Artist in Residence: Darrell Warner

From Hollywood to the idyllic Cotswolds… this concept costume artist show us around his “waterside shed”

I bought my studio by a lake about nine years ago, having failed to attain planning permission to build a studio in my garden. Forced by the need for a separate workspace coupled with a growing family, my wife punched a search into Google and my present studio was one of the first properties to appear. Unbelievably, it’s just a five-minute drive from home.

Admittedly, the studio is little more than a shed, being classified as a lodge that sits on the edge of an lake. Its southerly aspect means I tend to be bathed both by sunlight and reflections from the water. Initially, I didn’t think this was ideal – at least from an artistic point of view –

but I’ve come to enjoy the interplay of light throughout the seasons.

My studio setup is relatively basic. I work traditionally, so all my supplies are housed either in numerous plan chests or my Altar of Creativity. The latter is an old, up-cycled set of shallow drawers that house all my paints, pencils, pastels, and other media. It sits alongside my drawing board, but can be easily moved next to my easel.

My default tool are Winsor & Newton Pro Artists’ watercolours with a handful of Gouache colours for body. I use Rosemary & Co. Series 99 No. 6 Sable brushes plus three larger brushes: a 12, 16 and a mop for expansive washes. Multiple grades of pencils and beautiful old tubes of oil paint that I inherited from my father, together with Unison Soft pastels, sit intimidatingly unused.

Seventh Heaven

I have no internet or TV. The space needs to be a creatively immersive environment, without distractions. My present studio is the seventh over my 35-year professional career and by far the best setup to date: it’s calm, efficient and fit for purpose.

My work schedule can be full-on at times, so my average day is pretty regimented. I start between 8 and 8.30am, break for lunch around 1-2pm and finish up around 6pm. If I feel I’ve not achieved enough during the day I may work into the evening, too.

Generally, film projects mean my workload is mapped out over a given period of time, but being present in the studio also enables me to develop a secondary level of ‘blue sky conscience’. This is when I jot down my ideas for paintings in the form of notes and sketches. The result is endless thumbnails waiting to be developed into something more, for that time when I become free… Traditionally trained artist and illustrator Darrell revels in the use of the humble pencil. He’s developed a successful career creating film costume concepts. You can see his work at www.darrellwarner.co.uk.

My studio set up is relatively basic. I work traditionally

My first love remains portraiture, which led me into film. Framed here is a small study of my son when he was aged nine. This collection ranges from bits of sculpture to skulls and seed heads. With the changing seasonal light I enjoy rearranging them to create ‘mini’ still-lifes. Over the years I’ve collated various bits and pieces. This plan chest was a Westland Helicopter drawing office asset that was due to be dumped. I was glad to rescue it from an ignominious fate.

Sacrificial Ridge featuring Tom Cruise from The Mummy, illustrating the potential costume profiles for the main characters.

This display rack contains a variety of limited edition prints prepped ready for postage. Prints and cards are available through www.seneciodigital.co.uk. I find this long, thin oak table invaluable for setting out or reviewing work that’s in progress. Although I also do some work at an easel, my first choice is a drawing board with an anglepoise lamp. I like to keep a couple or more paintings on the go, such as this horse portrait. I’m not one for having too many of my own paintings on the walls, but this self-portrait is a gentle reminder both of mortality and that time I took part in the Sky Arts Portrait Artist of the Year. My illustration portfolio open and ready for self-assessment. This is an exercise that I like to undertake either twice a year or whenever I’m meeting a prospective client. Promotional literature and greetings cards stacked, ready to be sent out.

Finished costume watercolour illustration of Drosselmeyer, from Disney’s recent film The Nutcracker and the Four Realms. Completed as part of costume designer Jenny Beavan’s press junket. The Altar of Creativity is the core of my practice. It’s an up-cycled chest of drawers that houses every medium I might require.

I have a couple of bookcases that house an ever-increasing library of artists’ literature as well as Society of Illustrators annuals, art-of film books and exhibition catalogues.

Following the release of the 2004’s King Arthur, I curated a travelling exhibition of concept art and costumes from the film. It took in much of the UK and ran for just over two years. I still have a private view invitation sat within a bookcase.

Captain Salazar from the most recent Pirates of the Caribbean film. This concept drawing was done to ‘sell’ the character to actor Javier Bardem.

This is a personal piece, replicating the continuity of composition from a series of paintings completed some years ago.

I’ve collected numerous ‘how to draw anatomy’ books over the years, but can’t state enough how brilliant the 3dtotal Écorché figures are to have to hand.