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ART FACTS
LIGHTING YOUR STUDIO: For fun and profit.
By Robert K. Roark
Regardless of the "style" in which you work, proper lighting will only facilitate your creative efforts.
Good studio lighting is one of the most important elements contributing to quality, professional work. It is also the one element most often overlooked by the artist. Regardless of the "style" in which you work, proper lighting will only facilitate your creative efforts. Conversely, poor lighting will not only slow your progress, it will adversely affect the quality of the finished product.
Many artists advocate the exclusive use of north light. This probably has more to do with the fact that the "Old Masters" used north light than with any practical considerations. That is, the "Old Masters" painted by north light so if I paint by north light my work will look like the "Old Masters".
Certain types of natural light, of course, can be quiet attractive. But to depend on natural light, especially that which comes from a specific direction, can prove to have a down side.
Firstly, the quality of natural light is not dependable: some days it's warm, some days it's cold and some days it's nonexistent. It is also constantly changing and mutating in it's intensity. You may start a painting under bright, warm light and have to finish up under cold, dull light. Many artists find this to be annoying and distracting.
Additionally, in order to obtain the necessary amount of natural light, large and elaborate window systems are usually required. This is often beyond the reach, both physically and financially, of many artists.
The obvious solution to the vagaries of natural light is a studio environment in which the artist has complete control over the direction, quantity and quality of the work light. This requires, of course, the use of an artificial light source.
When one mentions artificial light the image that usually springs to mind is of a dark, dank studio lit by a few dangling, bare incandescent bulbs. However, with today's modern lighting technology, the artist can work under "sunny" controlled conditions any time of the year, any time day or night.
There are numerous lighting options available to the artist at a relatively low cost. In order to set up a proper lighting system, you must first determine what your specific needs are. If, for example, you're an artist who creates large pieces with little detail, a general type of illumination might prove adequate. On the other hand, if you do precisely detail work then you will require a more concentrated light source.
Electric bulbs for the artist are produced in many types and styles. All are designed to simulate the effects of daylight. For general, overall illumination choose a fluorescent-style bulb. In length these bulbs range from one foot to 12 feet. Choose the length that suits your particular needs.
For more focused light the flood or spot will usually serve well. As the names imply, floods give off a more diffused illumination while that of the spotlight is more concentrated. Each type of bulb comes in many different wattages or strengths.
Also, do not hesitate to combine the best features of natural light and artificial light. You may decide, for instance, to place a bank of fluorescent lights above your north light windows.
After all is said and done, lighting is a very personal choice. Research what is available to the artist, determine your personal needs and then make your best decision.
MR. ROARK'S UPCOMING EXHIBITIONS
WINSTANLEY-ROARK FINE ARTS will feature ROBERT K. ROARK in a one person exhibition on August 24, 2002 through September 1, 2002.
Artist Champagne Reception Saturday, August 24, 2002, 5 to 8 PM
Location and Contact Information:
WINSTANLEY-ROARK FINE ARTS
601 Main Street, Rte. 6A
Dennis, MA 02638
Local: 508.385.4713 Toll Free: 866.385.4713
Email: wrfa@masterfulart.com
Internet: http://www.masterfulart.com
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