How Did I Get Started With The Shoe Art?

February 21, 2007

No, I don’t have a high heel fetish. My artwork has taken me to many places of interest and the shoes are no exception. As a young man traveling in Europe I often stopped to look into shop windows and admire the beautiful displays. The displays themselves seemed like a work of art to me. Sometimes the window display would draw me in and to my astonishment the stores were often tiny and the shelves did not have near the selection I imagined based on the size and complexity of the window display. Somehow the window looked nicer than inside the store itself.

On one memorable occasion I was drawn to a Roman shoe store and I could not help but notice the beauty and complexity of the display and decided to photograph it. There was one major problem: The window had a brown tinted finish to help keep the store cool. The human eye corrected for the tint but my camera thought different. The resulting digital photo was exactly what the camera saw and I knew I would have to do something special to correct, and later, to enhance the photograph.

That one picture led me to what I now call Brush Stroke Photography to correct for the tint and the store turned out to be one of Rome’s high fashion shoe retailers. Several of my better shoe photographs came to my mind when I look at the way the shoes are displayed, line up, the colors mixed, and sometimes shoes even sparkle. When all that comes together, I can’t resist taking a picture.


Paper, canvas, and printing

February 5, 2007

Many artists spend hours debating the plus and minus of the materials used to create their artwork. Lately I’ve joined that crowd too because the number of choices are high, quality is great, and depending on how I choose; the results make a difference.

Recently I have used the matte canvas giclee as my material of choice for prints. Now I feel the need to change for a few reasons. Most importantly the results seem to vary from print to print and if I choose to continue matte canvas it would only be for the impasto oil looking work and when I have a high resolution file. Most of my files are a little small for the minimum size requirements the giclee printer demand. They can print very large, beautiful canvases. That is not a description of my current work.

Most of the better selling prints from my work are small, usually less than 11 x 14 inches. This puts me firmly into paper printing sizes. Today’s papers have all kinds of textures from ultra smooth to rough watercolor types. Also the quality variations a huge and even the most expensive are not that much more per square foot compared to lower end products. “It only costs a little more to go first class” my father used to say.

As of today I am moving away from the matte canvas giclee in favor of the smooth 100% acid free paper. Some canvas prints will remain available on select prints and sizes where I see the match working well for the print. There will be some savings to the consumer. I try to keep my prices down because I want lots of collectors of my art work.