Lucy Routh

Abundance of Colour, Limited edition giclée print, Food art, Fruit, Bold colours

Justine Smith artist online and in our art gallery Judgement. Judgment is a limited edition embossed archival inkjet print on 330gsm Someset satin paper....

Vicky Oldfield. Summer Flowers- printed on Somerset paper using oil based inks, collage and watercolour, Signed in pencil on bottom right, In an edition of 20. This beautiful work a...

Kate Brinkworth. Coke, Jelly Beans and Lifesavers- limited edition silk screen print, printed on 400gsm Somerset paper with a beautiful gloss finish. Signed by the artist. Limited ed...

Delicate Cowparsley by Charlie Davies is a limited edition print made using real flowers and fauna from nature to make the etching plate. Part of the printmaking process that Charlie...

Sunlit Buttercups by Charlie Davies is a limited edition print made using real flowers and fauna from nature to make the etching plate. Part of the printmaking process that Charlie h...

Allan Forsyth Rose N°2 Limited Edition Archival Chromagenic Photographic Print Edition 25 Sheet Size: H 100cm x W 100cm x D 2cm Diasec Framed Ready to Hang Diasec® mounting is a tim...

Homage to the iconic Jimmy Choo Luxury Shoe. The fusion of digital and hand painted elements give this artwork distinct character and individuality. The one-of-a-kind Giclée print is...

Jeremy Geddes studied painting at the Victorian College of the Arts and began working full time as a painter in 2003. He’s most well known for his paintings of cosmonauts and people ...

In this playful gicleé print, the viewer is presented with two golf balls adorned with Christmas-related imagery. The golf ball on the right features Santa ...

Giclee on Hahnemuhle Matt Fine Art Rag 24 2/125 × 24 53/66 in 61 × 63 cm Edition of 704

Hugh trained as a designer / art director but on discovering photography he retrained under iconic photographer Gered Mankowitz. During 1996/1997 he started experimenting with x-ray/shadow photography...

Brown Cottonwood, 2005 By Andrew Millner (American, b. 1967) Lightjet Print Mounted on UV Plex Signed Lower Right Unframed: 87" x 44" Framed: 88" x 45" Andrew Millner is a visual artist based in St. Louis, MO. His work investigates the relationship between art and nature, the natural and the made. Millner received a BFA from University of Michigan, in Painting and Sculpture. He has had more than 56 group exhibitions since 1987 and over 15 solo exhibitions at institutions including Miller Yezerski Gallery, Boston, Massachusetts; Ellen Miller Gallery, Boston, Massachusetts; CCA, Santa Fe, New Mexico; Tria Gallery, New York City, New York; Richard Levy Gallery, Albuquerque, New Mexico; David Floria Gallery, Aspen, Colorado; Contemporary Museum St. Louis, St. Louis, Missouri. "I started drawing on the computer in 2005. Previous to that, most of my work had been about finding lines in nature; the contours of leaves, the ripples on rivers, the edges of overlapping hills. Although I was using traditional art materials, I prepared the canvases with slicker and slicker surfaces so that the lines wouldn’t soak into the background but sit on top, preserving the nuances of my hand. I thought of the drawings as photographic, in the diaristic sense of recording moments of time. I enjoyed the easy correspondence of the endless novelty of line in these natural forms and the endless variety of line created by my hand. I couldn’t draw the same leaf twice so my subject and process were well matched. I had the idea to draw every leaf of a tree, but I struggled with the scale and complexity of the subject. How does one bring a tree indoors? How can one see the whole tree and its individual parts simultaneously? I tried traditional strategies and materials but the results were unsatisfactory. I wondered if it would be possible to make the drawing on a computer. Since everything… music, photos, movies & books were being digitized, what about drawing? I wasn’t interested in something computer-generated, but sought to “dumb down” the computer and use it as a repository for simple line drawings. In the program I use, Adobe Illustrator, lines are called “paths”… an apt name since the line exists at no set scale or color. Only later do I assign the attributes of color and thickness. Taking my laptop outdoors, I drew my first tree “en plein air.” Using a digital tablet and pen, I drew simple contours of the leaves and branches. Having these drawings remain in digital form rather than in physical form, opened up interesting possibilities and enabled me to tackle the complexity of a tree in intriguing ways. My lines were free and separate from the background and from each other. I drew the branches individually and then later, I could cobble them together to reconstitute the whole tree. On the screen, I could zoom in and out and draw at different scales simultaneously. I could zoom out to draw a simple contour of the entire trunk and then zoom in to draw the smallest leaf with equal effort. I drew in layers so that as the drawings accumulated I could turn layers “off” so that they wouldn’t obscure subsequent layers. These two novelties, drawing at different scales simultaneously and making parts of the drawing invisible to allow for work on top or behind previous drawings, allowed for the accumulation of hundreds of simple outlines to create a dizzying visual complexity. Subsequent trees I drew from photographs. I would take hundreds of close-ups of a tree from a single point of view and then stitch all of these close ups together on the computer. Sometimes I photographed the same tree in the summer and then in the fall after it lost its leaves. This allowed me to see and draw all of the branches and limbs unadorned and unobscured. I would draw the tree twice, with and without leaves, merging the two drawings into one document. In this way, the drawings comprise and compress great spans of looking over vast time frames and seemingly contradictory close-up and distant points of view. My digital drawings have been outputted in different ways… mostly as photographs printed directly from the digital file or as archival inkjet prints. The results defy easy categorization. Are they drawings, prints, or camera-less photographs...