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Thoughts on Projection – by Robert Genn

Thoughts on Projection
by Robert Genn

This morning, Shaun Dziedzic of Zurich, Switzerland wrote, "I've been invited to paint some murals in an ancient abbey in Cyprus. I need to either paint them here and transport them there, or perhaps I might make smaller ones here and project and repaint them there. What do you think of this latter idea and what projecting equipment do you suggest, and, as I have a fairly limited budget, should I buy or rent?"

Thanks, Shaun. These days, digital projectors range from inexpensive ones with fuzzy, not-too-bright images of limited size to high-end models that can project huge, bright, non-keystoned images in sunny situations. My current choice is an Epson Powerlite Presenter. It has terrific brightness and size augmented by a zoom lens. Its best feature is that you don't need to run it through a laptop. You just shove in a flash card or a disc and away you go. Others among us may be using even better machines that I'm not aware of.

If your job in Cyprus involves some clergy, they may be able to loan you one of their own. Priests project power points.

I've always noted, when I make a copy of former work, it never quite measures up to the first pass of the brush. Idea: Do the mural in a smaller size, get it digitally scanned, and make an enlarged giclee on mylar or canvas and take it to the abbey and glue it up. Pro-muralists are commonly using this method, particularly in outdoor or strongly-lit applications where fading is a factor. You own the disc--you and your heirs can keep making your mural to perfection for eternity.

Idea: Go to a second-hand equipment or camera shop and resurrect an old slide projector. Check to see if the bulb lights up, and check online if bulbs can still be bought. Shoot your work on 35mm slide film--there are still several brands being produced. If you can't afford a digital projector, an old Kodak Carousel or other model is the most economical system. Excellent image too. If you're thinking about an opaque projector, they tend to be the dim-bulbs of the projector world--pretty feeble in big-image applications.

Best regards,


PS: "What one has most to work and struggle for in painting is to do the work with a great amount of labour and sweat in such a way that it may afterward appear, however much it was laboured upon, to have been done almost quickly and almost without any labour, and very easily, although it was not." (Michelangelo)

Robert Genn has given ARTAZINE permission to publish from his twice-weekly newsletter. For more of his artistic insights, visit his blog at www.painterspost.com

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