Handcolouring Wall Art
16 creative works found
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Rendered post-production to appear hand-coloured
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This portrait was to my boy friend Hansen so he’d remember me. I left him in a Chinese restaurant because I felt he didn’t love me. I regret that now but that’s life- a bit unpredictable sometimes. / I’m not very domestic so my mother had given me an iron and ironing board. So I put it to good use in this photo.
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A few days ago the lovely and hugely talented Mel Brackstone posted an image which she had described as a hand coloured infrared. / It’s a beautiful silky delicate image and it really looks good. But is digital placement of colour on to a digital image really handcolouring? Are virtual paints and toners as good as the old fashioned ways of putting transulucent oil paint or ink down onto a toned fibre paper print? Anything displayed on a screen will look smooth and flat but the real test comes when you look at a handcoloured print in the flesh so to speak….. the surface is heavy and silky and solid and the paint on the velvet texture of real ‘paper’ paper is compelling in the way it demands that you touch it. This image called Summer Roses was shot with a tiny Kodak instamatic camera using seriously out of date b/w 126 film. It was then printed at 20×24 inches onto warmtoned double weight fibre paper before being delicately toned with Marshalls very fine transulcent photo oil paints and then double matted and framed in a old bleached and distressed timber frame. It looks scrumptious and no one could ever mistake it for anything digital…. it’s so full of depth and luscious with all the layers of oil paint. It took me weeks to finish it as each layer of paint needs to dry before the next layer goes on. In fact it’s probably not a photograph anymore although the parentage of this bastard child of painting and photography is clear to those who look at it …. in the flesh anyhow…...so anyway this is a real hand coloured photograph or perhaps I should say … this is a digital photograph of a handcoloured fibre print….... :)
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Having a little think about the changing nature of aspects of photography and about what the term ‘handcolouring’ means these days….. I have previously always thought of the term ‘handcoloured’ as indicating the application of paint or pencils or toners or inks straight onto the surface of the photograph. The application by hand of paint or whatever gives the images treated that way a real depth and although fiddly and time consuming …. it’s a technique that rewards the artist with images that are somewhere between both crafts of painting and photography….. and become works of art in themselves. Because some of these old fashioned skills take some time to master and can’t be applied with any known Adobe product it seems that they are destined for the museum. Or for use by actual artists …. not everybody is an artist provided they have the right software type artists but real driven passionate obssessed and skilled artists who have the training and the courage to try and tackle that old vison thing…....... /
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Another little slice of the past. A 5inchx7inch black and white silver gelatin photograph handcoloured with thick translucent oil paints. The girl is my sister…....now deceased…. many many years ago when she was a singer with the band… Fat Boy and the Girl…...
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Having a bit of a play around with some old hand coloured photo’s. This disperate group of handcoloured images owe nothing to Adobe in any way shape or form. They were shot with an old SLR using B/W film…. ahh film…. and then processed and printed in a wet darkroom on to Iford multigrade satin paper. Then the photographs were tinted with Marshalls very fine transulent photo oil paints then scanned with my very nice HP H4050 Scanjet flatbed scanner. The day after I took this photo…. the tree got chopped down… and it was in full bloom…. the saddest thing I ever saw….. sigh…..
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Well I’m having soooo much fun posting these old handcoloured photo’s that I’m just going to keep on doing it…...all this is down to the wonderful Mel Brackstone who set me thinking about the idea of handcoloured images and what it all means these days. This is a simple snapshot of some roses with just a light oil paint glaze over it so it remains as translucent as possible. Without the added colour I fear it would be a trifle dull as an image but the seductive quality of the paint gives it that tiny bit extra that it needs to work well as an image. /
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Another hand coloured photo from the vaults. This is a flatbed scan of a 10×8 inch photograph that has been printed with two negs just out of register. Then it was doused with various inks and food colourings and scratched and abused with a kitchen scourer before being splattered with gold paint. Tthe Yeh Yeh was burnt in to the surface of the print with a soldering iron….then it’s been allowed to mature for about twenty years before scanning and being uploaded here. Kept it’s colours pretty well I think …. there has been no photoshop work at all done to this… its straight from the scanner.
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the next in my current series of really old hand coloured photographs. this one is one of three and follows this one I posted yesterday Yeh Yeh #1 / the method of colouring it is exactly the same….. lots of ink and cheap paint with lashings of food colourings and a bit of a slap about with a kitchen scourer and hey presto…. a very colourful mess with no readily apperant meaning or purpose except to look pretty and just be itself in perpetuity…......:)
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I’ve been posting some new works lately that I’ve made for an exhibition at Parliment House in Sydney next week. I’ve previously posted a series of double landscapes and while I’ve been doing that I started to experiment with a new technique of digital handcolouring. I’ve applied that new concept…. well new to me anyway…. to a large pair of infrared landscapes and have gone a bit wild with it….. and that’s cool ….. I’m excited by the new stark look of these prints and will post these new work first singlely and then at they will look as a pair. Each print is A1 in size and they have been matted with very nice stippled leather matts and then framed in a glossy jet black box frame. Each framed print is 105 cms by 77 cms and they hang together to create another broken landscape…. somewhat similar to the doubled muted landscapes I’ve been posting lately but seriously different as well….. stark, elegant and owing more than a nod to Modernism in their inception. I can’t wait till next week when I’ll be able to see them hung for the first time….... meanwhile these screen shots will need to suffice …...
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The second in my latest series of digitally handcoloured double landscapes. The first is here Athough they are both whole images in themselves … it’s only when they hang together that the actual art work is complete.
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this is a pretty ordinary mock up of the two seperate images that make up my latest artwork. In real life each print is A1 in size with a beautiful and unusual stipled leather matt and a glossy box frame. The total dimensions of each framed image is about 105cms by 77.5 cms…. the two hung together are over 2 metres in length and as they were designed to hang on the deep burgandy leather walls that are found in the reception area of Parliment House in Sydney I’ve focused on making them stark and elgant.
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sometimes in moments of lucid dreaming I think that I can’t remember my real name… not the name my parents gave me but a deeper name…. sometimes I have a sense of that deeper self within but it’s elusive and emphemeral …. but I think about it sometimes…... if I could remember my real name I’d have a better idea of what I’m supposed to be doing in the world…... if I could remember my name this is most likely what I be like…or that’s what I would like to think anyway …... so although this is not actually me…. it is also me…. just nameless. maybe this is from a dream… I can never be sure with some work…. this is one of those works….. anyway …. this started out in life as black and white 35mm negative that has been processed and scanned then digitally handcoloured
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handcoloured screen print with antique map chine colle background, varied edition of 6 available for sale, just contact me!
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Hand coloured b&w from the exhibition “Leway’s Brush with Indy”, 1994 at the Gold Coast City Art Gallery.
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Hand coloured b&w photograph. / Exhibited 1994 Gold Coast City Art Gallery ‘Leway’s Brush with Indy’
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