Having viewed at a lot of studios in recent months, I've been shocked by the often dismal quality of lighting. In particular, many modern studios ignore or waste the potential of natural light sources. Little work is necessary to harness natural light, and it is arguably the best studio light an artist can hope to have.
The Old Masters lacked good sources of artificial light, so their studios were oriented around the goal of getting the best natural light possible. Their knowledge on the subject was well known and understood, up until fairly recently, when cheap electric lighting became practical.
In most cases the best form of natural lighting is based on a simple northern exposure.
What makes north light the best? In the northern hemisphere, it is the only light source in which there is never any direct sunlight. Light from other directions will vary considerably through the day, depending on the position of the sun, and the weather. North light remains consistent and predictable.
The light that does enter through a north-facing window consists of reflected light, the majority of which comes from the sky. This light has been dispersed through the blue-colored molecules of air in the atmosphere, and trends toward the cool side of neutral.
This kind of light is very useful for gauging accurate color. Artists are often frustrated at how different their work can look under different kinds of light. A painting done under the warm cast of a sunset for instance, might look disturbingly cold viewed under fluorescent lights. North light comes closest to a neutral source that achieves good color balance. Paintings done by an artist in the proper studio tend to translate well to other venues, such as galleries or museums.
Showing posts with label studio. Show all posts
Showing posts with label studio. Show all posts
Monday, June 17, 2013
Wednesday, August 22, 2012
New Studio, Part II
Getting good light out of any new studio can be difficult. Good light in this case refers to the quality, not quantity of light in an art studio.
The ideal setup for natural light would be a high-facing north window. This provides the simplest, most stable light source throughout the day, avoiding direct sunlight. Having reliable, stable light and shadow patterns is incredibly important when it comes to figurative work.
My studio was not the ideal. On one wall there was a large window facing the southwest. On the roof, several large skylights flooded the studio with light. Direct sunlight flooded the room at various times of day. The challenge was to figure out if I could work around the studio's limitations. Long term, I could consider finding a better workspace.
To deal with the window, I built a small wooden frame to inside. The frame was covered top to bottom with tracing paper, blocking direct sunlight helping to disperse the light. There was nothing I could do about the skylight.
To test things out, I hired a model and did a quick charcoal sketch. This was done in a single shot one morning.
The results were only acceptable. This confirmed my suspicions that I was not going to be able to get the kinds of light that I wanted from this particular studio.
One alternative I explored was constructing a light box. The concept of the light box was to artificially mimic the good attributes of natural light. The light source would be multiple daylight temperature fluorescent lights. A simple box would house and support the lights, and a frame would elevate the box up in the air.
I threw together a quick prototype, which was a challenge without easy access to power tools.
Here is a shot of the light box fully ablaze. This box uses a pair of cool daylight temp grow lights. These are compact, bright for their size, and are designed to be easy to hook up together. The mouth of the box is covered with vellum to help disperse the light.
The frame is constructed from PVC tubing and is about 8 feet tall. DIY grow light stands are built a similar way, that was my inspiration.
The light produced by the box was decent but nothing to write home about. It did share some positive attributes of natural light, and had some unnatural qualities I did not like. Perhaps with some tinkering and a real box I could improve the concept further.
The ideal setup for natural light would be a high-facing north window. This provides the simplest, most stable light source throughout the day, avoiding direct sunlight. Having reliable, stable light and shadow patterns is incredibly important when it comes to figurative work.
My studio was not the ideal. On one wall there was a large window facing the southwest. On the roof, several large skylights flooded the studio with light. Direct sunlight flooded the room at various times of day. The challenge was to figure out if I could work around the studio's limitations. Long term, I could consider finding a better workspace.
To deal with the window, I built a small wooden frame to inside. The frame was covered top to bottom with tracing paper, blocking direct sunlight helping to disperse the light. There was nothing I could do about the skylight.
To test things out, I hired a model and did a quick charcoal sketch. This was done in a single shot one morning.
The results were only acceptable. This confirmed my suspicions that I was not going to be able to get the kinds of light that I wanted from this particular studio.
One alternative I explored was constructing a light box. The concept of the light box was to artificially mimic the good attributes of natural light. The light source would be multiple daylight temperature fluorescent lights. A simple box would house and support the lights, and a frame would elevate the box up in the air.
I threw together a quick prototype, which was a challenge without easy access to power tools.
Here is a shot of the light box fully ablaze. This box uses a pair of cool daylight temp grow lights. These are compact, bright for their size, and are designed to be easy to hook up together. The mouth of the box is covered with vellum to help disperse the light.
The frame is constructed from PVC tubing and is about 8 feet tall. DIY grow light stands are built a similar way, that was my inspiration.
The light produced by the box was decent but nothing to write home about. It did share some positive attributes of natural light, and had some unnatural qualities I did not like. Perhaps with some tinkering and a real box I could improve the concept further.
Monday, August 13, 2012
New Studio
Over the past month I have been spending time in New York. One of my objectives upon my arrival was to locate a proper painting studio, hopefully equivalent to the one I had back home.
Before my departure, I mixed and tubed as much paint as possible. I wanted to have lots of paint at my disposal.
I brought along the majority of my studio supplies and equipment. This picture was taken before I had put things together. I built the box to support what I hoped to be future portrait subjects.
The studio includes rooftop access. During the summer months I usually make my own linseed oil from scratch. This requires ample sunlight, and the rooftop is perfect for this task.
My approach to my craft is very hands on, as this blog will attest. I had concerns going in that I would not be able to maintain these practices in a much smaller, urban environment. So far the techniques have proven to be very adaptable.
Before my departure, I mixed and tubed as much paint as possible. I wanted to have lots of paint at my disposal.
I brought along the majority of my studio supplies and equipment. This picture was taken before I had put things together. I built the box to support what I hoped to be future portrait subjects.
The studio includes rooftop access. During the summer months I usually make my own linseed oil from scratch. This requires ample sunlight, and the rooftop is perfect for this task.
My approach to my craft is very hands on, as this blog will attest. I had concerns going in that I would not be able to maintain these practices in a much smaller, urban environment. So far the techniques have proven to be very adaptable.
Friday, July 8, 2011
More Studio Upgrades
I've made some additional changes to my studio, to make it better and more flexible. Making a new easel was just the first step. Ever since I moved into the studio, I've wanted to return to doing portraits and working from live models.
To be able to handle portraits, I needed a way to sit a model at eye level. The plywood platform that I built can be seen in the photo. This raises a seated model just up to the right level so that I'm not looking down on them as I stand and work. The platform has a box-frame on the inside to support the weight of the model sitting on it. At some point, I will paint the platform so that it doesn't stick out so badly.
To the rear you can see a curtain rod I put in to sit behind the model. This hangs from a rafter on the roof, and it can be moved around and adjusted. The curtain can also be taken off and changed so that I can adjust the color of the background.
I've tried out the current setup a few times and are really happy with it.
Thursday, December 2, 2010
A New Studio
A while ago, I was very generously offered a new studio space. The studio consists of its own dedicated separate building. Before I could start using the space, I wanted to have everything set up just right.
My preference is always to work from natural light if possible. Before the invention of electricity, buildings were built to maximize light from natural sources. They were oriented so they faced the poles. With more modern buildings this is not always the case; making the best of the lighting is tricky.
I was fortunate to have spent enough time at Charles Cecil studios in Florence, that I knew what changes to make to the studio.
The best natural light comes from a single, high-facing source, preferably to the north. Northern light is the most stable throughout the day. If you can't use northern light, you may have to deal with shadows and highlights that vary considerably from hour to hour.
Another goal should be to minimize the amount of light reflecting around the studio. A high facing window reduces light reflecting off of the ground or surrounding buildings. Cutting down on the number of light sources simplifies the image, making the artist's job easier.
The studio before I moved in had more than ample light. The windows to the right are facing north. The other windows will need to be covered.
I don't own the studio, so I couldn't make any major changes to the structure. I needed to use non-destructive means to block the light. The windows didn't have shutters, so they were covered by paper and cloth. The cloth was either attached directly to the wall, or hung from curtain rods.
The complete studio. A few things may need tweaking down the road. Everything has been covered, except the north windows immediately in front of the work. The lower windows have been blocked off halfway as well.
The light piece seen extending out from the top of the skylight, is a piece of foamboard. This directs the light down towards the workspace, cutting down on reflections off the opposite side of the ceiling. Ideally, the whole studio would have been painted black or draped with curtains to cut down on reflected light, but this would not have been practical in this case.
I set up a quick informal still-life, to observe the quality of light with real objects.
My preference is always to work from natural light if possible. Before the invention of electricity, buildings were built to maximize light from natural sources. They were oriented so they faced the poles. With more modern buildings this is not always the case; making the best of the lighting is tricky.
I was fortunate to have spent enough time at Charles Cecil studios in Florence, that I knew what changes to make to the studio.
The best natural light comes from a single, high-facing source, preferably to the north. Northern light is the most stable throughout the day. If you can't use northern light, you may have to deal with shadows and highlights that vary considerably from hour to hour.
Another goal should be to minimize the amount of light reflecting around the studio. A high facing window reduces light reflecting off of the ground or surrounding buildings. Cutting down on the number of light sources simplifies the image, making the artist's job easier.
The 19th Century studio of George Inness. Note the single, large window light source.
The studio before I moved in had more than ample light. The windows to the right are facing north. The other windows will need to be covered.
I don't own the studio, so I couldn't make any major changes to the structure. I needed to use non-destructive means to block the light. The windows didn't have shutters, so they were covered by paper and cloth. The cloth was either attached directly to the wall, or hung from curtain rods.
The complete studio. A few things may need tweaking down the road. Everything has been covered, except the north windows immediately in front of the work. The lower windows have been blocked off halfway as well.
The light piece seen extending out from the top of the skylight, is a piece of foamboard. This directs the light down towards the workspace, cutting down on reflections off the opposite side of the ceiling. Ideally, the whole studio would have been painted black or draped with curtains to cut down on reflected light, but this would not have been practical in this case.
I set up a quick informal still-life, to observe the quality of light with real objects.
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