ev e ry lit tl e d e ta il
C l i n t o n L . M e y e r
In Clinton Meyer’s contemporary
studio, completed in the spring of 2019,
there isn’t a single variable that hasn’t
been accounted for. There are 6-foot-high
north-facing windows along one
side, which allow the artist to paint with
natural light. Access is through French
doors, so large canvases can be carried
into the studio. The companion studio
doors contain pocket doors that can be
closed to block off the light. Same for
the bath.
When Meyer paints at night, the
lighting is provided by hung LED panels
at exactly 5,000º Kelvin and 90 CRI to
simulate the color of daylight.
“5000 –5500 Kelvin is equivalent to
north light,” he says.
The walls are painted with a medium
gray green (Benjamin Moore 1490
“Country Life”).
“This is a color many artists use in
their studios,” Meyer says. “The color
cuts down on reflections off the walls
that would throw light into the shadows
of a model. It also works well since the
warmer skin tones of a model stand out
nicely with this as a background.”
Located on what was a family half-bas-ketball
court, the studio is part of a
property that goes back to the King
James Land Grant. The title references
“between the creeks” as a landmark. It
was once a part of the estate know as
Eschol. A cistern from that period still
adorns the property.
Clinton L. Meyer paints model Rita Peters
in January. The studio’s green wall color
chosen by Meyer, and many other por-trait
artists, is complemented by the red
concrete floor, a signature color of archi-tect
Frank Lloyd Wright.
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WBM march 2020