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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.
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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 × 101/4 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 (101/2 × 101/2 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 (91/2 × 121/2 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