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Emotion, Energy, Excitement

the Three E’s of Edward W. Gilmore’s Art (or is it Four?)

by Fine Art Registry

Edward W. Gilmore is one of the more recent artists to join the Fine Art Registry™. A prolific abstract expressionist artist, Edward only began following his passion in 2003, but has had an explosive beginning in this new-found career, having already sold over 45 paintings in Idaho, Washington, California, Arizona and New Mexico.

Born in Oakland, California in 1966, Edward now lives in Coeur d’Alene, Idaho, with his family. Edward has managed to pursue his passion for art, and paint abstract expressionist works full-time – Energy.

Without formal fine art education or training, Edward’s passion for art was the driving and inspirational force behind the success he has achieved. In Edward’s words: “I decided to pursue my passion one rainy fall evening in 2003. I had just finished watching the movie Pollock starring Ed Harris. On that rainy day, I saw what I wasn’t looking for. I found my passion – what I wanted to do for the rest of my life. I truly feel that it was always there, and have looked back since that moment and I realized that instead of looking at my future or looking for my future, I was seeing my future before me.”

After painting for two years, he sold his first piece in 2005. Sales rocketed and his work was very popular. Why? Well, see for yourself here in this article, in Edward’s Fine Art Registry gallery www.fineartregistry.com and on Edward’s website www.isitagilmore.com. You can become better acquainted with Edward through his videos, available for viewing on his website and on www.youtube.com under Gilmore or Abstract Expressionist.

Emotion – in Edward’s words:

I paint with the extreme passion of my art form. I wake up everyday on fire to create a new piece of art. I really feel blessed to have been given this ability to do what I love. I wonder sometimes why it took me this long to find my passion.

I always paint from the heart. It is from the heart that reflects what I am seeing. I feel that my art has thrived. People love the art. I love making art. I feel that abstract expressionism is alive and well, and I’m glad to be making my mark in it for people to see.

Edward creates his art using a variety of materials, mainly acrylic paint, and a wide range of canvas sizes. His personal favorite size to paint on is 72″ X 72″. He also has used wooden boards, and other materials.

When asked whom he could name as inspiration for creating his art, his first answer was, “my own studio,” but some of the artists that he admires most are DeKooning, Rothko, and Pollock.

And when questioned about what he hopes to achieve with his art and for the world, Edward’s reply was, “I create the art first for myself, and then for the world to enjoy.” He would like to be known for his artwork.

Emotion – Energy – Excitement

When it comes to marketing and selling his work, Edward is a natural promoter, loves to talk to people about his art, and has had several full-day demonstrations of some of his techniques in front of live audiences, specifically high school students and staff local to his home in Coeur d’Alene, Idaho.

As far as showcasing or selling his art, Edward admits, “I really don’t like galleries. I do mainly private shows that are sponsored, and/or appointments for private collectors. The promotion that has worked comes from the meaning behind the art and I describe it with my three E’s.”

How Fine Art Registry™ Fits In

Edward first encountered Fine Art Registry in July of 2007 when he met the company’s CEO, Teri Franks. At this particular time, Edward was beginning to expand the scope of his art beyond Washington, Idaho and California, and when he met Teri, she spoke very excitedly of FAR®, and what it could do to boost sales and the exposure of his art, in addition to the advantages of preservation, authenticity and provenance. He was able to find excellent advice in this regard from Teri and Fine Art Registry. He also rapidly saw the value of the FAR tagging and registration system and implemented it into all of his artwork.

Describing his relationship with FAR, Edward says, “I am very thankful to Fine Art Registry and Teri Franks and to all of the FAR staff for also believing in me, my art, and my family. I feel FAR is the key to any artist who wants longevity in the art world. FAR has the most supportive group of people that I have dealt with. They go the extra mile for the artist and the buyers of the art. When you are the artist creating the art, it is a reassuring feeling to know that everyone is working hard on your behalf, and that they are not only supportive, but available to provide that extra support when needed. It has given me a peace of mind which is necessary to really see the big picture.”

He adds, “I think that FAR is a great way to not only show your art, but also have it registered with a specific number for each painting, and it is also secure. The help with promotion of the art and the contact with other artists has been great, and there is excellent customer service as well.”

Currently, Edward has over 40 paintings registered with FAR and 40 more in the process of registration. To date, Edward has approximately 250 pieces of art. With the help of the FAR team, the remaining pieces will be registered and tagged in no time at all. Edward plans to continue to tag and register each piece as he completes it.

“There’s a finality to the painting when it is registered,” he says. “It is registered as an authentic piece of art that I created, it looks official and professional for presentation or showing as well as for the collectors, and investors of my art. Our process so far has been having a photographer take pictures that we load into the computer with the title, dimensions, and then we affix a tag onto the painting and when the pricing is determined, all of the necessary information is ready to input onto the FAR website.”

Although Fine Art Registry has been a very recent addition to his overall approach to marketing his art, Edward feels it will be a valuable marketing tool, in addition to its security and forgery prevention attributes. “I think it will give the collectors and investors the sense that their art work is protected and secured, and that it is a serious and professional way to do business. I think FAR is what the art world needs in this day and age of fraud,” says Edward.

He does have some advice for artists who are planning to tag and register their work:

“Make sure that the title of the painting is the same on the back of the painting as on the photos uploaded to the web! Failure to do so has caused us some confusion and difficulty in tagging some paintings. Have a clear process from start to finish. We made the mistake of registering some paintings before tagging them, which creates more work later when we have to track down the whereabouts of the paintings and then tag them. Have all information together: photos, pricing, dimensions, title, description, and the painting itself, then tag it and register it!”

Good advice.

 

Edward Gilmore will be doing live painting demonstrations on Masterpiece canvases at the NAMTA (National Art Materials Trade Association) show in Reno, Nevada from May 1st to May 3rd. The completed painting(s) will be available through a raffle held at this event. There will be video coverage available for viewing on the FAR website following this show.

Edward Gilmore shares secrets of his marketing success in a videoed art forum where he, FAR CEO Theresa Franks, and successful Fine Art Registry member artists Lorna Wallace and Mike Trant all discuss, How to Price Your Art. This video, along with two fascinating video interviews with FAR member and veteran artist and art teacher Cork Marcheschi, will be available on DVD in the FAR web store. The DVD is entitled Essential Perspectives on Contemporary Art.

 

  Artist’s FAR Registered Pieces | Entire FAR Portfolio › | Sales Gallery ›

by Fine Art Registry  |  May 1, 2008  |  Print VersionPDF PDF (1.28 Mb)

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Jeanne Ground

Clay, Watercolor, 3D and “Paintography”

by Fine Art Registry

Jeanne Ground is a Fine Art Registry™ member, a highly diversified artist with a great portfolio on the FAR® website. She is also a writer. We asked her to write an article on herself, her art and why she joined Fine Art Registry.

Living in a wide valley between two mountain ranges is about as good as it gets for artistic inspiration. Then too, Oregon’s beaches are only an hour away. I paint at home usually supervised by two cats, Dustbunny and Stormy. Stormy appreciates the fish screen saver. Dustbunny shows her need for extra attention by throwing pencils, brushes and papers on the floor. This is where digital painting is easier, no kitty foot prints in fresh paint! Stormy can’t resist liquids so I have to be careful to empty my water containers and cover my paint palette when I’m doing watercolor.

I’ve always loved to make things although I never considered a career in art until I was already well into my third year in college. The first art that really had an impact on me was Michelangelo’s David. When I saw that piece in Italy it had a profound impact on me. Then I saw a few other pieces done by Michelangelo. My feeling about art would never be the same. I came home from Italy and back to school feeling that I needed to learn to create beautiful and interesting things. Working in marble didn’t interest me but the beauty of shape stayed with me. I reached the status of senior at the University before I actually found the courage to switch to a major in art. My husband believed I could do it and he made me believe that I could.

I suspect my artwork shows my determination to make use of unique ideas. There have been times when I’ve approached galleries and was told, “Your work is so different we don’t quite know what to do with it”. Well, that’s just too bad; they have no imagination!

I fell in love with clay and how it comes to life in my hands. The feel of the wet clay as it turned from a lump into something interesting was wonderful. Hand building was even more interesting than wheel work. I reached the point though where having my hands wet and cold for periods of time just wasn’t working for me, so I looked for another medium.

I had always loved the light and luminous quality of watercolor but I wanted shapes.

Is it a painting or sculpture?

Shapes are very important to me and I’ve discovered that I can make watercolor paper do interesting things when it is wet. What’s more, I can paint both sides! For several years I experimented with ways to hang up these creations and finally found ways to do that. Once my three dimensional watercolor piece has been put together, I now mount it on a background canvas which has often been painted digitally and stretched as any canvas would be. At first I thought it had to be behind glass and I didn’t like the glass between the viewer and the piece.

I’ve found that it isn’t necessary to put them behind glass. They are treated to resist dust and can be cleaned by using a soft clean paintbrush. I know it works because I have some that I’ve had hanging on the wall for years and they are as bright and fresh as when I first hung them up.

It took many strange experiments with materials and designs to make the materials do what I wanted. One of my best discoveries was that bags of split peas and lentils were perfect to hold watercolor paper in place while the glue dries. (They drape so well!) These paintings have to be done in stages and to hurry is to lose the piece. When I’m really into these three dimensional projects, they kind of take over the whole house.

Is it a painting or a photograph?

I saw my first computer graphic program in 1985. I was fascinated but frustrated because there was no way to print it. Black and white dot matrix just didn’t do it! Since then I’ve enjoyed the evolution of computer programs and printers. When I discovered there were printers that would print canvas it was an awesome day! Then I got a Wacom tablet, which allows me to use the same motions to create a painting, as I would with a regular brush in hand. For detail I used to use what I referred to as my “3 hair” brush, now I use my “one pixel” brush. A new world indeed! Painting on my computer is more versatile than using a brush and paint. To my way of thinking using the computer capabilities to express my creativity enriches and enlarges the possibilities. Digital paintings can be as delicate as a butterfly or as sturdy as rock.

Painting digitally is like being able to dip your brush into liquid paint, that is thicker than water but thinner than oil or acrylic paint, or you can do thick brush strokes. The beauty of it is that you can protect areas from being disturbed by your new brush strokes. You can change the transparency of your paint by degrees until you have it just the way you want it. You don’t have to wait for it to dry like watercolor if you want a hard edge and you can change the softness of your brush edge by degrees, which gives you amazing control. Adding layers with varying degrees of transparency gives you great amount of depth to your work. If a brush stroke seems too heavy once applied you can erase by degrees so that you can lighten the area without disturbing what’s underneath and you never risk damaging the paper or canvas. Sometimes when you are painting you realize that you should have stopped sooner. Painting digitally solves that problem because you save in various stages and you can always go back some steps. When you paint digitally, with a couple clicks, you can have the best airbrush available. You can not only do either fine or rough washes or gradient but you can then push the gradient around. When highlighting or darkening an area, you can do it without disturbing texture that is already there. If you have to leave a work in progress there is no problem with mixed paint drying out! No problem when your cat pushes your brush on the floor. The amount of pressure I put on my digital brush can change the line width just as putting slight pressure on a regular brush does. The kind of digital painting I do can’t really be done with keyboard and mouse. Without a tablet and variety of digital brushes, it simply wouldn’t work.

An option that artists doing digital painting have is to use parts of photographs in the painting. They can even paint with the colors of the photograph itself. It is like just dipping your brush into a photograph that has become liquid and simply using the photograph for a palette and paint, all without disturbing the parts that you want to keep as they are. You can use parts of the photograph as they are; add a piece of another photograph, layer them, make some parts more opaque than others. The options are truly unlimited.

I refer to my digital paintings that have recognizable photographic elements as “Paintography”.

Some people dismiss digital painting as if it isn’t really art at all because “oh it was done by computer”. Well, the computer doesn’t “do it” any more than a pile of paintbrushes; tubes of paint and a canvas create works of art. The hardware and software are simply tools. Granted they are awesome tools but tools all the same.

Digital painting is not yet recognized by everyone as legitimate original art but as people begin to understand the work, attention to detail and creativity that goes into digital painting, they will have a better feel for the fact that digital or not, the painting is an original piece of art.

Fine Art Registry™

I was delighted to find Fine Art Registry. What drew me first was a way to safeguard my artwork. I’ve been concerned that anything visible on the Internet can be stolen and I want people who buy my paintings to be assured they are getting the real thing. Certificates of authenticity are often not worth very much. Then when I discovered there is a sales gallery available too, I was really excited about the increased visibility for my work and another avenue for sales. I feel that having a work registered adds to its value.

People often wonder how I do my paintings and I like for them to have a place they can look up more information about the process. When people look at my digital paintings I want them to have a better understanding that “digital” doesn’t mean “created by a computer”, but rather “painted by an artist using digital brushes and digital paint”. I love the idea that for years to come people can look up a piece of my work and learn more about it, and see more of my work in one place.

 

  Artist’s FAR Registered Pieces | Entire FAR Portfolio › | Sales Gallery ›

— by Fine Art Registry  |  June 2, 2008  |  Print VersionPDF PDF

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