Although my stretched store-bought cotton canvas is already prepared with gesso, I add 3 more layers with a light sanding in between each. This makes the canvas less absorbent in my opinion. Everyone has their own recipe and this is mine. I apply the gesso with a roller if the canvas is big or a large brush if it is smaller.
Once the gesso is dry, which is within the hour of the last coating, I use vine charcoal to outline my composition. Because the charcoal is rather dusty, I blow the excess off using either my breath or an aerosol can of dust remover depending on the size of the canvas.
Next, I then use a thin wash of burnt umber paint and a thinner medium to cover the rough charcoal drawing and begin the shading process. This also fixes the drawing to the canvas & prevents the charcoal from blending further. That layer will dry, depending on the medium you choose, in an hour or a day. I then begin another coat of underpainting using either a warm or cool brown or gray base color. This can either be considered an underpainting or if more detailed and finished it would be called a grisaille. Over an underpainting, I would paint using opaque pigments and over a grisaille, I would be using transparent pigments for glazing.
Once this is dry in 1-4 days depending on the mediums used, I then begin painting with color. This is the very classical beginning to an oil painting that I was taught by my professors during my college years in another place and another time. I’ve always been glad that I was able to receive a formal Art education and it has been the basis of all my work over the years.
Choosing bulb replacements for perfect lighting in my studio.
Since I have fluorescent fixtures already installed in my painting studio and didn’t want to replace them it narrowed down the search for the type of bulbs i would be looking for. Learning about LED or halogen lighting options, which I might consider if I was designing an entirely new studio, was off my research list. The installed fixtures are 4’ and had a mixture of cool and warm T8 bulbs bought at the local big box store.
The existing lighting fixtures in my painting studio hold a series of florescent 48″ T8 bulbs.
As soon as I began researching online for the best bulbs for studio lighting I knew the options were very broad and would need more studying. I would need to know what the important specifications would be in selecting the right ambient lighting for working on my paintings and also for proofing digital prints?
I learned about the ratings of Kelvin, CRI and Lumens:
K or Kelvin. The color temperature index of cool light at 5500K and a bit warmer light at 4100K seemed to be my goal. I didn’t want to go too cool while creating the Art since most of my work is hung in either residential or corporate lighting environments. Residential incandescent bulbs are in the 2,500K to 3000K range
CRI or color rendering index. I sounded professional when I went to my specialty lighting store and pronounced it correctly, Cree rather than C.R.I. CRI is a measurement of how the lighting reveals colors across the full spectrum when measured against natural daylight. The highest measure is 100 and a good CRI for a painting studio is 85 and up.
Lumens are the measurement of how much light is coming from a bulb. The more lumens the the brighter the light. This differs from wattage which is a measurement of how much energy is used to create the light.
Over the years, as bulbs have burned out in my painting studio fixtures I went to the big box store & bought a warm and a cool fluorescent for each fixture fully well knowing that a more appropriate solution should be available. Recognizing that over the years my lighting had become inconsistent, I decided to bite the bullet & finally do it right.
I was spurred on to optimize my own painting studio by the announcement that the Metropolitan Museum of Art in New York, which I visit regularly to study their paintings, is completely renovating their gallery lighting over the next few years. You can follow the Met’s lighting project here.
I studied the elements of lighting & then went the specialty lighting store that most of the contractors in my area frequent. Initially the gentleman at the counter said that all I needed was an ordinary fluorescent bulb which I could buy at any box store. Once I began to speak about the technical aspects of the bulbs I was considering, he became interested & spoke with me at length about the options for my studio. We discussed the temperature of the current lighting and the problems I would have if I went to a higher K or color temperature.
So what did I choose?
I chose a bulb with a Kelvin of 4100K rather than 5500K which is often called a daylight bulb. As mentioned earlier, I was considering the rooms in which my paintings are usually displayed after they are purchased. I should also mention that I have a large 10’ north facing window in my painting studio which offers a good deal of natural light.
I also selected a higher than usual CRI number of 85 to give me a more robust range of colors which displays the full complexity of my subtle pigments. Lower CRI’s don’t always show the full spectrum of yellows.
For the lumens my choice was to select 3250 which was brighter than many of the bulbs they were replacing although the wattage remained the same at 32W.
One consideration that I was nervous about was the thickness of the actual bulb. The existing T8 bulbs were thicker than the ones I took home from the lighting store. My consultant assured me that they would be fine in my fixtures and he was right. Less glass didn’t mean less light.
The price for each bulb was a modest $2.40. Well worth the investement!
The lighting is perfect! Great color balance, brightness, range. It was worth the time I took to do the research. As an Artist, I research my subjects, paints, pigments, mediums, brushes, canvas, etc., etc., etc… So now I can add studio lighting to the list of professional choices I’ve made towards producing excellent Art.
This is the choice of replacement T8 florescent lighting bulbs for the correct balanced lighting in my studio. I didn’t pick by brand name but by specifications.
Rocket screaming energy propels me from a watery grave.
Into the Red-Orange Sky.
Personal Writing by Mary Ahern, May 15, 1978
Illustration: Oil painting with digital overlays in Photoshop.
“The Red-Orange Sky” is the first painting I ever made. It was before I went to college to study art. I was taking Wednesday evening art classes at the YMCA near where I was living in Queens Village. Circa 1974.
The Digital additions for illustration purposes were made in Photoshop November 16, 2013.
After my introduction to creating art by Jon Gnagy, I decided to take painting classes. The local YMCA where I lived in Queens, NY offered classes on Wednesdays so I signed up, made my first foray into Jerry’s Artarama art supply store with my shopping list in hand. How dizzying to be exposed to so many wonderful and exciting things and widgets and colors and brushes and paper and canvas. Oh the possibilities!
And that began my addiction to art supplies.
I bought small tubes of Grumbachers, some brushes, canvas boards and mediums. We were instructed to bring some pictures from calendars or cards that we could use to copy. I still remember the feeling of holding those brushes for the first time and how transforming it was for me. The brushes felt like an extension of my arm. Like they were physically a part of me. Life altering is too mild a description of the experience.
My favorite brush was so small it was about the size of an eyeliner brush and I used it to do most of my painting. I loved the tight control it gave me and how it allowed me to do fine details. I guess it allowed me to “stay in the lines” like I’d done for years in my coloring books. It was comforting and familiar.
I still have those early paintings. The second oil painting I ever did I copied from a placemat I borrowed from a neighbor. I so loved the image, not knowing at the time that that particular still life was representative of Dutch still life painting. I had not formal knowledge of art history but, being Dutch, and having spent time in Holland as a child I had been exposed to the art hanging in the homes of my extended family. That still life image moved me.
Still life images still do. I find them serene, calming, introspective, and contemplative.