Modern Frames Accents And Echoes

When the print or painting itself is intended as a decorative item - fashion often dictates the frame. It is perilous in this instance to buy a finished item without checking its intended placement. All sorts of factors such as lighting, wall color, furniture etc. can have their unforseen effects. In this section I shall concentrate on those principles of framing that confine themselves to the picture and the frame. The principles of modern framing are the same as principles of the past but often with more of a bold fashion statement.

Floating a painting: This is the relatively modern approach of physically separating the painting or print from the frame and/or the wall by the use of neutral or semi-neutral barriers such as mounts, slips or other such devices. The general rule here is to continually vary the widths of the divices and the distances between them.

Texture echos: ( also above)This is the repetition of a texture from painting to mount or frame.

Hue echo or tonal framing: (above) This is the name I give the practice of balancing hue values between painting, mounts, slips and frame.

Borders, lines and bevels: a strong border or dark line is not always mecessary as the example below demonstrates.

Size of frame & minimalisim: sometimes the simplest is the most effective. Here the print as well as the frame combine to give a three dimensional feel.

GO TO ... making money from painting

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GO TO ... making money from painting

.or back to main lesson list

General Print Catalogue

• A selection of the highest quality Giclee prints are examined by the artist for quality then approved or rejected. Only the approved prints are thus retained and personally signed. These artist edition 'giclee' prints are printed on both canvas and heavy duty watercolor paper and slightly extra postage charges might apply if delivery is outside the US or Europe. As priced the cost includes postage.

All prints are priced between $US80 - $130, which includes postage. To order one or more of these artist edition prints email cowdisley.

Prints are divided into five categories.

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Understanding the aims

Why Illusion?

Painting metals gold and chrome silver and copper

What is photo-realism?

photo-realism kissing practice £2] T31

The grape, the cherry and the eye!

The eye completed

Brushstrokes the painterly effect (Virgil Elliott) Virgil's 'Oil Painters Bible' £2] the painterly effect (William Whitaker) Bill's demo £2] £31 f41 What makes a masterpiece?



Einstein etching shown (10"x12") by John Hagan (1975) Perspective some advanced perspective rivers lakes and ponds

Applications the golden mean computers and painting [2] [3]

Painting fur,linen,satin,silk,gauze drawing texture paint application Color what color to use hue saturation psychology and the adjacent effect^^^^^^^ harmony color mixing and psychology Practical painting demonstrations

NEW Technology and Painting - the way ahead? All lesson CD?

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OK, now you have learnt your craft and you want to paint paintings that you can sell either the original, or the copyright. This may help you buy your round of drinks at the local tavern and perhaps, at last, put a roof over the heads of your nearest and dearest. You might even have dreams of becoming a responsible member of the community, regain the respect of those outlaws and in-laws who have long since given up on you. How do you do this? Below are some of the methods I have employed that won't leave you feeling like an absolute 'quack'.







1. Filling the gaps of history

Don't let anyone tell you this is not a legitimate endeavor for a painter. Someone once spoke thus to me... 'How could you paint Shakespeare or Fletcher Christian,' they scoffed indignantly, 'did you ever meet them or see them? You can't just go around doing that! Anyway, they died hundreds of years ago.'

I replied, 'I don't expect Leonardo met the Virgin Mary, nor to my knowledge did Carraviggo meet John the Baptist, or was Michaelangelo ushered into the presence of God for painting purposes...! I also expect neither Rembrant nor Rubens was present when Jesus was lowered from the cross'. And all these things happened over one thousand four hundred years before they were painted.'

In fact it is the artists duty and obligation to do exactly these type of paintings and make them believable. Thus will we enrich history for those coming after us.

First of all let's look at portraits of those folks who were not captured by photography or painters of their time. Perhaps most became notorious well after the event. Anyway here are two examples that have been used on book covers, magazines and in television documentaries from which I gained financially by my agent selling a limited copyright. The originals, of course, I usually retain and will will to my children.

William Shakespeare metetef Christian who was never painted in his lifetime

Alexander and the Gordian Knot

These paintings have been copyrighted and used more than once in publications and documentaries and book covers. It shows that any artist still has great scope should he or she wish to properly research and produce a painting that is definitive in its portrayal of some event of person who presently lacks any adequate representation. What other 'gaps' might the journeyman' painter tackle? Here is a list off the top of my head:

Milton of paradise lost fame The philosopher 'Gothe" Chaucer

A real flesh portrait of Julius Caesar Sir Francis Drake John Paul Jones Christopher Columbus Sir Francis Drake

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