Locating And Setting Up Your Work Space: Acrylics

Every child is an artist. The problem is staying an artist when you grow up.

–Pablo Picasso

Adriaen van Ostade, Selfportrait, 1663

Adriaen van Ostade, Selfportrait, 1663

In these lessons, I will continually refer to your “studio.” This doesn’t mean you need to have a professional artists’ studio! This can be your garage, basement, kitchen table—wherever you will feel comfortable creating.

We briefly discussed studios in our Choosing Your Paint lesson. We’ll get into more detail about selecting your work space in this lesson.

Here are the topics we’ll be discussing in determining a suitable work space:

 

Your Studio Work Space: Examples and Acrylic Paint Considerations

Space

Internet Access

Lighting

Exercise 1: Choose Your Work Space

Exercise 2: Make This Work Space Yours

 

A lot of time you have to devote to creating is lost if you need to set up your supplies each time. Having everything set up in your workspace already is ideal, but if you can’t manage that, then try to keep all your supplies in one place nearby.

Your Studio Work Space: Examples and Acrylic Paint Considerations

To give you some idea of what a studio can look like, here are some studios of famous painters:

 

Jackson Pollock, New York

Jackson Pollock, New York

Jackson Pollock and his wife, Lee Krasner, found a house for sale in East Hampton while visiting some friends. The price of the house was $5,000 and Peggy Guggenheim gave them $2,000 for the down payment in exchange for paintings. Eventually, Pollock used the barn as his studio.

Claude Monet’s studio boat, Giverny, France

Claude Monet’s studio boat, Giverny, France

Claude Monet had his first studio in a barn next to his home in Giverny. After he moved to Argenteuil, he bought a boat and converted it to a floating studio. He kept the boat moored near his home and used it to get a vista of the riverbank from the water.

Lucian Freud in his studio in London.

Lucian Freud in his studio in London.

Look at all that paint on the walls from wiping off his brushes and palette knives! (This is not something we recommend…)

Lucian Freud in his studio in London.

Looking at this reminds me to tell you: you will get paint on you/your floor/table/easel/cat at some point. It’s inevitable (trust me). So be sure to wear some clothes that you don’t mind getting paint on, or wear an apron. If you don’t want to get paint on your floor, try throwing down a drop cloth or a tarp (but be careful not to trip!). You can cover tables with newspaper or butcher paper to keep the paint off.

If you are fortunate enough to have a dedicated studio space, you may not mind paint on the floor—Lucian Freud obviously didn’t care too much. My personal studio has paint on every imaginable surface except the ceiling and I usually end a painting session with paint on my face somewhere and yes—on a few occasions—the dog as well.

Be sure to consider the input of other household members once you’ve narrowed your choices to a few possible work spaces.

You can see more studio examples if you want here.

 

Medium Considerations

Your studio space will differ depending on your selected medium.

When working with acrylic paint, you will have greater freedom in terms of a studio space. You may want to lay down newspaper or have a damp rag handy if you’re working someplace that shouldn’t get paint on it (i.e. the dining table). Acrylic wipes off easily—as long as you get it while it’s still wet! If it dries, you may need to chip it off later. It doesn’t come out of fabric very well, so I would suggest not painting on the couch. Acrylic paints are (mostly) non-toxic. Read the label to make sure. If they are labeled non-toxic, you can work with them in the kitchen, but like with everything, clean up after yourself and don’t eat paint!

You can paint with acrylics en plein air. This means your studio workspace is outside! En plein air is a French term that means “in the open air.” A lot of artists will paint landscapes outside from observation (looking at the real thing, not using a photograph as a reference). See our Painting En Plein Air With Acrylics lesson for more about this.

 

Space 

In Choosing Your Paint, we went over minimum size requirements for studios. In case you forgot, here’s what we said about acrylic paints: You’ll need a tabletop with approx. 24 inches square of free space (for use with tabletop easel) or approx. 48 inches square for standing easel and side table for water container and rag.

When you’re first starting out, it can be rather intimidating to have someone looking over your shoulder while you’re trying to learn. Try to find a space where you’re not being watched/bugged every 5 minutes (art takes concentration) or try to establish a little “private” time so that you’re free to create and not answer the door for UPS/take the dog outside/etc. for a while.

You can pretty much work wherever you want, but try to stay away from the kitchen if at all possible. Most acrylic paints are non-toxic, but some do contain pigments that are known to be bad for you (cadmiums, for example). The only risk associated with these is inhalation, meaning you don’t want to spray it. If you’re just using the paint normally (on a brush), there are no harmful effects. If you’re concerned about what’s in your paint, look at the label. If there are any health hazards associated with the paint, it will be clearly marked on the label. To learn more about this, see the Toxicity discussion in our Choosing Your Paint lesson.

          Standing Versus Sitting

You’ll want a studio space that allows you sufficient room to back up 5 or 6 feet (depending on the size of your canvas) without backing into obstacles to trip over. Of course, if your canvas is only 6” x 4”, you’ll only need to back up about 2 feet. If your canvas is 18 feet wide, you’ll need a LOT of room to back up and look at it!

Obviously, you want to be comfortable when you’re working, but before you grab that cushy chair, you may want to consider standing. This is typical for artists to do, mainly so they can gain better perspective (i.e. stepping back to look at the work). It also helps prevent the artist from painting with their nose on the canvas. If you sit hunched over your work, after a while you will notice that you’ve gotten increasingly closer to your painting. Not only does this hurt your neck and back, it also prevents you from taking in the entire composition. Working up close to the painting, you’ll worry over tiny little details instead of looking at the broader picture.

Hugh Ramsay, Portrait of the Artist Standing Before Easel, c. 1900, oil on canvas

Hugh Ramsay, Portrait of the Artist Standing Before Easel, c. 1900, oil on canvas

 

 

Diego Velázquez, Las Meninas, 1656, oil on canvas

Diego Velázquez, Las Meninas, 1656, oil on canvas

          Room to Move and The Mirror Trick

I sometimes set up my artwork in the doorway and back up down the hallway to look at it, or put it on top to the fireplace mantel and look through a doorway into the living room. The other trick that works well is using a mirror. I’ll bring my painting into the bedroom and stand as far back from the mirror as possible. This ends up doubling the viewing distance and has the added benefit of letting you see your painting in reverse, which can sometimes highlight composition problems.

          Storing your Materials

Being organized is key so you don’t waste studio time looking for your materials. If you can swing it, try to have a place to work where you can leave your materials set up so you don’t waste precious creating time setting everything up! If you can’t do this, then try to store things efficiently so you minimize your set up time. Have all your materials in one place (water dish/solvent can, rags, brushes, paints, etc.) so you’re not running around the house trying to find everything you need. I use an old suitcase (like the one pictured below) to hold all my paints and brushes.

old suitcase

You can also get a plastic art organizer from the art store:

art bin closed

These are nice because they have both large and small compartments for organization.

art bin

Your old suitcase or art organizer can be easily stored in a closet or cabinet if necessary. Of course an empty cupboard or dresser drawer will work just as well.

          Storing Your Work

This is always the hardest part for painters—figuring out what to do with all your paintings! Unless you’re hanging them on your walls, giving them as gifts, or (what professional artists hope for) selling them like crazy, you’ll need a place to store your work.

Ideally, canvases should be stored upright right to each other instead of laying on top of each other, which can cause them to sag or dent.

 

 

art-storageDSCN0419.600jpg

This is a typical canvas storage unit for a professional artist. You don’t need to invest in one of these just yet! Find a shelf in the garage where you can stand the paintings upright. If you only have space to lay the canvases down, you’ll want to put a piece of cardboard or foam core between them to prevent damage to the canvas.

Cardboard

Cardboard

 

Foam core

 

Paper:

You can keep your paper works flat and free from damage by putting them on a piece of foam core and covered with a clear bag like this:

clear envelope

Remember that the acid in cardboard will cause paper to deteriorate pretty quickly, so make sure that whatever kind of backing board you use is labeled “Archival” and “Acid-free.” A flat-fold file is a perfect place to keep finished works on paper if your space and budget permit it.

flatfold

Of course, desk drawers can also be used to store works on paper and flat tupperware containers can be easily slid under a bed for convenient storage.

Internet Access

You’re going to be watching tutorial videos as you’re painting, so you’ll want to have a computer or smartphone and internet access in your studio. We recommend for all our videos that you watch the video first all the way through without attempting to paint along, then read the text, and finally watch it a second time while painting. The videos should be watched in full screen whenever possible.

Important note: We spent a lot of time trying to make the Closed Captions on our YouTube teaching videos as accurate as possible. We hope this allows those students who do not understand English to more effectively convert the Closed Captions into their language of choice. Of course, we realize any translation will not be completely accurate, but we are hopeful that the translation, combined with the video, will allow anyone in the world to understand the videos and thus take all of the Beginner’s School courses.

See our discussion on how to translate Closed Captions here: Closed Captioning on YouTube

It’s nice to have access to a computer even if you’re done watching our tutorial videos just in case you need a reference image or have a quick question about something. The one problem with having a computer and internet access in your studio is that is can be very distracting. If you choose to have this in your studio, make sure you’re not wasting all your studio time on Facebook!

Lighting 

You will need sufficient lighting wherever you decide to work. Overhead lighting is generally sufficient to see your paint clearly. You don’t want to have reflections in your paint, which can happen if you have a lamp behind you (this can also cause distracting shadows). If you have a window nearby, then utilize some natural light! This cuts down on electricity costs and allows you to see the colors as they really are. Some light bulbs put out different colors (sometimes more blue, sometimes more pink) and this can affect the way you see your colors. The best is a North-facing window. Why North? Because direct sunlight never enters the studio (causing glare) and the lighting remains relatively stable throughout the day (if the window faces East, you will only have light in the morning). South of the equator, you’ll want a South-facing window. Of course if you’re painting at night, you will probably want to get a light bulb that gives off ‘natural light’ so you can judge your colors accurately. Full-spectrum fluorescent tubes are very close to North light and Compact Fluorescent Lamps (CFLs) are energy-saving and put out nice light to paint by. For a more in-depth discussion of studio lighting, see this article by artist Will Kemp: http://willkempartschool.com/art-studio-lighting-design/

A small clamp light can be a big help if you don’t have enough lighting to begin with. Like this:

light

light2

These clamp lights are also good if you’re setting up a still life and need consistent light for the composition. Clip the lamp to a hard surface–not your canvas. The clamp can dent or damage your canvas.

Fun history:

Before the invention of electricity, a lot of artists painted by candlelight. Michelangelo used to sculpt at night wearing a hat of candles for light! Another artist, Giorgio Vasari, wrote a biography on Michelangelo and mentioned the sculptor’s lighting scheme: “…and very often, being unable to rest, he would get up at night and set to work with his chisel, wearing a hat made of thick paper with a candle burning over the middle of his head so that he could see what he was doing and have his hands free.”

We do NOT recommend this!

Artists like Georges de la Tour used candles to light not only their work but also their subjects. De la Tour is famous for his use of candles in paintings.

Georges de la Tour, The Angel Appears to St. Joseph in a Dream, c. 1640, oil on canvas

Georges de la Tour, The Angel Appears to St. Joseph in a Dream, c. 1640, oil on canvas

Draw Mix Paint has a great video explaining lighting situations a little more in-depth. https://www.youtube.com/watch?v=KMOSvmdFKY4&wide

He suggests using a light bulb around 5,000K, which emits a white light instead of something more towards orange or blue. Using too orange or too blue of a light will change the way you see your paint and could land you a result you’re unhappy with!

light spectrum

Last but not Least…

You should feel comfortable in your space! Play some music that makes you happy. Hang up an inspirational picture. Throw a pretty tapestry over the door. Whatever you need to do to make the space personal and comfortable, do it. You will have a good time creating if you’re comfortable and you’re less likely to get frustrated with what you’re doing. So bring in some positive energy and make that space yours!

Exercise 1: Choose Your Work Space

Taking into account the considerations discussed in the lesson, choose your studio space. If you’re going to keep your studio in your home, you may need to talk to your roommates/parents/significant other about where you will set up. If you’re going to rent a studio space, come up with a list of considerations to ask the landlord before you start shopping.

If you ever consider renting a studio/work space, see our article on that in the Student Resource Center here. If you do decide to rent, come up with a list of considerations to ask the landlord before you start looking after you read the article in the SRC.

Exercise 2: Make This Work Space Yours

Go around your house and find three things that will make your studio space feel comfortable for you. It may be a vase of flowers (as Monet always had in his studio) or a motivating poster. Think about the music you’ll enjoy painting to.

VanGoghQuote

DaliQuote

Check out our Pinterest board for more inspiring quotes for your studio!

Key Lesson Learnings: We’ve covered a lot in this lesson. We’ve talked about and helped you select your work space, and given you some painting tips. We stressed the importance of keeping your supplies organized to maximize your acrylic painting time.

Next lesson: Acrylic Supplies And What Do I Need?

 

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