Must haves for your studio?

[Mary Sparrow]

Would any of you care to list what you consider to be the absolute essentials to have in your studio? From paint, to light, to mediums and solvents? Thank You.

[Chris Saper]

Hi Mary,

Here are some general thoughts on studio:

If you have the abliltity to get natural northern light, get it. If you are a morning painter, go for western exposures, or a late afternoon painter, eastern exposures.If you paint in the evening,or under widely varying natural conditions) you need to have a sufficient amount of color-corrected light bulbs. They come in all sizes, shapes and fashion, including banks of long tube-shaped bulbs.(More catalog opportunities!)In any case, the idea is to maximize the number of consistently lit painting hours.

Everything that can be made movable, should be...easel, taboret, file cabinets, etc. Almost any piece of furntiture can be mobilized by adding rolling wheels.

Unless you have huge amounts of space, try to get everthing possible to multi-function. For example, is you need flat files, have them built into a model stand or taboret. My husband built me a "vertical" flat file, only 12 inches deep, that pulls outward on a hinged base, under the bookshelf. If you have filing cabinet needs, shorter lateral files (on rolling wheels, of course)work better than traditional filing cabinets, as they can serve as model seating, display areas, places to set up still lifes, etc.

Depending on your window configuration, you need to preserve "backing up" areas, empty space corridors that let you get away from your work. Big format painters...30 x40 and up need lots of space...16 x 20 painters need considerably less. By having everything movable, you can move things out of the way when you paint, if necessary, to give yourself room. Move then back when you are not painting. You also need to try to find a lighting direction that minimizes glare. If you have room, a luxury option is a movable upright mirror, for you to check your work, or to keep your model from being bored.

With respect to windows, tall windows do better with blinds that are mounted upside down, rather than pulling up from the top. If you don't have that option, vertical blinds work better than tradional pull-up blinds, because you can better control the light direction.

I do not have room for a model stand; however I bought a used hairdresser's chair for quick studies, which lets me elevate the model to my standing height, is extrememly comfortable for the sitter, doesn't take up much room, and was very inexpensive. A good alternative if you have room, is a bar-height (comfortable) chair and bar-height cocktail type table; then you can set up interesting poses. Two chairs gives you a client meeting area.

If you work from photos, its a tremendous help to have a color-corrected light clamped to, or next to your easel. By placing your source material over the light, you can tease out a little detail from photographic shadows.

I'll have to add a flooring installment, once I figure out some options... I am in the process of designing a studio, and am learning as I go. There is very little available on studio design, I am discovering.

Best wishes,
Chris

[Karin Wells]

Good lighting is essential! I don't depend on North light because where I live it is not always dependable. I also like to work in the early mornings and late evenings so I have really good color balanced flourescent ceiling lights. I like flouresent because it does not cause shadows. Day or night my light is the same.

A dedicated "studio" space....where you can walk in, pick up your brush and palette and get started. Having to shuffle functions within a given space is extremely difficult and a real deterrent to painting (i.e., clearing your paints off the dining room table so your family can eat...)

A solid easel that will grip your canvasses securely and is easy to adjust. Here's mine: http://www.hugheseasels.com/

Directly behind my easel is a dark wall (covered with an old oriental carpet) because I cannot look into light. All of my studio walls are a neutral dark in color. I cannot paint in a room with white walls as it really messes me up...

Wall space so that you can hang your canvasses to dry. Placing them on a horizontal surface or a floor will attract dust to the wet surface.

Some kind of storage space based on the materials you use. (i.e., I have a lot of bookshelves in my studio for books and props.)

[William Whitaker]

In addition to all the excellent info given so far, I would add that if you really want to think that you've died and gone to heaven, have a hardwood floor.

[Michael Georges]

I have a wonderful Taboret from the Elfa company. Actually, it is a wire basket contraption made for storing things - hence it is perfect. It is on casters and has a formica top. I separate out my painting stages in it - Charcoal, underpainting, and color. Plus one large drawer in the bottom to hold extra bottles of turp, damar, and the like - plus paper towels.

The other wonderful thing I have is my mahl stick. I made it myself from a 1/4 inch oak dowel, a golf ball (with a 1/4 inch hole drilled in), a chamois cloth to cover the ball, and brass wire to attach the cloth to the stick. Rubbed the dowel with some linseed oil. It is a great tool - the ball sets in your lap and keeps the end from moving, or you can hook the ball over the top of your painting and it will stay put.

And finally, an ergonomic chair. I mostly stand to work, but occasionally I will sit and paint. I have one of those kneeling chairs which helps keep your back straight - it's really good for long sessions.

[Steve Moppert]

Michael,

Try a walking cane for a mahl stick, works great!
I don't think there is anything better. I've got two, one is normal thickness and the other is skinny. Hook one over the canvas and twist, they stay put well, and nothing touches the front of the canvas. I learned about using a cane from Richard Schmid.

Steve

[Michael Georges]

Originally posted by Steve Moppert
Michael,

Try a walking cane for a mahl stick, works great!
I don't think there is anything better. I've got two, one is normal thickness and the other is skinny. Hook one over the canvas and twist, they stay put well, and nothing touches the front of the canvas. I learned about using a cane from Richard Schmid.

Steve

Steve: Thanks for the recommendation. I have been thinking about getting a second stick - I'll try one.

[William Whitaker]

I know lots of professional artists who use the ol cane-mahlstick trick. It is a great idea and has a certain visual elegance too.

Whatever one uses, a mahlstick is a very good tool for a traditional painter. It takes a little time to get used to it, but it is worth it.