Here are some considerations and useful information for anyone serious about
buying one of my pieces.
VALUE RANGE - my work is based on a range of values (levels of brightness)
that have a certain effect on the human psyche, especially with respect to the
sense of mood. Translation: my paintings are not the screamingly bright things
that people have come to expect from todays art. One reviewer described them
as "brooding" - this is my exact intent. I've experimented with brightening my
paintings, but for reasons too numerous to list it ruined everything about my
work that I like. Instead, they looked like the tacky velvets of the 1970's.
An important note: I've adjusted the photos on this site to be as close as I can to
the appearance of the originals on MY monitor, but they were photographed in
perfect light and are appearing here against a perfect black background. I think
they look much, much better in person since JPEGs can't capture the subtleties
of value I struggle to put into them.
LIGHTING - two types of bulb work best: incandescent flood lights that are clear
but have a pebbled finish to soften the light (photo below), and halogen
mini-spots. These make my velvets really come to life - ever been to a gallery
with standard house lighting? Nooooo!
Velvet paintings appear best against non-white walls. This is because the eye
protects itself by adjusting to whatever is brightest in a room, and if it adjusts to
a bright white wall, that means that the mostly-black painting will appear darker
than it is. A nice spotlight will usually compensate.
I had a typical dome-style ceiling light in a room with art hanging in it. The walls
there are very light. Here was my successful solution:
The original ceiling light on the left cast a dull, useless yellow light. I replaced it
with the halogen mini-spot fixture on the right to light my art and liven up the the
whole room. The fixture was affordable and was from Ikea. My only complaint is
that, unlike the previous one I had bought, the bulbs on the new one do not
specify that they have UV filters on them - and halogen bulbs do put out UV.
I've seen UV filtered bulbs by GE at Lowes.
I've also had excellent results placing paintings opposite a bright window. I have
severely tested my velvet and paint for UV resistance since I began using them,
but feel that it is wise to follow the accepted art-displaying wisdom of closing the
curtains when the room isn't going to be used for any length of time.
If you need help deciding if one of my paintings is right for where you'd like to
put it, contact me - I can give suggestions, look at photos of the area, and even
email pics of the work you're interested in so that you can see it against white.
HANGING - I've become a real advocate of 3M products, including their
Command Picture Hanging Strips, which is the only way I do it now. These are
strong velcro pieces that attach to the painting and the wall and can be removed
easily without damaging the wall paint. No hammering, no holes. Craft stores
and some department stores carry them. Get the ones that specify they are for
hanging pictures
CLEANING - again, 3M comes to the rescue with their lint roller, which doesn't
yank so hard at the nap of velvet, but cleans just as well as the cheap ones.
They even make a travel-size roller that is perfect. I've seen them at department
stores and pharmacies
buying one of my pieces.
VALUE RANGE - my work is based on a range of values (levels of brightness)
that have a certain effect on the human psyche, especially with respect to the
sense of mood. Translation: my paintings are not the screamingly bright things
that people have come to expect from todays art. One reviewer described them
as "brooding" - this is my exact intent. I've experimented with brightening my
paintings, but for reasons too numerous to list it ruined everything about my
work that I like. Instead, they looked like the tacky velvets of the 1970's.
An important note: I've adjusted the photos on this site to be as close as I can to
the appearance of the originals on MY monitor, but they were photographed in
perfect light and are appearing here against a perfect black background. I think
they look much, much better in person since JPEGs can't capture the subtleties
of value I struggle to put into them.
LIGHTING - two types of bulb work best: incandescent flood lights that are clear
but have a pebbled finish to soften the light (photo below), and halogen
mini-spots. These make my velvets really come to life - ever been to a gallery
with standard house lighting? Nooooo!
Velvet paintings appear best against non-white walls. This is because the eye
protects itself by adjusting to whatever is brightest in a room, and if it adjusts to
a bright white wall, that means that the mostly-black painting will appear darker
than it is. A nice spotlight will usually compensate.
I had a typical dome-style ceiling light in a room with art hanging in it. The walls
there are very light. Here was my successful solution:
The original ceiling light on the left cast a dull, useless yellow light. I replaced it
with the halogen mini-spot fixture on the right to light my art and liven up the the
whole room. The fixture was affordable and was from Ikea. My only complaint is
that, unlike the previous one I had bought, the bulbs on the new one do not
specify that they have UV filters on them - and halogen bulbs do put out UV.
I've seen UV filtered bulbs by GE at Lowes.
I've also had excellent results placing paintings opposite a bright window. I have
severely tested my velvet and paint for UV resistance since I began using them,
but feel that it is wise to follow the accepted art-displaying wisdom of closing the
curtains when the room isn't going to be used for any length of time.
If you need help deciding if one of my paintings is right for where you'd like to
put it, contact me - I can give suggestions, look at photos of the area, and even
email pics of the work you're interested in so that you can see it against white.
HANGING - I've become a real advocate of 3M products, including their
Command Picture Hanging Strips, which is the only way I do it now. These are
strong velcro pieces that attach to the painting and the wall and can be removed
easily without damaging the wall paint. No hammering, no holes. Craft stores
and some department stores carry them. Get the ones that specify they are for
hanging pictures
CLEANING - again, 3M comes to the rescue with their lint roller, which doesn't
yank so hard at the nap of velvet, but cleans just as well as the cheap ones.
They even make a travel-size roller that is perfect. I've seen them at department
stores and pharmacies
| OWNING A VELVET PAINTING |
