RECENTLY ELECTED PRESIDENT OF THE ROYAL WATERCOLOUR SOCIETY – THE FIRST WOMAN TO HOLD THE POSITION – WE FIND OUT HOW SHE BALANCES PAINTING AND LEADERSHIP.
Could you briefly describe how you became a painter?
I did a two-year foundation course at Colchester School of Art. We had some fabulous staff, and artists such as John Nash and Edward Bawden would come in for a day and teach. That was very influential for me. This was in the 1960s. At the time, I wanted to go to London and study graphic design. I got accepted at the Central School of Art and Design for the graphics course and, when I’d finished, I got a job at a publisher doing book layout and typography.
What made you give up publishing and return to painting?
By 1996, publishing had changed. And, also, I had been doing it for some time and I found it quite restricting, however lovely the books were. You were dealing with other people’s work. I wanted to do something that was mine, and get back to what I used to enjoy: drawing and painting.
Did you find the return to drawing and painting difficult?
Not at all. It’s a bit like riding a bicycle, you start again where you left off. You just need confidence.
Is drawing still important for your work?
هذه القصة مأخوذة من طبعة October 2017 من Artists & Illustrators.
ابدأ النسخة التجريبية المجانية من Magzter GOLD لمدة 7 أيام للوصول إلى آلاف القصص المتميزة المنسقة وأكثر من 9,000 مجلة وصحيفة.
بالفعل مشترك ? تسجيل الدخول
هذه القصة مأخوذة من طبعة October 2017 من Artists & Illustrators.
ابدأ النسخة التجريبية المجانية من Magzter GOLD لمدة 7 أيام للوصول إلى آلاف القصص المتميزة المنسقة وأكثر من 9,000 مجلة وصحيفة.
بالفعل مشترك? تسجيل الدخول
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