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Digital Subscriptions > The Artist > Sep-17 > The studio corner

The studio corner

Richard Pikesley describes how the changes of sunlight in his studio provide drama for a series of small paintings to use for later reference

MASTERCLASS

Corner Table, Spring Sun, oil on canvas, 20 × 24in (51 × 61cm). Painted over three sessions, I liked the strong diagonal accents of alternating shadow and light, and the reflection in the mirror at the back of the group

My studio is an old cider barn that looks out across a farmyard from a large, westfacing window. As a painting space, it can be pretty dark through the winter months, but each spring, like some ancient Druid, I wait for the day when the sun just gets into one corner of the studio before setting over the barn across the yard. From that day on, through the spring and up to midsummer, the puddle of sunlight gets bigger and the light stronger until, by mid-June, I often can’t work in there at all as the sunlight blazes in and lights up the whole building.

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About The Artist

Welcome to an inspiration-packed issue with great demonstrations to follow in all media to help practise and develop your skills, from Paul Riley's focus on how to depict glass and reflections in watercolour, Chris Forsey's mixed-media demonstration of a light-filled Australian coastal scene to Rob Wareing's feature on painting skin tones and portraits in oils. With an insight into up-and-coming Richard Burger's approach to portraiture and Richard Pikesley's use of studio objects as tabletop still lifes, we also step into the shoes of professional artists to see what motivates them and how they approach their work. Young artist Marie Antoniou urges you to express yourself in acrylics with just one brush, Robert Dutton explains the rules of perspective while Paul Talbot-Greaves shows how to achieve depth in landscape compositions, Barry Herniman paints boats and harbours, and Liz Seward suggests the perfect antidote to painter's block by turning to collage. For help with colour mixing, Julie Collins turns our attention to the variety of whites available, and Catherine Strong tells us how to keep our greens clean and vibrant. Enjoy the issue and email your feedback and comments to us at theartistletters@tapc.co.uk We love to hear from you!
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