My rather cramped studio

A very small room with and awful lot of stuff. There’s also a home recording studio in there if you can see it for the mess. Sorry for any OCD triggers. This is not a comfortable or ideal set-up (I can’t get far enough back from the easel at all) but mainly exists out of necessity. I am almost resigned to taking the drum kit down which should enable a more efficient process. But not quite yet…


You can also see the slide groove for my home made mahlstick/T-square design along the lower panel support.

And I thought my space was cramped! :smiley: How can you actually drum on that set?

What kind of recording do you do?

it’s a bit awkward and everything is definitely too close for comfort, but it’s all mic’d up ready and I can literally turn around on the drum-stool and be in front of protools which is very handy. i’m a guitarist mainly, but learned drums out of necessity. It’s usually all very fast, noisy and heavy stuff, black metal, death metal, thrash metal, etc. but not ruling out some mellower stuff now and again.

Although I don’t get to make much of a racket these days, which is likely why I’ve turned to a visual medium to get my creative kicks :slight_smile:

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Now that’s a creative space! Sure it’s cramped—but it looks like there’s maximum opportunity for creative output every few inches. LOL! :smiley:

(I should share that this looks very similar to my very first studio/creative space.)

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Spot the difference?! It is amazing how much space a drum kit takes up. I have a whole corner of a small room! Now I just need to get the final glazes on the ‘Vermeer’ and then will be back on track with LoD



Still cozy! I dig it~~~~ :smiley:

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Much improved situation at the studio. I love all those brush holders, trays, mahl stick/brace you rigged up. BTW, it looks like you already did the Vermeer glazing procedure referenced in the tutorial I sent you. Were you happy with the result?

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Yes for the most part, there’s something very fulfilling about seeing the picture change as glazes go on, particularly alizarin or rose madder as a complexion enhancer. But I need to try more of it as i’m very interested in pushing the effect of optically mixing the colours in layered glazes rather than a single premixed opaque paint layer.

I feel the same fascination with building the depth and luminosity of a painting one glaze at a time. It’s kind of magical. It’s like watching a tree grow. You barely notice the shifts from one glaze to the next, but after a while you wind up with a radiant effect. I was kind of obsessed with glazing for a while, partly because it allowed me to separate the problems of color from the problems of drawing and values, working from a grisaille. This led me to study the work of the American illustrator, Maxfield Parrish, who after a certain point used glazes almost exclusively, with no grisaille at all, just a pencil drawing on a white ground, for maximum luminosity. Now, I’ve gone back to opaque painting, trying to improve my color mixing skills, which I never really mastered to begin with. In the end, I think you need to use opaque and transparent applications to get the fullest possible range of expression in oils.

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