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My work space is not particularly well-organised chaos. But I do know where what I need is. The drawing is the skeleton - the bones - of every picture - any picture. So to me, a pencil - you can't do much without it.
The quality of the paint is very important. Cheap paint doesn't work together. You need good paint. I use no more than seven or eight colours. You don't need many. You can get every colour out of that.
And also do not skimp on the paper. I always use this, which is cotton. It's not even paper. And it's rough. And it's scratchy. But it does a lot of work for you.
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One constant that I have as a workspace within the FT is to be by a window. Sometimes if you just stare into the sky, you can drift off and think of something. I love to see the sky.
Where I work is not amongst other artists. It's in a newsroom full of journalists sub-editors. Martin Wolf, he'll say, oh, I haven't written anything yet. And he narrates his entire article. And then it's up to me to come up with an idea. You do feel more involved than if I was working remotely.
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One extra small but quite important advantage of being in an air-conditioned office is that washes and wet paint dries significantly faster than in a non-air-conditioned room at in fact, anywhere. And if that's not quick enough, the Ferguson hair dryer.
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I'm willing to try anything that will work. If you need a distressed picture, which I have done. I've painted a picture, put it on the floor, and scraped it, and ripped, and shredded it. If I don't come up with a drawing, there's a big empty space with my name at the bottom. That is very inspirational.
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