I’ve never seen another artists studio. Not in person. Pictures exist online of the studios of the big players of history, and some of them look desireable because they’re spacious. Websites showcase modern artists studios. So far I wouldn’t trade mine for any of them, and mine’s a compromise.  That’s not a slam on theirs, just a statement of preference. They look sparse, dismal, busy, unuseable. 

I’m sure my dark little cave looks cramped too, and it is.

Minutes ago, I was converting my main easel from drawing-ready to painting-ready. I realized that this studio is excellent for my present purposes.

But it’s not perfect.

The perfect studio would actually be a studio complex. The main central area would be  the work area, around twenty by twenty feet.  The cieling would be high, yet provision would be made for a light metal grid from which things could be hung and from which lighting could shine down.

One border of the studio proper would lead to another like sized room, a little longer than wide, which would have ample lighting whose output could be controlled from the warm amber range to the daylight blue white. Direct lighting, diffuse recessed, with dimmers and movable corded lights would illuminate this space.

The mood of a shoot can be strongly influenced by the lighting but the quality of the images can be degraded by the lighting that generates the right mood in the model. Choices, compromises, and opportunities are thus gained or lost depending on light.

This room would serve both to photograph models with their props and finished art. One wall would be a small raised stage with curtains. It would have it’s own lighting.

Convenient to both the studio proper and the photography studio would be a high loft overlooking both. This is necessary both for photography and the vetting of works in progress from different angles.

On the second level would also be a changing room, sleeping quarters, storage, and a covered patio to provide an exterior space with access to weather and completely private.

Dimensions both of the room that leads to the patio and the patio itself would be sufficient to support the photo shoots.

Another wall of the photo studio would open to a ground level outdoor pad upon which certain scenes could be staged and photographed. Sufficient lighting would be available to support a wide range of possibilities. This is where automotive photography would be done.

Moving back to the studio proper, one wall would open completely, perhaps like a garage door. Large works could enter and leave through it, but they’d do so by first passing through a shop. The functionality of the shop would be to support the building of canvases, panels, frames, supports, props, molds, and devices. It would also facilitate repair.

It occurs to me that the size of the studio proper could be doubled and still not be too large. Or maybe tripled.

This sounds like an after thought, but no. The painting of murals  would be greatly benefited by having the space to stage the dimensions of the room to be muraled. Faux walls constructed to correct dimension would allow canvas or panel to be painted as if in the target room so that minimal downtime would be required for the recipient of the mural and the inconvenience of painting outside the studio would be lessened.

Sculpture projects are messy and require a lot of space. A sculpture room will eventually make sense.

A separate room for digital processing and printing would nicely round out the utilitarian glory of the perfect studio. This would include a lighting controlled environment designed specifically for the photography of flat art. Large paintings, especially with dark colors and varying surface sheen are very challenging. Life could be made easier!

How I wish I were younger! Then, when this configuration is complete, I would have a long time to enjoy it. But I’m here now, and the need is now. Nearly all of this can be done on my existing property.