Lighting
白の多い画面に向かっていると、普段よりまして光の具合に敏感になるようだ。
夜に絵を描くことが多く蛍光灯と白熱電球の二種類の光源を併用しているのだが, 白熱電球だけにすると作品の見え方も変わるので作品の進み具合によって頻繁に光源を変えてみたりする。
最近は朝の光も気に入っていて、電気をつけず天窓からうっすらと入ってくる光の下で見ると同じ作品でもまったく違った表情をみつけだすことができ、新鮮な気持ちで筆が進む。
When I face a painting with lots of white, I seem to become more sensitive to the condition of lighting.
I often paint at night, and usually use both fluorescent and incandescent lamps together. But I change the lighting occasionally with this white painting because when you look at the painting under just one incandescent lamp, it changes the looks of the painting drastically.
Lately, I also prefer the morning light. Without turning any light on, looking at the painting that I worked on previous night under the skylight, I find a completely different expression from the same painting and start to paint with a refreshed feeling.
Detail from an ongoing painting
<<Day and Night | ホーム | Soft white>>
夜に絵を描くことが多く蛍光灯と白熱電球の二種類の光源を併用しているのだが, 白熱電球だけにすると作品の見え方も変わるので作品の進み具合によって頻繁に光源を変えてみたりする。
最近は朝の光も気に入っていて、電気をつけず天窓からうっすらと入ってくる光の下で見ると同じ作品でもまったく違った表情をみつけだすことができ、新鮮な気持ちで筆が進む。
When I face a painting with lots of white, I seem to become more sensitive to the condition of lighting.
I often paint at night, and usually use both fluorescent and incandescent lamps together. But I change the lighting occasionally with this white painting because when you look at the painting under just one incandescent lamp, it changes the looks of the painting drastically.
Lately, I also prefer the morning light. Without turning any light on, looking at the painting that I worked on previous night under the skylight, I find a completely different expression from the same painting and start to paint with a refreshed feeling.
Detail from an ongoing painting
