TYDA STERBOVA
Before my studio was built, I painted at the dining room table. This meant that, at times, we were having our dinner kneeling around the coffee table. It all worked OK until our first son started standing up and grabbing the paint. I knew then it was time to move my work somewhere safer.
After seeing a few projects by [Irish custom builders] Big Man Tiny Homes, the decision to build a garden studio was made. I was able to give a lot of input and optimise the layout for the best light available; I wanted large windows to bring in as much as possible, especially on the wall I intended to paint on. I also wanted decking, overlapped by the roof, and this has created a great sun trap where we spend our family time.
The biggest personal item inside my studio is my “staring chair”. I like to sit and look at my work in progress, contemplating the next steps.
My studio is so well insulated that only a bit of heating is needed before I start work on cold days. A timer is useful for this. I also opted for underfloor heating as I didn’t want to take away any valuable wall space. It was a great decision and I love to paint barefoot all year round.
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CHARLOTTE ANNA REED
I had always dreamt of having my own garden studio and when I became pregnant with my daughter last year, it was a great excuse to move from our spare room (which was being turned into a nursery) into my own creative space away from the house.
Bu hikaye Artists & Illustrators dergisinin July 2021 sayısından alınmıştır.
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Bu hikaye Artists & Illustrators dergisinin July 2021 sayısından alınmıştır.
Start your 7-day Magzter GOLD free trial to access thousands of curated premium stories, and 9,000+ magazines and newspapers.
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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 Academy’s 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 month’s focus is on capturing hands
Vincent van Gogh
To celebrate The Courtauld’s forthcoming landmark display of the troubled Dutch master’s 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 London’s 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
