use props to re-create an outdoor scene.
This is not a ‘how to do it’ book, since there are plenty of those already available if you need them. Instead, it is intended to act as a resource for ideas and inspiration if, for whatever reason, you are not able to go outdoors to paint. Although it deals predominantly with watercolour, the same ideas can be applied to whatever your medium happens to be. I hope you will find that they bring new life and energy to your painting.
A PLACE OF YOUR OWN
A Place to Work
24 × 32 cm (9
/
× 12
/
in)
Every artist needs a permanent place to work with a desk, a chair and a lamp. Working materials can be left out ready to use – and to act as a subject, too.
Everyone who paints needs a place of their own to do it in. It is not easy if you need to clear the dining-room table every time you want to paint and then tidy your equipment away before the next meal. You must have a place to work, to think and to make a mess! Creativity is not a neat affair that can be set up and tidied away at the end.
You don’t need a large studio for the purpose – a corner of a spare room and a large table will do, just so long as it is your place where you can be left alone to work out your creative ideas.
ORGANIZING YOUR SPACE
Consider the options your home affords you for a dedicated work space. You may be fortunate enough to be able to take over a spare bedroom and turn that into your studio. However, if you have only the corner of that spare bedroom don’t despair – there are many ways of combining living and working spaces today, and rooms are often dual-purpose.
You will need a worktable of some sort. This doesn’t have to be a fancy affair, and if you are really short on funds you could consider buying a cheap wallpaper-pasting table from your local DIY store. They are large, practical and cheap, and fold away if you need to store them. One of these sufficed very well as my own first worktable.
Try to arrange your table near a window to catch the light, although the traditional north light is not really necessary. Even if you are working from a subject that needs a constant light direction, daylight bulbs, which can be easily obtained, will do the trick. I prefer to use a spotlight desk lamp to light my still-life groups or flowers. It gives warmth and vibrancy to the colours, whereas daylight bulbs are cooler in hue.
Make sure you have a comfortable chair to sit on while you work at your table. A typist’s chair, which can be bought cheaply from suppliers of second-hand office furniture, will be useful for its adjustable height control, which is vital to avoid developing a bad back. When sitting for long periods I find a footrest useful, which in my case is simply an old box.
Having a place of your own with all that you need laid out in readiness will make it easier to take up your work when you have only a short time available.
Try to position your table near a window to get the benefit of maximum natural light.
Practical considerations
If you don’t have any spare cupboard space, a small trolley with several baskets designed to hold vegetables makes good (and cheap) mobile storage. You can place sheets of paper under a spare bed to keep them flat and out of harm’s way, and other items you need such as a water jar and inks, spare still-life material and books can be stored on an overhead shelf.
When you are working for long periods of time in one spot, you may need to provide extra warmth. If you only need to keep the specific area you are sitting in warm, consider using a safe form of heating such as an oil-filled radiator which is sealed and can be wheeled to where you want it. It is not advisable to use water in close proximity to electric fires, fan heaters and convectors.
Making space for your subject
When you want to paint a still life or botanical subject, you will need a small table as a base so that you can position it at a suitable distance away from you. If needs be, you can make it much larger by placing a broader sheet of board on top. To cut out distractions from the rest of the room, make a still life ‘box’ from a large empty carton. This will enable you to drape material behind and create light and shadow when the subject is lit by the spotlamp. Alternatively, a shelf placed just below eye level would also make a good site.
If all else fails, try putting the still life on the floor. I once painted a very successful group of tulips placed on a painted wooden floor. Looking down on the flowers meant I could see more of the flowers than the container, which worked well.
SELECTING THE RIGHT MEDIUM
Barn in Snow
38 × 56.5 cm (15 × 22
/
in)
Salt and inks were added to watercolour to create frost and starkness in this winter scene.
Although this book is primarily about watercolour, there are other media that you can use with it. Gouache, an opaque form of watercolour, can be employed for its thicker, impasto quality, while inks give rich, subtle, transparent colour. Both of these can also be used on their own for picture-making. Media such as coloured pencils, pastels, charcoal, wax, salt, clingfilm and paper in the form of collage can all be added to watercolour, giving a variety of textures.
There are many other techniques you can try such as achieving texture with sponges, rough-textured hessian, watercolour sticks, oil pastels and indeed any other media or household items that catch your eye. Allow your imagination to run free, as you will learn even from experiments are not successful.
UNDERSTANDING DIFFERENT MEDIA
Watercolour
The transparent, fresh quality that watercolour possesses makes it ideal for using clear, apparently simple sweeps of colour and capturing the fleeting effects of light. It relies on the use of the paper surface shining through colour washes, and to convey the lightest areas the paper is usually left untouched. Dropping one colour into another (known as painting wet-into-wet) creates melting colour effects of great beauty and subtlety.
Watercolour can be used on specific watercolour papers with three different surfaces: Hot Pressed (HP), which is smooth; Not, a medium-textured surface; and Rough, which is heavily textured. However, it is also worth trying watercolour on stretched papers such as cartridge and pastel papers.
Only two pigments, Cobalt Blue and Burnt Sienna, have been used to create this tower. The feeling of strong light on the building has been conveyed by leaving the paper empty.
Line and wash
