Hi ! I don’t have my own studio, so I paint in my house. When it’s cold in bed, when it’s hot I go outside. But mostly my desk is the best place to create something new. I use watercolour a lot (from 6 years incessantly) sometimes ink and pencil.
I am from Barbados and most of us emerging artists here do not have studios…I started my artistic journey last year and right now my dining room does not exist any more LOL.. I am certain you have heard similar stories.
My favorite medium is watercolour and I am also exploring Pen & Ink with WC washes…in the picture I am using WC pencils on paper.
The Autoptic Foundation is a nonprofit organization dedicated to the promotion and recognition of independent culture, including but not limited to: comics, zines, books, posters, music, and video games. This is done via a week-long biennial festival that consists of a curated expo, international cartoonist workshops, gallery shows, animation screenings, and various musical performances.
We are teaming up with the Springboard for the arts to raise funds during the MN Give to the Max day (NOV. 14) and the rest of the holiday season.
This will help us bring in more overseas artists and sponsor pop up art events throughout 2014 leading up to the next FREE festival.
Please consider donating AND spreading the word about this event
Gotta have the 2-desk L-shape situation. I’ve had the drawing desk since I was in high school, thus the hole gouged out of the left side of it. I have an Epson WF-7510 all-in-one, mostly for the 11x17 flatbed scanner, a 5-year old 24” iMac, and an iPad for reference and constant distraction. Winschluss’ Pinocchio is my book of choice for weighing down paper for scanning. I recently bought a Premier paper cutter and love it. I chop paper at 3 am and it sounds like someone is being murdered. My tablet is a Wacom Intuos4. I found that red lightbox in a studio building in Fort Greene in 2008. On top of it is the Titanic VHS box with a broken copy of High School High inside. It was a birthday present.
I’ve been working out of my bedroom for the past year since leaving Brushwick Studio, which was sad. It’s a pretty good setup though. I’ve inherited some amazing art books from my grandparents.
I used to be a compulsive sketcher. I would go through a dozen hardbound sketchbooks a year. I don’t really have the time for that lately. That’s ok.
Above are a few semi-recent reads and a fantastic picture of an old Ainu dude. Well ok, just RASL, which was great. I reread Taiyo Matsumoto’s work a lot.
My current art studio is the buses, subways, and trains of Taipei, Taiwan. I’m a plein air artist at heart, so this is how I’m adapting to city life.
This started as a way to trick myself into more drawing practice, but I quickly fell in love with it.
I’m using a refillable ink brush pen readily available at any stationery store in Taiwan. (I’ll probably pack my suitcase with them when I leave.) When I can, I pull out my watercolors and water-filled brush to complete the piece. My desk is my backpack scrunched up on my legs.
I won my space as part of a graduate residency along with another artist, and it shares a building with several other studios and a large gallery. My half of the studio is always entirely chaotic and I can never find anything I want or need, but I love it here.
I have recently begun experimenting with glass and am finding it difficult to adjust to working in another space which is not my own.
“…a particular moment that will never recur. Pin experience down before it disappears.”- Frank Auerbach
My work aims to explore a means to express an experience; a sensation from a moment or memory. Life is unstable. The mind is unstable. They are in a constant state of change. Fact and fabrication. Fabrication and fact.
Drawing is essential because it is at this stage where imagery used is transformed by filtering only the information that is deemed relevant. Where an icon or mannerism may be perceived in one way, the artwork could mould its meaning into another form. This process is also changing continuously. Developing and dissolving.
When in the studio the work is in a state of uncontrollable spontaneity. Paint and other medium is brushed on, rubbed off, scraped and dragged across the surface. What is left is an unusual relationship between this moment’s truth and its preceding and succeeding implications.
Interpretation is continually shifting. My goal is to record this constant flux in the present. This moment’s perception will be altered by time. Elaborating and eroding.
I draw at that table sometimes when I’m not overwhelmed, but I tend to draw out and about since I don’t work large, I have a compact set-up. Anyhow, it’s a small space in a large room beside a window overlooking the quiet neighborhood street where I live.
The paint kit is over 10 years old, and I paid something like $3 for that Sumi-e brush and have been using it for almost as long. I also have a Series 7 brush in there that has served me well for a few years.
Earlier this year I moved into a new apartment with a sun room in the front that I’ve adopted as my own studio. It’s amazing—about 8’ x 8’ square with windows on 3 sides, and french doors behind that open to my living room. I used to work in the corner of a small living room with all my supplies crammed in a storage closet, so having space feels ridiculously luxurious, even if the room bakes in the summer and freezes in the winter
About a year after my last post http://artistspaces.tumblr.com/post/30499740969/just-keep-workin I saved up and was able to spread that 4-foot hole into this. Got some donated furniture and some fresh painting supplies, and have been enjoying it immensely.
work work work.
There’s constant wip photos and photos of my tables and junk over at my Tumblr.
I illustrate with charcoals, pencils, and water colors. I also do oil and acrylic painting, but those pieces had kind of taken over the dining area… ^_^
I tried my best to give myself a cozy (yet not too cozy) and inspiring corner for me to illustrate all night. It over looks the corner of Guy St. at Sherbrooke St. and has so many massive buildings with so many windows, structures, and lights. So pretty to look at, yet not too distracting because of its simplicity. I honestly even enjoy the excessive noise the neighborhood brings with it.
Illustratin’ till the break of dawn.
This is Bip Ling and the organized chaos I call my work space.
Hi! I'm an artist from Chicago and I have a similar project going on that involves people's work spaces. To get a little meta, I am wondering how YOU work on this project. Do you mainly just take submissions or are you out and about in people's spaces?
Raighne and I first shared a studio in a tent in the desert (which was attacked by wild javelinas and destroyed by a microburst). Since then we’ve moved back to the snow and cold of Mpls, gotten married, started a small press publishing company with our friend Justin, and made a lot of books!
Raighne Hogan, co-publisher of 2d Cloud. He’s standing in our old studio in the Thorp Building in NE Mpls. Lots of cartoonists work there, including Big Time Attic & Zak Sally.
Our current studio! Here you see Raighne’s drafting table, and on it you see his lightbox, drafting easel, various tools and growing pile of papers. Amongst those papers, you glimpse a package filled with cds storing Chris Adams’ ”Strong Eye Contact” book we’re publishing next year, and Will Dinski’s 2d Cloud prints. Whenever you can no longer see his desk, I clean it.
Raighne’s computer desk, on which you also see his scanner, three different hard drives, and my wacom tablet (his is out of order). This is where he conducts 2d Cloud business and finishes the art process he begins at the desk. He wears headphones but often forgets to turn on the music.
Raighne’s drafting easel his grandfather (or mom’s ex-boyfriend’s dad to be exact) built for him, various brushes, pens, et cetera. Whenever my brushes are too beat up to use or too weird I give them to Raighne. He likes to make textures on paper and these brushes are good for that.
Raighne’s tools. He loves rapidograph pens, brush pens, and his Yasutomo Sumi Ink Stick and Grinding Stone. Underneath the ink cartridge box is a canvas cat puppet that he uses to clean his brushes on.
Introducing Meghan Hogan, aka Startled Maggie and 2D Cloud’s Assistant to the Regional Managers. Here I am designing my flying saucer crochet toy for Schmancy’s Plush You show.
This past winter, I commandeered a corner of Raighne’s studio and his drafting easel to draw the first issue of my “Startled Maggie” comic. Here you see my storyboarding sketchbook on the left and a 3 ring binder with my finished pages on the right. During the making of this comic my health was compromised by the flu, a sinus infection, an allergy attack, a head injury, broken eye glasses, and the shingles, but I still made my deadline with weeks to spare!
My tools for my “Startled Maggie” comic. A jar of 2B pencils - my favorite from the time I was 12, various pens, a kneadable eraser, and a double barrelled pencil sharpener that makes up for its ingenuity by barely working.
This is my computer desk, above which you find a table easel, a storyboard in a 3 ring binder, two OTT-LITE’s (with full spectrum lighting!), and this Moby Dick poster by Tom Neely. Under the desk you’ll find a box of canvas panels covered with palettes, a hard drive with scans of my comic pages, and a bin full of great horned owl paintings for my upcoming comic.
My giant easel where I do my painting.
My tools. Golden Heavy Body Acrylics, cheap Utrecht brushes, my trusty plastic palette knife, beloved Loew Cornell Storage Cups, a waxy paper palette, cheerful picnic napkins, and a dirty Shiva Plastic Brush Basin.
Well that’s it. My next job: to get 2d Cloud co-publisher Justin Skarhus to take Where They Draw on a tour of his studio!
My converted dining room to art studio This is my studio space which I have been using for the past 8 years. It is meant to be the dining room of my 2 level townhouse but why waste a good space for just eating. The space holds a gigantic architects cabinet holding more than 1000 drawings (and weighs a ton). On this cabinet holds all my materials…brushes of various sizes, oil paint, acrylic paint, house paint, ink and hundreds of endless shapes of charcoal (my favourite medium) and the rest of the area is reserved for painting and drawing on my easel. In the times I need to do a massive piece I simply put it across the wall. Any remaining space is storage for pieces I love and couldn’t bear to part with, older works, unsold works and pieces that I have done recently. For the first 6 years I used this space I managed to completely ruin the timber floor even though I repeatedly used newspaper to protect the surface. Marks are everywhere and whenever I had inspections when I was renting I tirelessly tried to remove this evidence. Never worked. I always get embarrassed when customers or friends come over to visit as it is the entrance room. It is a organized mess 24/7.
I’m happy to say that I am the proud owner of this place now so no more inspections. I often wish for a studio space outside of my home but then again I also like the fact that I can revisit a work whenever I like.
Lately I have been getting lots of submissions that I would love to feature on this site. Unfortunately they have all been with corrupted image files or missing the images completely. So please, I want to show your studio space but take the time to make sure your image files are good and uploading correctly.
This is my current, temporary drawing space. Working here means that my family have no place to sit and eat but that’s a sacrifice I’m willing to make. It’s an absolute mess. I could kid myself and say that one day I’ll have a neat and organised studio, but it’s never gonna happen. That’s not the way I work. It is clean though, strictly no food stuffs here.
The space in divided into two distinct zones “wasting time zone” and “drawing zone” Much as my computer is necessary for my art, I kind of wish it wasn’t in the same room I draw it, because it’s oh so distracting. Although the room looks a state, that’s mostly piles of notes. My brushes, ink and nib pens are always easy to find. But I do seem to lose pencils.
My drawing tools are as follows: G-Nib pen, Winsor & Newton Indian ink, Rosemary and Co Kolinsky Sable brushes, Arches HP paper, Epson scanners, Tombow eraser, 2H pencil, Apple computer, Wacom intous3, DIY lightbox, Canon G11 camera, notebooks, cheap copier paper, kitchen paper, scrap of old t-shirt.
I’ve been in this space for almost a year now and it’s the best place in the world. When we moved into this apartment I was all like “no way this room stays PURPLE” but now I’m way into it so whatever. I just got rid of my old drafting table in favor of this desk and a drawing board that I can lean against the front of it.
I mostly work on bristol board with Faber Castel Pitt pens, Microns, Hunts Crowquill 702, and a couple Winsor Newton Series 7 brushes. I’m also into watercolor and gouache and I do a lot of digital stuff. But good ol’ pen & ink is where it’s AT.
Computer station stuff. There’s a Wacom tablet stuffed in this desk too, that thing is the jam.
Drawers full of pens/pencils/brushes/inks/gouaches/trash
Storage for drawing portfolios and books and stuff.
old sketchbooks: 1 part interesting + 2 parts embarrassing = still totally valuable practice and experience
moar comixxxxx I think I drew those logos when I was like 9
toys are important. Also make sure your friends bring you scorpion booze from far off lands
Thanks for visiting! Check out my main Tumblr here if you want:
For the first time, I have a room all to myself to call my studio. It is in my apartment across from my bedroom. I say “all to myself” as no other artists are working in this room, but I do share the room with two little distractions muses. Please excuse the small bits of hay everywhere!
I tried to clean up a little for these photos, but according to the rabbit code, sight of a broom requires immediate tossing of timothy toward the nearest floor. Recently my work has been dominated by quilting, therefore my studio is predominately the “sewing station.”
This table setup is popular within my immediate family: Two file cabinets topped with a 30” x 80” hollow interior door— instant desk. Organization is not one of my strong points, though I think the lack of storage solutions is part of the problem. I also can’t determine a good spot for my iron, so this is where I iron …
The arrangement is such that the iron cannot be plugged in without closing the door and the cord passing in front of the closed door. This is probably some sort of safety hazard, but so far I’m just pretending it’s my little way of living life on the edge.
And finally, the drawing area. The drafting table belonged to my father when he was in college, and it’s pretty awesome. The bench doesn’t technically go with it, but to me they almost look like a matching set. At first I wasn’t sure I would like the bench to sit on while drawing, but it’s actually nicer than the pink folding chair at the sewing machine. I have a lot of pens, which is why I am not allowed in an office supply store for the next decade or so.
When a married homeowner finds himself in dutch with the wife, and agrees to couch-surf to provide that all-hallowed “space” that partners in relationships ask for, it can be a sad thing to be a roving cartoonist, adrift from the studio at home, hoofing it in the cold Lexington, Kentucky winter. I don’t have any pictures of the original studio in my home, oddly. But we start with the first actual table, in my now hobo lifestyle, that was, at least, semi-permanent, in which I was apartment and dog sitting for a friend who graciously provided for me a table to use for the two weeks I was there. I am using my preferred bristol 2 ply plate finish Strathmore 500 series. Somehow stars and gravity were aligned so that I could balance my trusty Koh-I-Noor .35 rapidograph upright on the surface of the table (not sure I’ve ever managed that before or since). I’m working on “The Organ-Grinder,” “Wakefulness,” and “Creekwater” here. That is an Elmer Batters book propped open for photo reference.
Fast forward perhaps a month or two, and the only actual visitor I had in the apartment that housed the previous table, was a woman who was kind enough to allow me to have a table in her space (this may be giving away that things didn’t work out with the aforementioned wife). The rapidograph and Strathmore bristol make an appearance again, along with my ubiquitous Moleskine sketchbook. I can see that I am working on an illustration project that was in the end scrapped, a page of “Creekwater,” and I have an issue of “Master of Kung-Fu” of which I was copying the cover.
What was more common than having a set space to use for a few days or for a few weeks was for me to stumble into my local coffee shop and use a table there, before or after or on days off from work (I became a serious regular). I once cultivated disdain for people drawing in public, like coffee shops, always remarking in my mind, “Why don’t these exhibitionists work in a studio like a real artist?” But like Richard Gere in “An Officer and a Gentleman,” I had no place else to go. Photographer/artist Louis Bickett caught me in the act. Chase Martin even filed a report on me from this period:http://www.institute193.org/blog/?p=550
Past the hobo winter, we now arrive at the following summer. This table was in a camper that I shared for a few weeks with my dear mother, who had a teaching gig at a summer program (the camper was in Berea, KY in close proximity to said gig). I would use the table in the kitchen of the camper during the day while she was teaching. We have a reveal of the wite-out I always keep close at hand in addition to my motley crew of nibs that include a Hunt 102, several Gillott, and Tachikawa. That’s Speedball brand india ink. One can see here that I’m working on my contributions to Tom Neely’s “Bound & Gagged” anthology (along with a B. Kliban collection I was using for reference for one of my gags), as well as my collaboration with writer, Nick Tosches, “Spud Crazy.” In the previous three images, I was holding down a job. By the summer of this photo, I had, on top of everything else, lost my job due to an arthritic condition and had to, for the first time since I was eighteen, live with my parents in rural, eastern Kentucky. Happy days.
Broken marriage, broken home, and broken nibs, this reporter decided after all the trials and tribulations in his home state to, once securing disabled status, split from the whole program and move to White River Junction, VT. First permanent place of my own in about two years, reunited with my actual drawing table, which I keep flat instead of at an angle. Here I am working on “THISEATSITSELF,” a story from the forthcoming, “J.T. Dockery’s Despair, Vol. 1.”
Speaking of, I’m also reunited with some of my oversize and otherwise books. I like to keep plenty of tomes at hand for reference, such as dictionaries of symbols, and the always useful, for me, “Big Book of Legs.”
From the arrowhead I found when I was a kid in Kentucky dirt to the Oxford edition of the King James Bible my uncle gave me on the flat drawing, to the various things I like to hang on the walls, back to the window, I’m an advocate of keeping the mojo proper around me. Hanging on the wall: Gary Panter original art, old Strand theatre advertisement for “Nightmare Alley,” advertisement for Mitchum in “Where Danger Lives” from a vintage magazine, 78rpm Vogue picture discs, personally inscribed photo of Wanda Jackson, first edition of the paperback original of Jim Thompson’s “Nothing Man,” and a couple Belgian versions of American film noirs.
Another angle on the drawing table. That’s an image from an old “Adam” magazine girly calendar behind me.
More mojo: 8 by 10 of Lenny Bruce on the phone, a personal letter from Hasil Adkins, another vintage calendar girl, paperbacks including Paul Webb’s “Mountain Boys,” Cornell Woolrich, Fredric Brown, William Linday Gresham’s biography of Houdini, a sci-fi magazine with a Philip K. Dick story, as well as a Bernie Wrightson “Swamp Thing,” and a Jack Kirby “2001” hanging on the wall, etc.
Here we find the reporter in the present tense, on an extended stay in KY to take care of some business on the homefront, again with a temporary studio but without woe or despair. That’s an Isabey Kolinsky brush, size 3, as I’ve been more recently attempting to train myself to ink with a brush, a bottle of Winsor & Newton india ink which I am partial to more than Speedball, and I’m working on pages for Mark Rudolph’s anthology of Mercyful Fate songs turned into comics. It is not really “Hell,” as I look out the window and see horses beyond my table.
All’s well that ends well, folks. Currently working from Kentucky, I will return to my drawing table in my apartment in Vermont. The next step will be to own my home again, sans wife, with built in bookshelves! Stay tuned to this channel for further developments.
I don’t have pictures of the two places I worked the most. For two years I was a guard at the Baltimore Museum of Art and during lulls drew on index cards with pens. Last year I lived in Tucson and in a small guest house completed a comic book about a standup comedian. I worked in the kitchen on a large desk from Goodwill. I left it when I moved.
Before heading west I worked on a cheap but sturdy wooden table. There I drew a comic for the City Paper. Usually the table was covered in paperwork so I did most actual drawing standing up at the BMA.
Out west I lived in a tiny house for two months before moving into the guest house. In the first house the bedroom had only an air mattress and a folding chair and the kitchen table was a crate so I worked on the floor. I used Winsor & Newton brushes, two 24-color Pelikan opaque paint boxes and Canson watercolor paper. I don’t remember how I got the brushes. One of the paint boxes I bought in Sarasota.
I’m not too particular about materials. This can lead to unnecessary obstacles. The comedian book is in three sections and each was made with different paper and media. For one section I used crayons from the University of Arizona bookstore. Later I spent a week finding clear plastic sleeves to slip finished pages into so I could scan and store them without smearing the wax. I had to cut off the hole-punched margin on each so I could fit the sleeves on my scanner.
In Baltimore I’m working on comics that’ll be easier to format for printing. I live in a studio apartment and have two workspaces. Both are tables cobbled together from Ikea parts. The cluttered one is where I’m working on ideas for a new book. The clean one with bananas and a boombox is the kitchen table. There I worked on a comic for Smoke Signal and a comic for a marriage equality anthology called Little Heart. For both I used just the black from the Sarasota Pelikan box and a pencil. I think a Papermate.
This week I’m going through work. On that cheap but sturdy wooden table I made some watercolors on cardboard while still living with my folks. The first few I made on a big styrofoam block on the floor but soon got the table. The cardboard was from a stockroom where I’d worked. The paints were those same damn Pelikans.
I’m not good at setting up a solid work environment. I don’t think it’s all that important. I remember reading once that James Joyce would sit on his bed and write on a sheet of paper on a suitcase on his lap. That seems like enough.
I shared a studio a couple years ago with some truly great Halifax-based artists (Kate Beaton, Alexandria Neonakis) but they moved away, so I went back to working from home. My studio takes up about a third of my living room - the bedroom’s bigger, but there is really something to be said for keeping your workspace out of the room where you sleep. I’ve only been in this apartment for about a month, but I like to get settled and set up as soon as possible after a move - I don’t like a lot of boxes lying around.
I built these Tetris shelves out of older shelves. I’ve got all the books arranged - there’s an art book section, an influences section, one that’s for my friends’ books, and a little Jeffrey Brown section.
Ella - she shows up in a lot of my drawings.
Mostly I just use a mechanical pencil with non-photo blue leads, Prismacolor fine line markers, #1 sable brushes and ink on smooth two-ply bristol.
More detail of my toys. The Fucked Up print is a cover that I drew for alt-weekly The Coast, and Damian from the band signed it for me.
My desktop image is from Team Society League, an awesome webcomic. The mug with all my pens/pencils is the one object I have kept with me throughout my life - I call it the Bear Mug for some reason that only makes sense to four-year-old me.