Today I’d like to ask for your help.
My teaching studio project is moving forwards. The big decision I’m facing at this point is the space itself.
I think it’s important that anyone who learns with me, and travels to do a workshop with me feels at ease in the space we’ll be working in.
So I’d really appreciate your help in letting me know what you think would work best for you.
The space has to have some basic essentials, of course, like light and a sink.
I’m planning to use the space as a studio for myself too, so that adds some requirements.
My last workshop was held in a wonderful space in the Centre for Science and Arts in Stroud.
It’s comparatively easy to get to, and has a lovely cafe just around the corner.
It’s a dedicated art space, in a beautiful old building. But there are no permanent spaces available there.
So I need to look elsewhere.
Location, location
At this point, this decision is wide open. So I’m hoping you might be able to help me make it.
Should the studio be out in the countryside, somewhere beautiful, so we can pop out and do some plein air? Go for walks to recharge?
Or should it be closer to travel links, like a train station? And should there be places to eat nearby so people can pop out when they like?
All the people who came to my last workshop had either hired cars or brought their own car with them. So perhaps being a little out of the way won’t matter so much.
And the countryside around here is very beautiful.
What I think I need
Other considerations are running around my head too, whilst I’m looking spaces. In no particular order, things I’d like to have are:
- North facing windows
- Fast Internet
- 700 – 1000 square feet
- High ceilings (for full sized easels)
- Enough power points (for lights)
- A sink
- Privacy, i.e. not a shared space.
At the moment my favourite is a converted barn in the countryside that I could rent. It is away from everything, so that has some disadvantages – travel, organising food etc.
But it’s also in a beautiful area of the Cotswolds, near Stroud. Here’s the space:
This space, as lovely as it is, has one major down-side – the windows are west facing, which means sun in the afternoon.
That makes it less useful as a studio for me, since I like to work by north light and not limit my painting time.
It perhaps won’t make all that much difference to a workshop, since they will normally be done under artificial light anyway.
But I would very much like the option of teaching in natural light.
The other possibility is something nearer civilisation with easier transport links and local eating options.
I’ve also found a space in a large old factory-sized mill, with a lot of other business units there too. It’s not surrounded by countryside, but it is nearer transport links, being between Stroud and Nailsworth.
Yet another is actually in Nailsworth, a very pretty and classic Cotswolds town.
That one is tempting because although Nailsworth doesn’t have a train station, it has many very good places to get food and is still quite easy to get to. This one is also the most expensive though, by far.
What would work best for you?
What do you think? Would it matter to you if the workshop space were in the middle of nowhere in breathtaking countryside?
Or would you rather have convenient transport links and food available?
Please do let me know in the comments. Or just email me with your thoughts and experiences.
I’ll take your thoughts into account when I’m choosing the space, so this is a good time to be heard!
I’m strongly tending toward a place in the countryside here, but I want to be guided by what you think will be best for you.
Let me know!
Best wishes and thanks for reading,
Paul
Hi Paul. I think the studio with the west facing light looks a great option. I know you’d prefer north facing but there can be compensations to having the sun in the evening. You might decide to work outside the studio at that time in Spring n Summer. I imagine most people are worn out with city living n noise and would love the opportunity to spend quiet time painting n learning. For me food is not a priority and basic food is so welcome at the end of the day. The most important thing apart from your brilliant teaching methods is the atmosphere, the surroundings and the camaraderie. Being away from the city helps to keep the group together in the evening and to go for walks if one needs to be alone and think. I hope this helps.
Thank you so much Jacinta! That’s great feedback. You’ve just swung me much closer to the lovely converted barn in the countryside 🙂
The only downside I guess is that accommodation options will be more limted there, I”ll have to look into that.
I live in the states so transportation and lodging are important.
I participated in an art workshop in Italy- the teacher had a van and picked us up at the train station about 20 minutes from his renovated house that accommodated 8 guests. He drove us in the van for day trips to Florence and Cortona.
So, even though I’m not giving suggestions , I thought I’d share from my experience .
Thanks Deborah, yes I am considering that, especially if I go for a space in the countryside. I don’t have a renovated house that sleeps 6, but i could hire a van for teh duration of a workshop and ferry people around.
Being able to visit some of the amazing gardens and countryside around here would be a big plus too!
Hi, Paul,
As one of the “Stroud Six” fortunate to participate in your autumn’19 workshop, I have to say that the large studio space was a major plus. Having much mileage in workshops and courses in 4 countries, and having the (misfortune? Lol) of being an introvert, elbow room is tops on my list. A studio space where participants can create their preferred arrangement and leave it til the next day would be good. I loved the large centralised table where we gathered for morning coffee and a briefing of the days plan, as well as enough space around your easel during demonstrations. As a bit of a lame old dog I prefer a venue with parking practically at the door, but parking was very reasonable. Absolutely, emphatically yes! to a countryside venue with the possibility of some plein air, but not essential. I am fortunate that I do not have to be concerned with finding local accommodations, so access to hotels/public transport are not as important. Hmmm… I’m talking like a person who fully intends to be at future workshops…
Brilliant, thank you Julie! This place I’m looking at in Bisley appears to have parking literally by the front door. Food will have to be ordered in, but there’s a kitchen as part of it, so I’m thinking large pots of warming home-made soup might serve!
And I’d love to see you at another workshop 🙂
Have you considered international participants?
Thanks Varda. Yes, that’s at the top of my mind. Since all my contacts are online, the majority of attendees will be international.
Hi Paul, Le look at Julie’s blueprint. You know it of course as a tutor. From a workshop attendee it’s well placed. Accommodation is important if one is travelling – I know the majority of students in a large class like John Angel need a bed! Also think of any international students who may not want to hire a car. North light is of course the ideal but Julie’s works well under artificial light. Plenty of room is important – I also raided IKEA for shelves /painting stations and I put mine on castors so they can be moved. In fact IKEA has almost furnished my studio from top to bottom. (Chairs, stools, wall shelves). Definitely a sink to wash brushes preferably ceramic Somewhere to gather for tea/coffee and cake! A radiator or some form of heat. Parking. I think that’s about it Paul – if I think of anything else – I’ll shout. After all that mine is by the seaside – with little public transport, It’s beside our home. In your case, although beautiful and peaceful sounds amazing , I would go for easy access to everything- accommodation, cafes, etc. Maybe just try it for a limited time at first and it will become apparent if you need to think differently Finally – Julie’s courses are the best I’ve been to in terms of studios and amenities. Remember the first course you did – we were from different countries so accommodation and transport are paramount x x
Thanks so much Judy! Yes I’ve been thinking a lot about Julie’s workshops and Studio. Most people still have a taxi or bus ride to get there though, I think? I was wondering about actually picking people up in a hired van for the week if I’m in the countryside. More work of course and tiring but it could work out.
The other option really is being in the centre of Stroud – that definitely makes food and travel easier, but it becomes much harder to find a space!
I think I can rent the converted barn in the countryside without being tied into a long contract, so I may try that, and look for something more connected if it becomes difficult!
I very much like the idea of sticking everything on castors!
Hi Paul: I’m currently enrolled in an oil painting class in the countryside of Virginia. The instructor’s studio is above the horse barn and has windows on all sides. My favorite place to be is near the west facing windows – we pull the blinds when the sun is too intense. We overlook a pond and the fields with cows, goats and chickens. Occasionally dogs come in to greet us. It’s magical. I think the Cotswolds would be brilliant – especially for plein air opportunities. I think your students would think it worth the effort to get there!
Best,
Linda
Thank you Linda! That sounds like an idylic spot to be learning in!
Paul,
You have probably noticed this, but a large percentage of your workshop/school attendees will be ‘women of a certain age”. In general, the easier and more comfortable it is for participants, the more likely it is that they will attend, return, and bring their friends. A clean bathroom with flush toilets and running water is an absolute necessity. The space needs to be accessible to people with mobility limitations, or if it is not, that needs to be clearly stated. Nearby restaurants for lunch breaks, coffee etc are necessary unless you plan to have lunch brought in. If they aren’t close by, you will lose participants to the lunch spots. A refrigerator and a microwave will be appreciated by folks who bring their own lunch and snacks (and many will to save on costs and accommodate dietary needs). Whatever your choice on transportation accessibility, that needs to be clearly stated. I attended one workshop where a car was an absolutely necessity to get to the plein air spots; that critical piece of information was not included in the workshop brief. Sadly, several of the participants didn’t have cars. I did, and I spent a lot of time chauffeuring. If people are expected to drive to the facility, parking needs to be plentiful and nearby. If you anticipate people traveling by air, they will not be able to bring solvents with them. It would be a courtesy to provide these. Along the same lines, some facilities provide easels, some do not; I look for workshops where easels and work tables are provided, particularly if I am traveling by air. At a minimum, some kind of taboret or table will be necessary for each participant, even if they bring their own easel. Chairs should be provided as well; it might be preferable to stand while painting, but not everyone can or wants to do so (see comments on accessibility). Participants will also appreciate being able to safely leave their supplies and work at your facility instead of hauling them in and out and setting up/taking down for each session. Good lighting is important, but not necessarily natural north light; that would be nice, but that limits your venue choices and it won’t matter to your students. You mention that you will use the space for yourself and that you want north light; perhaps you could find a space where a small portion has north light and can be set aside as your personal space. You will want to have enough power outlets so that people can charge their phones, though!
Oh, wonderful, thank you Deborah!
I do intend to supply everything including easels, lights, charis, still life stands, tabourets, solvent and medium – everything except the paint and brushes. That’s how I did my last one in Autumn last year and it worked out very well.
Thanks so much for bring up mobility, I hadn’t devoted nearly enough thought to that at my last workshop and will do so in future. You make a very good point about th light, too. Te space I’m lookig at has several power outlets in the floor dotted about – good for lights and charging phones!
Hi Paul…ok, I should probably butt out of this because I live in Canada. Lol. However, my studio is in the lower part of our house, with west facing wall of patio doors. I find there is a glare if I am facing the door, so I do have to paint with my back to the windows. My space is cramped, so I have no way of being able to have the light coming over my left shoulder or being able to paint with the windows at the side of me. I have found a solution with too much light in the afternoons/evenings with blinds. Fortunately, they are built right into my patio doors and all I do is close them a bit and it reduces the intense light well, but not to the point that it makes the room dark. The blinds are the very thin, 1/4” type and I close them upwards and not downwards. Some reason the light is filtered differently and more suitably that way. This doesn’t seem to inhibit my painting, but the room does get a soft glow to it. I just wanted to mention this just because I work with west light. I guess I am just offering a solution if nothing else. It looks like you have found some lovely spots!!! Although we have a wonderful golf course right out our back door, I’d much rather have the views you are describing, you lucky person!! Good luck with your search and I am anxious to hear and see what you have finally chosen. It’s exciting, isn’t it!? Good luck with your search!!
Thank you Bronwen, that’s really useful! The problem with the lighting for me is that I like to teach with dorect, form light, so having any other strong light source around makes the form less clear and makes it more difficult for me to teach form and colour. So I think really, I’d be looking at almost completely blocking out the light from the windows when the sun was shining.
Seems a shame really, but I can’t think of a way around that without changing the way I teach!
I would NOT get that space. You will never solve the west light problem, other than by installing black-out curtains and artificial lights. I have been fighting a similar situation where I am stuck, and I can tell you nothing can compensate for this awful situation. Even if you were to actually enjoy west light, those windows are too low. Light is what realism-based painting is all about.
Indeed Miriam, that’s what’s holding me back – I woud have to black out the windows and use artificial light. But then I did that at the last workshop and actually, controlling the light is important for the way I teach colour and light and shadow. So it may not make that much practical difference…
It would just be such a shame to waste all that lovely natural light!
Paul – Most of the above comments are quite good. My take is to limit the amount of care-taking you will have to do – you will have a lot of organization without being a tour guide. Perhaps a place at the edge or perifery of a town – might be less expensive but have what is needed by way of light and peace and quiet. North light is part of what your videos are about – that quality of light is not really available with artificial lighting. If you have to purchase the lights and hang them and pay the electricity that will add to your out of pocket expenses. And be a lot of work. I wish you a lot of luck and caution on impatience to grab something (unless it is short term and seasonal) just to have space to teach. Best wishes.
It might not be bad for teaching. You could have two setups, one with natural light in the morning and one with studio light in the afternoon and thus be able to present both options to a class. It’s such a wonderful space, but keep looking and find exactly what you want. It’s out there somewhere. You will definitely need a place that is convenient to get to and has some amenities nearby for people who are attending from different areas or even different countries. Best of luck with this endeavor Paul!
Storage space where you can tuck away things that do not be out in an open space is important. So, an extra room or very large closet is important.
Perhaps caution:
Paul – I much prefer your online classes. I notice also that Sadie Valeri Atelier has given up her school due to high rents, and logistics for students – and now just does the online courses, which I have been following for a year.
You could just aim to create the best online course – and make it more interactive – enhancing your livestream events to include landscape painting.
Or do meets up in the countryside like the SkyArts Landscape painting competition. Perhaps just make a group booking with a B&B or Travel Lodge, and use their conference rooms for an intensive week of painting in the spring and summer etc.,. with a few trips to paint in the countryside. Might work. Less risk than renting a building.
All the best.
https://www.travelodge.co.uk/hotels/99/Stonehouse-hotel?checkIn=24/01/2020&checkOut=25/01/2020&rooms%5B0%5D%5Badults%5D=1&rooms%5B0%5D%5Bchildren%5D=0
Fay, you make some really good points. Paul, ultimately this is a business decision, or you might be left with a lease on a great space and not enough t pay for it. Consider your business plan, and then find the space to fit. We artists tend to concentrate on the art making, but it is a whole business package that will ensure success.
Do you plan to make most of your income from a few workshops a year, constant workshops year round, local vs. international students, one-time or regular students? Each requires different amenities and should drive your selection of space. For example, having a country studio will appeal to travelers who want a unique experience but may be too inconvenient for regular students. You are making a wonderful investment in a new business, and doing the research you are doing now will improve your chances of success. I wish you the best!
Yes Lisa, there are other techno options these days too.
I have participated in internet conferencing, which could easily be adapted for an online painting class.
Paul check this out.
Video conferencing: GO TO MEETING
https://www.gotomeeting.com/en-gb
Hi Paul,
I understand the issue with the west facing windows in the barn. One way around that problem, that I know a couple of venues here in Manchester employ, is to completely block the windows with heavy blackout curtains and then light the space using only artificial light. That allows the lighting to be completely controlled (it can be daylight coloured if needed) and to be exactly the same at all times, including in the evening after dark. The complication with this approach is that it can’t really be used in a temporary space as it does require the curtains and lighting to be fitted.
Good luck with your search – I’m sure finding a place with viable rent is a big issue too!
Don’t compromise on the North Light. There’s always another building to look at.
Reasonable handicapped access and at-least some parking is a plus in a rural or village setting. Nearby accommodations in the Cotswolds shouldn’t be a problem nor a hire-van either. One advantage is you need North Light but not a view as long as the neighborhood has some charm. The light can come from a high window or clerestory, and provide some privacy from passersby is nice …unless you find a space where the exposure to tourists/visitors might be good publicity. You’re not really in competition with those seeking to lease retail or gallery space.
I would politely add to your list one …or better two… clean and serviceable toilet rooms. Certainly one as we’re not getting any younger. An advantage of two is one can double as a changing room for a life model. And once you start having larger groups, the advantages of two get obvious, and more efficient for organized class breaks. Once the first person breaks after a spell to use the loo, it’s suddenly on everyone else mind. Herd effect??
A small private office is always better than a corner cubicle off the studio to maintain some business privacy, or for taking a phone call. And it’s nice to separate the “business” from the art space. The one mistake in my current architectural workspace is I can’t separate the business space from the working studio, and it’s really too distracting having both on the same desktop….or even computer.
Living in York and being on a major rail route when I see a course that I would like to attend my first reaction is to see where the nearest station is to the studio – I know Paul has stated he is considering the logistics of transporting participants from station to studio but more important for those without cars is being able to walk from accommodation to studio each day and being able to access local eateries on an evening so a very rural location for me would be impractical – most of the comments above have I think covered all the issues regarding lighting etc so I won’t add my comments to those because mostly I agree with them particularly the comment advising you to just take a short lease for a year or so and see what works -good luck Paul
Ah, a new studio. Seems that you poked fun at me last summer for hunting for a house with a larger studio, Paul. We looked at over 20 houses. It was a gruelling ordeal. Our house had to be in perfect condititon every hour of every day in case a potential buyer wanted to see it.
In the end, I squashed the whole idea. $825,000 was the price for the best one and it would need remodeling. So I am resolved to paint in the space I have. It’s not perfect, but it’s completely paid for as is my big Munsell book. This is a journey and an expensive one.
Hi Paul,
Having run several businesses and found myself trapped in rental/lease agreements, business rates, insurance, etc. I personally will never tie myself up like that again.
Many artists deliver workshops around the country in different venues that are already fit for purpose. E.g Matthew Palmer, Les Darlow, etc. Could this method expand your “reach” and enable more people to benefit from your excellent tuition?
As I get older, I have found I have less confidence when driving long distances due to the increase in aggressive traffic on our roads and, I am becoming less confident when driving at night or ice or snow, etc. Up to two hours driving time from the East Midlands is about my limit now… I prefer to take the train these days for longer distances, but then I have to carry all my “stuff” and deal with platform changes, delays, etc.
As an older single lady, staying in a safe environment and close to somewhere nice to eat in the evening is important to me. I also have to factor in accommodation costs, which can be expensive in some areas and is the final deciding factor as to whether to attend a workshop or not.
Workshop content is also important to me. I have been to many “follow me and paint the same picture” type workshops and other than a pleasant day out, I haven’t learnt much from the experience.
I recently attended a colour theory and colour mixing workshop with artist Tony Hinchcliffe in Yardley Hastings, Northamptonshire. It was excellent and I learnt a lot from Tony in a very short space of time.
https://www.yardleyarts.org/whats-on/2019/9/17/colour-theory-1-day-workshop
I wish you the very best of luck Paul and hope everything works out for you.
Hello, Paul – looks like you’ve received a lot of good feedback so far. For me, in the studio, the most important part is being able to walk back from the easel to look at what I am painting and seeing the canvas at the same time from a distance. Sometimes, in an interior workshop space, this is difficult to accomplish as we are packed in too closely and cannot step back with ease.
Otherwise, the space needs and comments you have received so far are all worthy considerations. Lodging nearby and the ability to paint plein aire would also rank high on my list of “needs”.
You’ve got this. Looking forward to meeting you IRL!
Obviously, one has to get there; a coffee corner and good toilets are important to me, more than idyllic setting.
The best study space I’ve been in (Kunstfabrik Wien, in Vienna) is a former industrial space, with high ceilings and many windows. The neighborhood is a fairly bleak industrial setting.
I personally feel best with a private, large, table space next to the easel, for all the paraphernalia, drying paintings and sketches, etc., and an airy, bright surrounding.
Surfaces need to be covered with plastic, as paint and liquids will spill.
It is nice not to have to worry about a little splash on the floor, either.
Speaking of spilling: a large industrial sink is a must, and you may need to consider some filtering, depending on local regulations, to prevent oils, pigments and turps from entering the groundwater. And, as you know, we painting students produce a massive amount of non-recyclable garbage.
Hi Paul,
Have you thought about the time you spent last year with Julian in France? What did you like best, and what could you adapt to work for you? If I were attending a week-long painting “outing”, I’d want my room to be close (walking distance or transportation provided); I’d prefer lunch be brought in (how good are you at making sandwiches?); and I’d love a communal dinner, at a pre-arranged place (could be a different one each evening), and included in the cost of the class. I don’t want to think about where I need to go to eat etc.
My other thought is: Don’t settle for second best. There is a “just right” space out there for you.
HI Paul, I have not read carefully or all what’s been said above but my first thought is, it has to be easy for you to get there and be there. The closer to your home, most likely, the better.
(oops hit send too soon, also wanted to say, good luck finding your space and I look forward to visit!)
I just read the comment by Fay and i think it’s true that more and more online is the way things are going and you are already ahead of the curve on that aspect. if you are willing to travel, you can teach for a weekend somewhere else without having to run your own studio. The travel workshops could work out if you partner with a hotel or art center that already exists near you? Just throwing out the various options, is there room to build anything on your own property? All great things to think about. Are you teaching any other workshops in the UK coming up?
Well, I don’t feel up to reading all the other comments. So although I will probably repeat what others say here goes: I’m an American and I’ve done a couple of plein air workshops away from home. My favorite one was in France last summer in a remote area. The artist teaching picked me up at the train station (I flew into Paris) along with a couple of others. Some drove to the workshop–a couple from England, one from Belgium, etc., so there were plenty of cars if anyone needed something. However, we did our painting on location where we were staying in beautiful French countryside so no driving was required during the workshop. An artist friend of the teacher cooked all the meals for I think it was 9 or 10 students plus the teacher and his wife (breakfast was do-it-yourself–coffee, juice and cereal). It is so pleasant if the group can eat together and not have to make separate arrangements for meals.
Earlier that summer I did a similar workshop in Maine at a National Park where the participants were housed and fed, which is really great. In that case each person had driven to the location and had a car for driving to the nearby rocky coast to paint. I drove up from New York.
Personally, I wonder if I would be comfortable driving in England as the steering is on the left side of the car here! But losts of Americans do drive there!
Thanks Martha. I think I know who that workshop in France was with, I’ve been there myself 🙂