my first glossy magazine article!




:D they'd promised to send me a copy of the magazine and it came today


Leicestershire and Rutland Life, a glossy magazine had asked me if they could do an article on my work and do this double page spread .... so here it is :D and the text by Becky Jones below, you can double click on the images below and it is then readable if you are interested :)








I have to admit I was a bit nervous about what the article would be like! had I made sense in the interview? I do wish now I hadn't given them that red clouds seascape as I think I want to change it a bit! it looks rather garish there? I gave them some quieter, moodier ones too but I suppose they were looking for lots of colour.


Today the weather is dark and rainy and the light is awful so finishing off the edges of the canvasses is on hold - there's severe weather warnings and more floods in lots of places - and all this after they said it would be a record breaking hot summer!

Comments

Lindsay said…
Congrats!! I hope you are pleased because the copy seems to capture what you are expressing. Really nice representation of your work.
2:10 pm
Anita said…
HOW FANTASTIC IS THAT?????? Doesn't it mean you have made it when you get your name in print? I bow down before you! Vivien - you must be glowing with pride! I am grinning on your behalf! Well done and very well deserved!
3:35 pm
vivien said…
thank you both! one of the things I like so much about artists is that we genuinely wish each other well without the sour grapes of some arenas :)


made it? no! not yet. just lucky! they liked my work and asked to do an article on me. They do a monthly art article.

It's funny because we'd talked about approaching them to see if they'd give our little group a write up - maybe they can be persuaded to do that another time when we have a group exhibition - we are planning one before too long!
4:37 pm
Making A Mark said…
Wow! Well done - I think it looks great. Consider yourself blogged on Sunday!

I was going to say that you will of course be adding it into your website under - until I checked - and there it is! I think the colours look less 'in your face' with the white background so maybe it's just what the black background does to your screen?.
5:08 pm
vivien said…
yes it is partly - it's just that they chose all very colourful pieces and none of the more subtle ones and so there's no relief! it's very in your face.


oooh! blogged as well! :)

yes, I keep adding to the press reviews and typing sections so google can pick them up :)
5:33 pm
Bridgette Guerzon Mills said…
wow! congrats! The photos of your work look great.
7:25 pm
vivien said…
thanks Bridgette :)
9:41 pm
Robyn Sinclair said…
Fantastic spread, Vivien. It would look very impressive framed for your exhibition. I don't think the Red Clouds Seascape looks in the least garish.
7:38 am
vivien said…
not framed Robyn :) - I don't frame canvasses. I've been painting the edges - an endless job with largish canvasses like these! I've painted them all a light sandy colour (buff titanium mixed with some white) so it's in keeping and they all link.


and thanks :) I hope other people agree with you on the not garish!
4:39 pm
jafabrit said…
wow, that is WAY cool, congrats. I love the spread. I am quite chuffed and happy for you.

regards
corrine
2:33 pm
vivien said…
Thanks Corrine/Jafa :)
7:36 pm
kim denise said…
Vivien, this is FABULOUS! I wish I could get my hands on a copy of that mag!
2:57 pm
vivien said…
HI Kim! thanks :)
6:48 pm
Post a Comment

Popular posts from this blog

Hedges silhouetted agains the snow, winter light: watercolour and Derwent tinted charcoal pencils in Stillmand and Birn Beta Hardback sketchbook

Image
 Detail  I have always liked the calligraphic tangle of the hedges when they are sihouetted against the sky.   Recent snowfall meant even more opportunities with amazing light and the landscape simplified and hidden by the snow, throwing hedges into relief. Above is a detail of a double page sketch in the lovely Stillman and Birn Beta A4 hardback sketchbook.  This paper is so forgiving and the watercolour works beautifully with it.  It allowed me to work through wet washes with charcoal pencil - something that tears many papers, leaving holes.  Some of the hedge is paint, some tinted charcoal. First snow, more on the way, winter light: silhouetted hedges in watercolour and Derwent tinted charcoal in a Stillman and Birn A4 beta hardback sketchbook The earlier warm golden glow of the low sun is covered by clouds, threatening more snow to come.   The spiky calligraphic marks of the hedge and the underlying form of the bank, w...
Read more

The Eye, Urban/Rural exhibition

Image
Vivien Blackburn's work in the Urban/Rural show We've just hung a group show at the The Eye Project, Urban/Rural show.  If you want to come and see it it's on for a month - well worth seeing, 11 lovely artists and some fabulous work. Those large canvasses are 40 inches square. There are rural landscapes, flowerscapes, intriguing textile work including a large knitted building, abstracts .... something for everyone. It's in the gallery below the cafe in the Adult Education Centre at the top of Wellington street, Leicester, opposite Fenwicks.  Meet the Arttists day is Saturday 1st April 10-2.  Come and have a chat with us?
Read more

looking at non traditional composition and quiet vs busy areas in paintings

Image
Paul Klee I thought I'd look at non-traditional composition - where the rule of thirds isn't the key but the painting relies on different compositional methods. in response to an excellent series of posts on the various ways of looking at composition by Katherine (link at end). These alternative considerations or breaking of rules - but making it work - appeal to me more than too heavy a reliance on the rule of thirds. The painting above, by Paul Klee is a 'field' painting' - the composition is overall, the eye travels around enjoying the glowing colour that he creates by juxtaposing complementary colours, subtle greyed greens enhancing the oranges/reds/pinks. Most of the image is composed of the various greens, greeny browns and khakis, with accents of the warm colours. When working this way it's important that the balance is unequal and that the accent colours are placed carefully to keep the eye moving in the way the artist wants. A couple of the brighter...
Read more