You light an art space well by building a simple plan with a licensed pro who understands art: layer your light, pick high-CRI lamps, aim fixtures to avoid glare, and add dimming so you can tune the mood. If you want someone local to help map it all out, an electrician Salt Lake City UT can design circuits, install the right fixtures, and set up controls that make your work look right every day.
What makes art lighting different from regular lighting
Art asks for control. You want color that looks honest. You want shadows that help shape, not hide. You want the option to change the feel at night, during a show, or when you are sketching at 6 a.m.
Light changes how we see detail, texture, and color. And it changes how people feel in a room. I have seen a painting go from flat to alive by moving one track head and swapping the lamp. It took five minutes. The wrong light washed it out. The right light brought the reds back and gave the brushstrokes some depth. Simple, but not obvious until you look for it.
Strong art lighting is not louder light. It is controlled light: aim, color, and balance.
Start with a layer plan you can actually use
Think in three layers. Ambient for general visibility. Task for making art. Accent for the art itself. When you split the room this way, choices get easier.
Ambient light that does not fight your art
Ambient light should be soft and even. Recessed downlights with wide beams. Low glare fixtures. Or a few clean ceiling fixtures with diffusers. Keep it dimmable. I like 20 to 40 foot-candles for ambient in a studio. A bit lower in a gallery when people are viewing, higher during setup.
Task light so you can work longer without eye strain
At the workbench or easel, push up the light level. 50 to 100 foot-candles is common. Some artists prefer more. Use high-CRI lamps near 4000 K for detail work. Add a movable arm lamp so you can chase glare off glossy surfaces.
Accent light that shapes the piece, not the wall
Track heads let you aim and swap beam angles. Wall washers help large canvases feel even. Grazers bring out texture on sculpture or heavy impasto. Try to aim from 30 degrees off vertical to reduce glare and head shadows on framed glass.
If you only change one thing, add dimming to each layer. Independent dimmers give you real control.
Color temperature and CRI, without the jargon headache
Two numbers do most of the work here: Kelvin and CRI. Kelvin is the warmth or coolness of the light. CRI is how true colors look under that light. Keep it simple.
- For making art: 3500 K to 4000 K, CRI 95 or higher.
- For showing art: 3000 K to 3500 K, CRI 95 or higher.
- For black-and-white photography or graphite: 4000 K can feel crisp.
If your work is very color sensitive, try tunable-white fixtures so you can test the piece under a few settings. I know one painter who checks each piece at 3000 K for warmth, 3500 K for balance, and 4000 K for detail. It sounds fussy. It works.
| Use | Kelvin target | CRI target | Notes |
|---|---|---|---|
| Studio work area | 3500 K to 4000 K | 95+ | Neutral to slightly cool for detail and mixing color |
| Gallery viewing | 3000 K to 3500 K | 95+ | Warmth that still holds whites and skin tones |
| Photography set | 3500 K to 4000 K | 95+ and low flicker | Match camera white balance; avoid strobing |
| Sculpture texture | 3000 K to 3500 K | 95+ | Use grazing light to show relief |
Aim for CRI 95 or higher. Lower CRI can mute reds and shift blues. You will feel it before you see it on a chart.
Controls that actually help you work
Good control beats more wattage. If your space has only on and off, you are fighting your own room.
Simple dimming that avoids flicker
Use dimmers rated for LEDs. Pair the dimmer type to the driver type. Triac and ELV are common in homes. 0-10V is often used in commercial setups and gives smoother low-level dimming. If you film or shoot, ask for flicker-free dimming. Your editor will thank you later.
Scenes for quick mood changes
A small keypad or smart switch with scenes can save time. One button for work. One for show. One for cleaning. Nothing fancy. Just the right levels fast.
Sensors that help, not annoy
Occupancy sensors in storage rooms are great. In studio areas, use them with long timeouts so lights do not drop while you are in a flow state. I learned this the hard way while painting a dark panel. The lights cut out. I laughed, then I rewired the sensor.
Power, circuits, and safety for art spaces
Art spaces pull odd loads. You might run a kiln, a spray booth fan, a press, and a dozen track heads. That is normal. Spread loads on separate circuits so lights do not dim when tools start.
- Dedicated circuits for heavy equipment like kilns or compressors.
- GFCI protection in wet areas and near sinks.
- AFCI protection where code calls for it in living areas.
- Plenty of outlets at bench height. Every 4 to 6 feet along a wall is common in studios.
- Surge protection to protect LED drivers and smart controls.
Local code in Salt Lake City follows national rules with local edits. A licensed pro will pull the permit and size wires and breakers for you. It is not glamorous, but it is the part that keeps your space safe and calm. And it prevents nuisance tripping that interrupts your work.
Track, downlights, or both
Track lighting is the friend of any space that changes. You can move heads, swap beam angles, and aim fast. Downlights give clean lines and uniform ambient light.
Picking beam angles
Beam angle controls spill and punch. Wider beams wash, narrow beams punch.
| Beam angle | Use | Example |
|---|---|---|
| 15 degrees | Long throw, bright accent | Small sculptures, deep rooms |
| 24 to 36 degrees | General accent | Most canvases and framed works |
| 60 degrees | Wall wash or broad fill | Large pieces and mural areas |
If your ceilings are low, use angled gimbal trims or track heads you can aim without pushing glare into eyes. Low ceilings love wide beams placed closer to the wall to get a smooth wash.
Salt Lake City light quirks that affect your art
Light in this valley is strong. The sun is bright. Winter brings hard reflections off snow. Summer stretches sunset long. If your studio has big west windows, plan for blackout shades or at least dense roller shades. Otherwise, you fight the light daily.
- High altitude sun feels bluer at midday. Test color under your artificial lights too.
- Snow days push up ambient bounce. Dimming helps keep art balanced.
- Older homes in Sugar House or The Avenues may have limited circuits. Load planning matters.
- Basement studios need careful wall washing to fight the cave effect.
I once helped aim track heads in a Granary District gallery with huge west glass. We set a late afternoon scene that cut ambient by half and warmed accent lights to hold color as the sky shifted. Simple change. Big difference at 7 p.m.
Art conservation basics for lighting
Light can fade sensitive work. You do not need a museum vault at home, but a few practices help.
- Use LEDs to cut UV and heat at the source.
- Keep light levels lower for works on paper and textiles.
- Limit exposure time. Bright displays during events, lower levels day to day.
- Aim to avoid direct sun on sensitive pieces.
| Artwork type | Recommended light level | Notes |
|---|---|---|
| Works on paper, watercolors, textiles | 50 lux target | Short exposure windows help |
| Oil and acrylic paintings | 150 to 200 lux | Watch glare on varnish and glass |
| Sculpture, metal, glass | 200 to 300 lux | Use grazing light for texture |
Lack a light meter? Use your eyes and a camera. Take a photo with a fixed ISO and shutter, then compare scenes. It is rough, but it gives a baseline.
Special needs by discipline
Painters
Use neutral white light to mix color. 3500 to 4000 K with CRI 95+ helps. Add a side light at 30 degrees to avoid glare on wet paint. If you varnish, test lighting on a sample panel first. Glossy finishes can blind you under straight downlights.
Photographers
Use flicker-free lights and match color temperature to your camera profile. If you shoot art repro, aim for evenness across the piece within a small variance. Two lights at 45 degrees each side can work. Control spill with flags.
Sculptors and ceramics
Use grazing light from above and the side to show relief. Keep a strong task lamp you can move close to the piece. For kilns, plan a dedicated 240V circuit and ventilation. I am cautious about power near dust. Work with a pro to route cables and add sealed boxes where needed.
Printmakers
Bright task light at the press and cutting area. Good ambient light around stacks and drawers. Many print shops benefit from 4000 K for neutral judgment of ink density. Keep UV exposure units on their own circuits.
Fixture choices that tend to work
You do not need exotic gear. Select reliable LEDs with honest specs. Look for high CRI and a clean dimming range. If a spec sheet hides CRI, I skip it.
- Track heads with interchangeable lenses or beam options.
- Recessed downlights with low glare trims.
- Wall wash trims or asymmetric track heads for large pieces.
- Tunable white for multipurpose galleries.
- Portable task lamps with high CRI for close work.
One small detail that matters: choose fixtures with good shielding. You want light on the art, not glare in eyes. A small lip on a trim can make a room feel calmer.
Layout basics that stop glare
For framed art with glass, aim from about 30 degrees off vertical. If light comes in too steep, you catch the reflection. If it is too flat, the frame casts a shadow. It is not a perfect rule. It is a place to start.
- Mount track 24 to 36 inches out from the wall for flexible aiming.
- Space downlights 4 to 6 feet apart for even ambient in low ceilings.
- Leave clearance so you can step ladders in safely for aiming and bulb changes.
I sometimes hang paper on the wall and test aim before committing. Tape, two heads, quick photos. Your eyes will tell you more than the grid on paper.
Cost planning in Salt Lake City
Prices vary by scope and building type, but ballpark ranges help you plan. I am sharing typical ranges I see for small studios and galleries.
| Item | Typical range | What affects cost |
|---|---|---|
| Service call for assessment | $125 to $200 | Travel, time on site |
| LED track head | $60 to $250 each | CRI, dimming type, beam options |
| Track install per linear foot | $50 to $150 plus labor | Ceiling type, wiring path |
| Recessed downlight installed | $150 to $400 each | Existing wiring, ceiling access |
| Smart dimmer or keypad | $60 to $300 each | Brand, scene control, load type |
| Dedicated 240V circuit | $300 to $800 | Distance to panel, wall finish |
| Panel upgrade 100A to 200A | $2,000 to $4,500 | Service location, permits, grounding |
You can phase the work. Start with track and dimmers. Add downlights later. Galleries often phase by room, then do the controls sweep at the end.
How to work with an electrician and avoid rework
A short brief goes a long way. You do not need a design degree. Just clear notes on how you use the space.
- Make a simple floor plan with rough dimensions.
- List the art types and sizes you show or make.
- Mark where you need strong task light.
- Mark where glare or shadows are a problem now.
- Note any heavy gear and power needs.
- Share photos of the room at night and during the day.
Ask for a layout sketch with fixture counts, dimmer zones, and circuit notes. Ask for a short aiming session after install. That last step changes outcomes. I have watched a 10 minute aim turn an average room into a place people want to stay in.
Do not rush the aiming. It is the cheapest, highest impact part of the whole job.
Small case notes from real spaces
Sugar House home studio
Low basement ceiling. We added a short run of track 30 inches off the wall, plus two wide downlights. The wall wash fixed the cave feel. A single keypad with three scenes made it simple. The artist told me the space finally felt like a studio, not a storage room.
Granary District gallery
High white walls, concrete floors, and big west windows. Afternoon glare was rough. We set tunable heads to 3200 K for nights and 3500 K for cloudy days. Dimming was split in four zones. Staff could adjust for each show without a ladder.
Home display wall
I tried a 2700 K lamp first because I liked the warmth. It made the blues dull. Swapped to 3000 K high CRI. Blues came back, skin tones looked natural in portraits. Small change, worth the fuss.
Sustainable choices without losing color quality
Pick LEDs with good efficacy and high CRI. This is not a trade-off anymore like it used to be. Add dimming and scenes so you use only the light you need. If you have strong daylight, daylight sensors can trim light during the day. In small spaces, a simple manual habit works too. Turn down the ambient when the sun is up, then bring it back at dusk.
- Use LED drivers and dimmers that play well to avoid buzzing.
- Seal penetrations to keep dust out of fixtures in messy studios.
- Choose durable finishes that clean easily.
Common mistakes and quick fixes
- Using warm, low-CRI lamps that mute color. Fix: swap to CRI 95+.
- Mounting track too close to the wall. Fix: move it out to about 24 to 36 inches.
- One switch for everything. Fix: split into ambient, task, and accent.
- No dimming. Fix: install LED-rated dimmers matched to your drivers.
- Shiny glass reflections. Fix: aim at 30 degrees and test different beam angles.
- Overlighting. Fix: drop light levels and increase contrast on the art.
Step-by-step plan you can follow next week
Here is a simple path that gets you 80 percent of the way fast.
- Make a quick sketch of your space with sizes and ceiling height.
- List three scenes you want: work, show, clean.
- Count how many pieces you want lit at once.
- Decide on color: 3000 K for display, 3500 to 4000 K for work.
- Call a licensed pro, share your notes, and ask for a layered plan.
- Install track near display walls and add dimmers.
- Do an aiming session. Take before and after photos.
- Live with it a week. Tweak two things, not ten.
Where a local electrician fits in
A local pro will read your space fast. Ceiling type, wiring path, panel room, and code items. They handle permits and map circuits so your lights do not flicker when a kiln fires. They will also pair dimmers to drivers so you get smooth fades, not steps or flicker. This is the unglamorous part that makes the room feel calm.
If you are in the valley and want help, an electrician Salt Lake City UT can visit, test a few lamps on site, and build a small, flexible system that grows with you.
Quick reference: picking lamps and fixtures
| Choice | Target spec | Why it matters |
|---|---|---|
| Color rendering | CRI 95+ | Accurate reds and skin tones |
| Color temperature | 3000 K to 4000 K | Warmth for display, neutral for work |
| Dimming | LED-rated dimmer matched to driver | Smooth control with no flicker |
| Beam angle | 24 to 60 degrees | Match piece size and throw distance |
| Glare control | Recessed source or shielding | Comfort and focus on the art |
What about daylight
Daylight is free and beautiful, until it is not. Control it. Use roller shades. Consider UV film if you show sensitive work. Mix daylight with your ambient LEDs, then let accent lights do the final shaping. Test color under both, because a piece that sings at noon might look different at 8 p.m.
Small upgrades that pay off
- Swap all accent lamps to CRI 95+ before a show. Fast win.
- Add one keypad with three scenes. Your future self will be grateful.
- Move track out from the wall to get a smooth wash.
- Buy two beam angles per track head so you can adapt to new work.
- Label circuits and dimmers. Saves time when you rearrange.
Questions artists in Salt Lake City ask a lot
How many track heads do I need per wall?
For a typical 10 to 12 foot run, start with three heads. One per piece if you show three works, or three to create an even wash for a larger work. Add a fourth head if your ceiling is high or the pieces are wide. Test aim first before buying more.
Do I need tunable white?
Nice to have. Not required. If you host varied shows or create under one set of lights and sell under another, tunable can help you check balance. If budget is tight, pick 3500 K high CRI and focus on aiming and dimming.
Can I mix 3000 K and 4000 K in one room?
Yes, but be careful. Keep similar color temps within the same zone so the room does not feel disjointed. I like 3500 K ambient with 3000 K accents for a warm focus. If it feels off, nudge one zone to meet the other.
What about flicker for video?
Ask for fixtures with low flicker and drivers rated for video. Pair with the right dimmer. Do a phone test: slow motion video of a white wall under your lights. If you see bands, flag it before you buy more fixtures.
How close should track be to the wall?
About 24 to 36 inches. Closer for low ceilings and small pieces. Farther for tall walls and large works. The goal is a smooth wash without hot spots or glare.
What if my panel is full?
You might add a subpanel or upgrade the main. A local pro can check load and space. If you only need lighting, low draw LED circuits may still fit. If you run a kiln or larger tools, plan a dedicated circuit or upgrade.
Do I need permits for lighting changes?
For new circuits, yes. For a straight fixture swap, it depends on scope. A licensed pro will know what is required and handle it. Skipping this often costs more later.
How do I aim lights for glass framed pieces?
Aim from about 30 degrees. Test a slightly wider beam to soften reflections. Matte glass helps, but good aim helps more. Take a step to the side and look for the reflection. If you see a hotspot, adjust.
What is the fastest way to improve my current setup?
Swap to high CRI lamps and add dimmers to split zones. Then re-aim every head. You will get 70 percent of the benefit with those three steps, often in a single afternoon.
Who should I call if I want help?
Work with a licensed pro who has done art spaces. If you want someone local, reach out to an electrician Salt Lake City UT and share your room photos, ceiling height, and goals. Ask for a layered plan, dimming per layer, and a short aiming session after install.