"Scorchio". Giclee fine art print.
Close-up of a habenero chilli on a chopping board, one of the hottest chilli varieties commonly available, similar to the scotch bonnet.
I had an interesting experience with the original oil painting of this one, specifically around the red. "You can't just throw cadmium red at it and be done!". I couldn't quite get the warm red I needed either that way or with vermillion, so I went around the other way and used the CMYK palette (cyan, magenta, yellow and black) - almost unintuitively, magenta and a bit of yellow create a sizzling red that I added as a final layer. How does it work? Well, magenta is a sort of red/violet mix, and yellow is the complement of purple - result is that the purple is attenuated, leaving just the red.
And red and green are complements, so a habenero is inevitably going to create a striking picture.
Original June 2022. Oil on MDF panel, 12”x12” (30x30cm).
Close-up of a habenero chilli on a chopping board, one of the hottest chilli varieties commonly available, similar to the scotch bonnet.
I had an interesting experience with the original oil painting of this one, specifically around the red. "You can't just throw cadmium red at it and be done!". I couldn't quite get the warm red I needed either that way or with vermillion, so I went around the other way and used the CMYK palette (cyan, magenta, yellow and black) - almost unintuitively, magenta and a bit of yellow create a sizzling red that I added as a final layer. How does it work? Well, magenta is a sort of red/violet mix, and yellow is the complement of purple - result is that the purple is attenuated, leaving just the red.
And red and green are complements, so a habenero is inevitably going to create a striking picture.
Original June 2022. Oil on MDF panel, 12”x12” (30x30cm).
Close-up of a habenero chilli on a chopping board, one of the hottest chilli varieties commonly available, similar to the scotch bonnet.
I had an interesting experience with the original oil painting of this one, specifically around the red. "You can't just throw cadmium red at it and be done!". I couldn't quite get the warm red I needed either that way or with vermillion, so I went around the other way and used the CMYK palette (cyan, magenta, yellow and black) - almost unintuitively, magenta and a bit of yellow create a sizzling red that I added as a final layer. How does it work? Well, magenta is a sort of red/violet mix, and yellow is the complement of purple - result is that the purple is attenuated, leaving just the red.
And red and green are complements, so a habenero is inevitably going to create a striking picture.
Original June 2022. Oil on MDF panel, 12”x12” (30x30cm).
Prints are scaled to various standard US frame sizes, e.g. 10x8, 14x11, 20x16, 28x20, and 36x24 (all inches). Square print sizes are 12x12, 16x16, 20x20, 24x24, 28x28, 32x32, and 36x36 (all inches). The print itself is smaller than this to include a border of 1 to 2 inches depending on the print size. When the original is an odd proportion, we fill the frame with the image until the first border is touched. In other words, you might have wider vertical or horizontal borders. When the horizontal borders are wider, we might move the image up a little so that the lower one is wider than the upper, this is a popular setting.
All of my prints are professionally rendered to archival standards on 310gm, 100% cotton paper from Germany, with a gently textured surface. This paper is free of optical brightening agents (OBAs). They are printed in the latest generation Epson Ultrachrome archival pigment inks. This is the ink-set that started the pigment print revolution and twenty years on continues to be the leader in terms of lightfastness, colour gamut and D-max. I inspect each print personally to ensure print quality. Each print is titled, signed and dated by me, and will be packed in glassine paper and cardboard tubing for sizes 36x24 to 20x16, or glassine with cardboard protection for the smaller sizes 14x11 and 10x8.