Linda Birch - The Indoor Artist

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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

To my mother, Elizabeth Birch

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

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 1/ 4in)

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 1/ 2× 10 1/ 2in)

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 to Work

24 × 32 cm (9 1/ 2× 12 1/ 2in)

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.