Get to Know
Thank you for stopping by to view my art, I am really bad about writing on the subject of myself, but people keep teling me to flesh out my profile, so here we go,
I was born to a couple of hippies, one a photographer and the other a bluegrass musician/labor organiser; and raised in the San Francisco Bay Area of California. I have been an artist my entire life, despite being born legally blind, having had an operation when 4 years old to restore my sight to the point where glasses could help, I am very happy to show you all what I see and how I see it.
I like to use color and humor in my art. I prefer to represent what I think is beautiful and what makes me happy. I know there is a place for Angst in Art, but I just don't seem to have that place in me.
Besides my paintings and other art projects I am also a self taught lace maker, a seamstress and costumer, and also a complete geek. I am sorry you had to read this, and sorry I had to write it, but at least you know more about me, and I can tell people I fleshed out my bio. I really rather you just took a look at my art, as that says more about me than I ever could. (And makes more sense, too)
Thanks for taking a closer look at my studio!
A few notes on my techniques and tools:
My watercolor paintings are done on 140lb (300 gsm) cold press (rough surface) or hot press (smooth surface) as noted in the listing, watercolor paper, which is Acid free. The Pigments used are Winsor & Newton, Grumbacher, Lukas, and, in the case of works with metallic accents, Niji Pearlescent watercolors.
When watercolor pencil is indicated in the listing as the medium it is a combination of Staedler Karat Watercolor Pencil and Caran d'ache Supracolor II Soft watercolor pencils.
Although I prefer to sketch the basic outline of my works with watercolor pencils so that once I start laying in the washes the lines melt away, so most of my works start out with some watercolor pencil to them.
If it's noted in the listing as the medium, the entire work was done in watercolor pencil, otherwise only the basic layout was lightly sketched in with one to avoid pencil lines in the finished work.
When india ink, sepia ink, or sanguine ink is noted, it is from Faber-Castell PITT artist pens (which I am addicted to, and highly recommend, and Faber-Castell should send me a giant crate of to swim around in.)
When just "Ink" is indicated this means it copic multiliner ink.
My acrylic paintings are on either canvas or acrylic paper. The paper I use is 246 lb (400 gsm) Linen-textured paper that is specially prepared for use with acrylic paints. The canvas is acrylic primed cotton canvas; more details about the canvas are in the listings for the particular work.
The pigments used are Winsor & Newton Artist grade and Liquitex heavy body. They are coated with matte finish medium for protection
My oil paintings are done on stretched canvas, stretched linen, or ampersand prepared panels. Some are on hand stretched and some are on pre-stretched. Further details on the support used are in the listing notes.
The pigments used are from various suppliers including Winsor & Newton, Gamblin, Shiva, Holbein Extra Fine, Schmincke Norma, Richeson, Williamsburg, and Grumbacher.
The mediums used are Winsor and Newton linseed, sun bleached linseed, and grumtine or turpentine substitute (sometimes I can't find any grumtine).
I use the re-use method for my thinner. Meaning I re-use the fluid by removing the solids from the tank and taking them to a hazardous waste recycling station, where they take steps to ensure that they do not end up in the eco-system. Once the solids are removed I re-use the liquids. This method results in very little waste and no harmful dumping of paint solids.
All the oil works have a coat of re-touch varnish and, after they are cured, a coat of dammar varnish.
My color pencils pieces are done with Prismacolor pencils; the paper used is noted in the listing.
My colored pen ink pieces are done with Tombow dual brush markers OR Copic markers (which of these a work is done with will be noted in the listing)
Pastel works are done with Rembrandt soft pastels and the mish mash box (various pastels I've picked up over the years, pretty much every brand is in there, too many to list) The support for the pastel works are listed in the description.
I ship unframed, mostly because it is much easier to package the works securely so they arrive undamaged. Flat works will ship secured between boards and in plastic sleeves. Stretched works will ship in an appropriate sized box. As the sizes offered differ on the stretched works some may need more packaging than others to keep them secure and protected.
Also, shipping unframed means you can frame it to your taste and decor on arrival. I do offer framed prints of most of my work on http://www.redbubble.com/people/amyelyse so if you see something you like and want it shipped framed, you should definitely check out the link for the prints in each listing.
I ship most works insured, although ACEO are only tracked. The cost to ship insured would make them pretty pricey, so I go tracked with those. Most of my stuff ships USPS although some larger works go UPS ground. My shipping cost is approximate, but if I find it's going to cost more I take the added expense, what I have quoted you is what you will pay; there will never be surprise extra costs.
The items in my gallery are from sales here and on other venues, and prints of them are still available on http://www.redbubble.com/people/amyelyse