Born in 1920, Diana Armfield was a late starter as a painter. Although she attended three art schools (Bournemouth, The Slade, and the Central School of Art and Design), she studied to be a designer, not a painter. She duly set up a successful design practice, in 1947, with Roy Passano, designing and printing textiles, both by block and screen, and designing wallpapers. In the 1950s, she also found work as a teacher, first at the Central in the textile department, and later at Byam Shaw School of Art teaching drawing – landscape, mostly. But it was not until 1965, when she was asked to teach painting, that she herself began to paint – at the age of 45. Before that, remarkable as this seems, she had never even experimented with oils.
Diana is clear about the differences between the two disciplines: “To design textiles or wallpaper is to make a background, whereas I hope my work [as a painter] will attract attention and then hold it. So, the object is different, which means the solutions are different. But you still have to pose the same questions. They’re very close in the way of needing artistry and dexterity.”
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Still life IN 3 HOURS
Former BP Portrait Award runner-up FELICIA FORTE guides you through a simple, structured approach to painting alla prima that tackles dark, average and light colours in turn
Movement in composition
Through an analysis of three masterworks, landscape painter and noted author MITCHELL ALBALA shows how you can animate landscape composition with movement
Shane Berkery
The Irish-Japanese artist talks to REBECCA BRADBURY about the innovative concepts and original colour combinations he brings to his figurative oil paintings from his Dublin garden studio
The Working Artist
Something old, something new... Our columnist LAURA BOSWELL has expert advice for balancing fresh ideas with completing half-finished work
Washes AND GLAZES
Art Academyâs ROB PEPPER introduces an in-depth guide to incorporating various techniques into your next masterpiece. Artwork by STAN MILLER, CHRIS ROBINSON and MICHELE ILLING
Hands
LAURA SMITH continues her new four-part series, which encourages you to draw elements of old master paintings, and this monthâs focus is on capturing hands
Vincent van Gogh
To celebrate The Courtauldâs forthcoming landmark display of the troubled Dutch masterâs self-portraits, STEVE PILL looks at the stories behind 10 of the most dramatic works on display
BRING THE drama
Join international watercolour maestro ALVARO CASTAGNET in Londonâs West End to paint a dramatic street scene
Serena Rowe
The Scottish painter tells STEVE PILL why time is precious, why emotional responses to colour are useful, and how she finds focus every day with the help of her studio wall
Bill Jacklin
Chatting over Zoom as he recovers from appendicitis, the Royal Academician tells STEVE PILL about classic scrapes in New York and his recent experiments with illustration