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“The existence of the rainbow depends on the conical photoreceptors in your eyes; to animals without cones the rainbow does not exist. So you don’t just look at a rainbow, you create it.”
Now this idea really struck me. When I was a little girl I was fascinated by the idea that we have no real way of knowing if we see the same world around us as other people do, especially in the case of colours. As long as our personal colour scheme is consistent we are fine. You say it’s ‘Pink’ and as long as I am seeing the same thing as all the other instances of hearing something named as ‘pink’ you could be seeing one thing and I could be seeing another altogether.

This line of thinking arose because there was an old lady who used to help take care of me. She loved Red and hated Blue. I loved Blue and hated Red. I believed deep down that the only explanation must be that the thing she saw as Red must really be Blue if you catch my drift.

I no longer have a favourite colour. I love them all. I may be slightly synaesthetic because the experience of colours is more than visual for me, there are all sorts of other sensations, often to do with the taste of drinks in particular but also to do with quite specific sensations. My most special and valued experiences are very very multicoloured but not just any mix – it has to work. It sure isn’t any old color-mess that gets me going. This painting by acclaimed Ugandan artist Eria Sane Nsubuga really got me there today:

Gloss Print ACEO Art Cards drying after being pasted
onto the passepartout on my studio table

My ACEO project has been a hugely steep learning curve. It’s not that long since I first heard about these little 2.5 x 3.5 inch paintings and caught the bug. I’ve produced heaps of them. There is a lovely set of painted ones that I have posted here http://paintboxcafe.blogspot.gr/p/my-first-aceos.html

Those ones were created using a digital print taken from one of my original works which you can see on my websites:

www.aegeanlight.co.uk
and
www.anotherlight.co.uk

and painting over them. The print is effectively the underpainting and each one is a new painting in its own right not just a print with a few brush strokes added for enhancement.These artworks are all individual pieces with a fresh interpretation and development of the original painting or digital artwork on which they were based. I’ll be blogging on each one with a little background and story to it as I go.

I’ve also made a great batch of gloss print reproductions of my work in ACEO format – that means they are each only 2.5 x 3.5 inches. I’ve aimed to make a really gorgeous and luxurious little product. I chose this fabulous black Passepartout Mat Board, the sort that is usually used as a surround mount for framing, fantastic quality. We have a couple of good framers in our town and one of them offered to cut the pieces for me. Can’t wait to go back to show her the results.

 I edged each piece with permanent black ink and I edged the prints themselves too. All this edging of both the card and the print or painted canvas piece as well is time consuming in a sense but it really improves the look. I didn’t count the time doing this on the whole as I just sat in a lovely cafe in the port in Ermoupoli for a peachy hour or so with my pen and a pile of mat cards and prints. Soothing work. I absolutely love this card, love handling it – sounds mad I know but I know I am not the only person in the world who walks into a good stationery store and sighs with joy!

The gloss prints are really vivid and sharp printed on excellent quality photo paper. These are just stuck to cards, a little certificate I have designed is pasted to the back and signed and dated. Each one clearly indicates what sort of ACEO Miniature it is. These will sell at £5 each. I’m very proud of them, they look so juicy and wantable!

The Paint over Print Originals – I have coined that name, to be shortened to PoP Originals as a convenient way to describe these pieces which I think have a valid claim to be a style of their own – have me seriously excited. When you hold them in your hand you will see them as paintings. They vary a bit, some are complete repaints with the underlying print gone from view. Others take advantage of the print more and I’ve gone a different route, using the mellow surface of the printed silk canvas and working into only parts of it in paint to achieve a really 3D affect and stunning jewel-like colours.

Northern Lights Fox, a PoP (Paint over Print) Original
based on a detail of my painting Northern Lights.
If you go and look at the original painting you will
get an idea of the relationship between the original
and the PoP ACEO.

The opportunities this process presents are myriad and I am raring to produce more and develop the possibilities. For customers they will provide and affordable way to own a real painting. I’m pitching these first ones at £40 each.

Best of all is that I am painting again.  There are a small set of originals in the making. With all that has happened in the last year or so it was feeling like I never would get back to it. I’m inspired, feeling confident with my brushes and FULL of ideas to take this further.

Such a useful article here on how to choose the right white pigment. My advice? Buy the best quality Whites that you can regardless of whether you are looking for lightening or high pigmentation. Even the best are seldom that expensive. You won’t regret it if you do but very likely will if you don’t. It can make such a huge difference to your painting experience.

How to pick the right white pigment : Artists & Illustrators 

Mixing with white can be deceptive. It is always good to remember that a colour mixed with white will look lighter when wet, and definitely on the palette than it dries. It’s a tricky job getting exactly the right mix but it’s also precisely the point where you need to sit down, breathe and remember you are an artist not a factory hand. Slow down, think, look very carefully at what you are doing (that’s what this process is about after all!) and be prepared to experiment and discard quite a bit until your colour for a particular purpose is just right.

Island Poster

Hello, here are some of my paintings.

Some of them have been made since I have lived on Syros. I moved here nearly 5 years ago. Some of them are older, going back to around 1985.

 The picture above shows a poster I made of my newest painting Island. It includes a quotation from one of my favourite poets e e cummings:

love is a place
& through this place of
love move
(with brightness of peace)
all places

Just about sums up my thoughts on that painting for me!

 

PLEASE NOTE I NOW HAVE NEW WEBSITES at www.aegeanlight.co.uk and www.anotherlight.co.uk where you can buy prints of Island and many other new works. Please come by and visit.

 

 

portsmall72.jpg

I’ve made another poster from the painting I called Port.

I renamed it “Port after Storm”

PLEASE NOTE I NOW HAVE NEW WEBSITES at www.aegeanlight.co.uk and www.anotherlight.co.uk where you can buy prints of Kyperoussa and many other new works. Please come by and visit.

 

KYPEROUSSA

Acrylic on Canvas 100x 40cm

If you drive north from Ermoupoli, the main city of Syros, you come to a wild and beautiful area known as Apano Meria. The area where this lovely house is situated is called Kyperoussa.

Kyperoussa