LITMIR.BIZ

       COPYRIGHT

      Collins, an imprint of

      HarperCollins Publishers 77-85 Fulham Palace Road Hammersmith, London W6 8JB

      The Collins website address is:

       www.harpercollins.co.uk

      Collins is a registered trademark of HarperCollins Publishers Limited.

      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.

      All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the nonexclusive, nontransferable right to access and read the text of this e-book on-screen. No part of this text may be reproduced, transmitted, downloaded, decompiled, reverse-engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereafter invented, without the express written permission of HarperCollins e-books.

      The illustration on page is reproduced courtesy of the Tate, London.

       HarperCollinsPublishers has made every reasonable effort to ensure that any picture content and written content in this ebook has been included or removed in accordance with the contractual and technological constraints in operation at the time of publication.

      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

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