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Painting Piano Grande

Painting Piano Grande Alan Reed

Castelluccio and Piano Grande

I was Painting Piano Grande for the first time in September 2004. I’d seen spectacular photographs of colourful flowers growing in this vast plateau in the Sibillini mountains and hoped to capture them in watercolour. Of course it was completely the wrong time of year! I needed to return in late spring, early summer.

In May we decided to see if Piano Grande could be a day trip for our Painting Holiday Guests. We’d booked two nights at Agriturismo “Il Casale degli Amici” just outside of Norcia. We found it was well located, just a few minutes drive from Norcia and 45 minutes drive from Castelluccio.

Norcia, Castelluccio and Piano Grande

Nothing could prepare us for the devastation we saw in Norcia. Susan and I were woken from our sleep when the earthquake struck just after 3:30am on the 24th August 2016. We were staying more than 50 miles away near Chiesa del Carmine. The epicentre was south east of Norcia and left 297 dead from the villages of Accumoli, Amatrice and Arquato del Tronto. We’d heard that Norcia had been hit by another earthquake on the 30th October 2016 and the damage was plain to see.

When we walked into Norcia, renowned for shops selling amazing local produce, we could see many that had closed down. A young man selling wild boar salamis and cheeses welcomed us to try them. They were delicious and a few minutes later we’d made a significant purchase!

It was so sad to see scaffolding surrounding the devastated church and many other buildings effected by the earthquakes. I remember writing about the shop signage below on a previous blog post. Tragically it is now closed.

Painting Piano Grande Alan Reed

A Shop in Norcia

Shop Sign, Norcia, Umbria

Great Signage, Norcia, Umbria

Painting Piano Grande

After an amazing evening meal at “Il Casale degli Amici” and a great nights sleep, we set off for Piano Grande. The drive took us a little longer than usual because of damage to the roads. Several sets of traffic lights where the road was one lane held us up. The drive was spectacular, taking us through the rain clouds into bright sunshine where we were looking down onto the clouds.

We had to wait until noon to actually drive down into Piano Grande and Castelluccio because the road was closed for workmen repairing the road. This was not a problem for me. Painting Piano Grande was on my radar! Even though we’d seen poppies growing around Orvieto and Montefalco on our way, it was still too early here.

Painting Piano Grande Alan Reed

Sketchbook watercolour of Piano Grande

 

Painting Piano Grande

Painting Piano Grande

I had plenty of time to capture the few patches of snow on the Sibillini Mountains surrounding Piano Grande and the vast plateau where wonderful lentils are grown in the summer. When the road opened we had an hour to drive into Castelluccio which is sadly now a ghost town because of the earthquake. It’s going to take a while for Castelluccio to become inhabited again. It’s such a place of outstanding beauty I pray that it receives all the help it needs become a tourist destination, along with Norcia too.

 

 

 

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Painting in Italy

 

Painting in Italy Alan Reed

Civita di Bagnoregio

 

Our next Painting Holiday at Chiesa del Carmine in Umbria in Italy is just a few weeks away. Once again we are fully booked. For some of our guests it will their fourth and fifth time with us Painting in Italy. Over the years we’ve enjoyed some wonderful trips out. We’ve visited many of the picturesque hilltop towns and villages which are a distinctive of Umbria. It’s described as the Green Heart of Italy.

Susan and I decided that it would be a great idea for us to travel out to do some Painting in Italy earlier this month. Our mission was also to visit a few of the towns that we haven’t been to for many years. We wanted to explore some new places that might be of interest to our guests.

Our time on our flight from Newcastle to Pisa Airport passed quickly. We ended up deep in conversation with a lovely couple who have purchased many of my paintings over the years. After picking up a car we drove to Orvieto, famous for its lovely white wine and magnificent Duomo, to see if our guests would enjoy a visit.

Susan and I were staying at Locanda Rosati, an agriturismo just a few miles from Orvieto. After checking in we still had sufficient time to drive to Orvieto and have a quick exploratory trip before our evening meal. Dinner was a jovial affair as the twenty plus guests from all nationalities including Italy, France, USA, Greece, Australia and Bulgaria were all seated on a long table. Our conversations enabled us to find out more interesting places to visit. One came highly recommended, Civita di Bagnoregio, just twenty minutes drive away.

Civita di Bagnoregio and Lago di Bolsena

Civita di Bagnoregio is a medieval hamlet perched on a plateau of volcanic rock surrounded by steep ravines in the region of Lazio. I discovered that it only has 1o residents. However it is beginning to thrive as a tourist destination due to an initiative from the Mayor of Civita di Bagnoregio.

Any tourists crossing the foot bridge must pay €5 on a Sunday or public holiday and €3 during a weekday. Their ticket system has meant that residents of Civita and Bagnoregio no longer have to pay communal taxes and there is zero unemployment. I found it fascinating that the 850,000 tourists forecast for 2018 has created 400 new jobs for the 200 new businesses that have been birthed in recent years.

When we arrived the following morning thick fog had descended. I was wanting to paint the classic view that I had seen in photographs but it simply didn’t exist!

As it was a Sunday, crowds were already starting to arrive in their droves. We decided on a return visit to Orvieto. Despite the dull, overcast light, I managed a sketchbook watercolour of the Duomo from Via del Duomo. After a lovely lunch I found two great vantage points to paint Orvieto from a distance.  On completion, we set off to a new destination for us, Lago di Bolsena.

Painting in Italy Alan Reed

Lago di Bolsena

By the time we arrived, the low clouds had lifted and we were able to enjoy shafts of sunlight sparkling on the calm waters. I was able to record the tranquil scene in my trusty sketchbook.

The next morning we headed straight for Civita di Bagnoregio. This time I was able to paint the view that I had been after the previous day. We didn’t make the short walk along the footbridge into what was once Italy’s dying town. Hopefully I’ll get the opportunity to do so one day.

Painting in Italy Alan Reed

Civita di Bagnoregio, Lazio

Our Painting Holiday for June 2018 is fully booked. You can register your interest for the future at art@alanreed.com

For me, Painting in Italy is rewarding experience. Even though this was an exploratory trip, I still came up with some great reference for some future paintings.

 

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Painting Commissions

Alan Reed

St Mark’s Square, Afternoon Sunlight

A significant part of my working life as an artist is working on Painting Commissions and I’m often asked to add in a person or group of people in to the painting that have a personal connection to the client. Sometimes this has been a family walking to the Theatre Royal or on the beach at Bamburgh. On other occasions it’s been a loved one walking their dog.

I recently received a painting commission of St Mark’s Square in Venice, similar to my limited edition print above. The client asked if I could include his partner in the scene so that he could give the painting to her as a birthday present. They had been to Venice on holiday together so the painting would be a lovely reminder and a great gift idea.

Painting Commissions in Venice, particularly in St Mark’s Square, can be challenging because of the crowds but I have a good number of sketchbook watercolours from my travels to inspire me, particularly when painting in the solitude of my studio in Ponteland.

The client supplied me with a few photographs of his partner so that I could paint her in the scene with a decent likeness. I also decided that it would be a nice idea to make a short video of key parts of the painting process. You can watch the video on YouTube.

I had the original painting framed in a lovely deep edged mount with an antique silver frame. I also used non reflective Ultra View Glass which helps to protect the painting from Ultra Violet Light. It’s so good that the painting almost looks like it has no glass.

If you would like to find out more on how to Commission a Painting then please contact Alan Reed Art Gallery.

 

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Paintings of Venice

Alan Reed

Handmade Sketchbooks

I’ve been fortunate to paint on location in Venice many times since my first visit in 1991. A small box of watercolour paints, travelling brush and a hand made sketchbook is all you need to capture its wonderful light, mood and atmosphere. Many of my studio Paintings of Venice started off as either small watercolours on blocks or sketchbook watercolours.

On our last trip there in 2012 I recall taking the vaporetto across the dark waters of the lagoon to St Marks Square. I managed to take a few photographs of San Marco before reaching the stop. The sketchbook watercolours and photographs became the inspiration for a small watercolour “Venezia di Notte”. I decided to make a video of the main aspects of how I painted this scene which you can see on YouTube.

For those of you who are interested in painting in watercolour I’ve added the script for the video which gives you the names of some of the colours I’ve used which you may find helpful.

“I’ve sketched the main elements in pencil so the first step is to get some colour down. After wetting the paper I’m using my usual mix of Cadmium Lemon and Cadmium Yellow to provide the base colour for the artificial light that illuminates the magnificent architecture that attracts so many tourists.

This first wash covers the top half of the paper but for the bottom half I’m being more selective, leaving some of the white of the paper to indicate the lights around the buildings and their light reflecting in the water. Whist the paint is still wet, I’m dropping in some more intense colour to add variation.

Now for some Rose Madder to add depth to the night sky and warmth to the architecture. As with the first wash of yellow, I’ve wet the paper to help the colour spread easily without leaving any steaks. However I’ve left the paper is dry where the buildings are so I can paint hard edges to define them.

This colour is also being reflected in the water. You’ll see that I’m having to be more precise with the brush marks even though I am wanting the overall scene to look lively and loose. The texture of the watercolour paper helps the brush marks to retain a sense of spontaneity.

This next wash is a mix of purple with a touch of turquoise which I’m going to be using throughout the painting, not just for the sky but also for some of the architectural details. Again, I wet the paper with clean water before adding this wash. Just softening the edge of the wash with some clean water before tackling the windows with a much smaller brush. It’s worth saying that this video only represents a fraction of the time I’ve spent painting the details.

Now it’s time to use a colour which appears as black but it’s actually a mix of Paynes Grey, Purple and Lamp Black. This time it’s wet on dry. Again, I’m using a small brush to pick my way around the distinctive architecture.

Alan Reed

The Original Watercolour “Venezia di Notte”

I’m continuing to take my time rendering the different features of the Doges Palace. You will notice that the preceding colours of yellow and Rose Madder loose their dominance when the much darker colours are placed alongside.

These finer details are very small, occupying an area of just a few centimetres so I’m taking a little bit more time to paint them in. Having a contrast of larger, looser, bolder brush marks up against finer, more precise strokes creates further interest in the painting.

Once again, I’m taking my time, working carefully on the different elements of the painting so that they look convincing and credible when there is so much going on. Each arch is painted differently.

You will also notice a few little blobs of slightly darker yellow. This is masking fluid for the white lamps which I will rub off at the end when the paint is dry. A touch of Rose Madder to the turquoise grey adds further interest to these dark arches.

Back to the big brush and the black mix for the night sky. I’m working rapidly wet on dry to avoid streaks. Care is needed here because I’m also having to define the the left hand side of the bell tower and the tops of the buildings. Even though the brush has a decent point I have to switch brushes for the finer details.

Now a rusty red mix for the campanile, St Marks Bell Tower. First painting around the windows then working my way down the tower.

The base colours of yellow and Rose Madder are giving the effect of light as I’m picking out its features. The same rusty red colour is used again for the reflection in the water. I can afford to be more expressive with my brush strokes.

More reflections with the dark turquoise grey wash, being conscious that the water is constantly moving so the brush strokes that I’m making need to be communicating movement.

There are lots of gondolas berthed at the waters edge so these are painted using the black mix, together with their mooring poles and other details. Again small brush is required. It’s these contrasting tones, light and dark that are doing all the work.

The same colour is used for further reflections so that the water really does start looking dark and mysterious, particularly up against the light that is now starting to sparkle in the water. I’m using the side of the brush with horizontal strokes. Once again, it’s another contrast to the vertical brush strokes I made earlier.

So there you have it, Venice at night, as seen from a vaporetto”.

My Paintings of Venice continue to be very popular with my customers. Susan and I are looking forward to returning to Venice later on in 2018.

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Paintings of Umbria

Alan Reed

Sketchbook Watercolour of Via dell’Orso

When producing Paintings of Umbria I always try to articulate in paint the distinctive characteristics of this fascinating region in Italy which my wife and I have been visiting since 2002. We’ve grown to love and appreciate Umbria’s wonderful hilltop towns, its food and wine. Through our reedartholidays we’ve been able to share our knowledge with many others who regularly join us. Our trip in June 2018 is already fully booked so we are taking expressions of interest for a possible trip in September 2018.

On a recent Painting Holiday to Italy we took our guests to Perugia, a large town in Umbria which has lots of narrow streets winding their way to the top. I noticed this particular street which was mainly in shadow apart from a shaft of sunlight breaking out to catch different aspects of the architecture in the distance.

I quickly whipped out my sketchbook and did this small watercolour making sure that I captured not only the sunlight and shadows but also the figure to provide a sense of scale and interest. By the time I had finished there was another strong shaft of midday sunlight hitting the top of the archway I was under on the right hand side.

I was recently doing a watercolour demonstration for a North East Club and decided to do a much larger watercolour inspired by the sketchbook study. In the demonstration I only got as far as the first two washes. The first was a mix of Cadmium Lemon and Cadmium Yellow. Once that dried I went over parts of that first wash with some Rose Madder.

For the benefit of those attending the demonstration I decided to video me finishing off the rest of the Painting of Umbria which you can watch on YouTube. Most of the video is a time lapse and it doesn’t include all the painting work I did but it does give you an idea of how I tackled the main areas and some of the important details.

Alan Reed

Watercolour of Via dell”Orso, Umbria

You can see in the video that I’ve been very direct with the brush marks to keep them lively and fresh. I’ve also dropped in some more Rose Madder to capture parts of the stone work being warmed by the sunlight.

Once the shadow areas have dried you can see how there is some lovely granulation of the pigment which provides some interesting texture to the stonework.

I used a much smaller brush to start adding in a few areas of detail like the windows, stonework and bricks. I kept the original sketchbook study close at hand to make sure I didn’t fall in to the trap of just copying the reference photograph which I use for accuracy.

I always let the shadow areas dry before going in with the details like the dark doorways and I like leave some of the first washes to show through to bring some light and sparkle to parts of the painting which could otherwise become lifeless.

The bottom of the street is sunlit and this became the focal point of the painting, not just because of the warmer, lighter colours but also because of the figure making its way down the steep hill.

I went into the shadows with some even darker tones for further detail and depth. And it was back to using the big brush to avoid going to fiddly. You can also see in the video that I’m not just using the tip of the brush but also its side, using it to catch the very rough texture of the paper, which is Fabriano Esporzione, a beautiful handmade paper.

A few more details were added before making the decision to lift out some of the colour where the sun is just above the tops of the buildings. This emphasised the sense of sunlight breaking out to create the shaft of light cutting through the dark, slightly foreboding shadows.

So there you have it. A large watercolour of Via Dell “Orso in Perugia, Umbria available from www.alanreed.com and from our Gallery in Ponteland.

You can see more watercolour Paintings of Umbria and painting videos on alanreed.com

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Painting of Todi

Alan Reed

Sketchbook Watercolour of Todi, Umbria

On our painting holidays in Italy we take our guests to the various hilltop towns that are a feature of Umbria. This sketchbook watercolour was painted on location in a picturesque town called Todi which we have been to on a number of occasions.

Using a combination of the sketchbook watercolour, this simple pen drawing and photographs I decided to paint the scene as a larger A4 Watercolour Painting of Todi on hand made deckled edged paper for one of my painting videos.

Alan Reed

Sketch book pen drawing of Todi, Umbria

I like the colours of this watercolour sketch of Colle di Val d’Elsa in Tuscany which are more autumnal so I  intensified the colours from the sketchbook watercolour. I remembered the time when we visited Todi in the autumn one year.

Alan Reed

Watercolour of Colle di Val d’Elsa, Tuscany

The first step after drawing out the scene in pencil was to wet the paper and get down a quick wash of Cadmium Lemon and Cadmium Yellow. This set the tone and mood for all the other colours. I kept the yellow light in the sky so that when I added the blue, it didn’t end up looking green. However, it is distinctly more intense over the buildings.

Next wash was Rose Madder. Again, I wet the sky to avoid hard edges and to create some lighter patches for the clouds. However the area where the buildings are was dry because I wanted a few areas of yellow to come through in places to create interest and variation.

I recently purchased some new brushes from Rosemary & Co so I used a size 14 Series 344 to apply some clean water up to the edges of the buildings so that when I painted the sky, the colour flowed freely up to the rooftops without me having to paint round them and run the risk of the paint drying to quickly and end up with streaky brush marks.

So using the same brush I painted in some French Ultramarine over different parts of the sky, allowing some of the Rose Madder to show through to represent cloud shapes.

As I was painting nearer the buildings, I switched blues to Manganese Blue which added further interest, fusing into the French Ultramarine. A tad more Rose Madder helped the whole blending process.

The same Rosemary & Co brush is great for this type of painting. I just worked my way around the different buildings, catching the surface of the paper at times so that the painting retained the fluidity of the sketchbook study. The darker Rose Madder colour that I painted at the start, suddenly didn’t look to dark when  up against the darker shadow colour.

This is where the brush came into its own, large enough to cover the bigger areas but having a fine enough point for detail.

A number 4 Rosemary & Co brush from the same series was required for some of the smaller shadow areas.

When the shadows areas dried, I started to work on even finer detail, picking out all the windows with a very dark mix of purple, Vandyke Brown and Paynes Grey.

I wasn’t being too fiddly with these details, just sufficient accuracy to represent the windows, eaves and chimneys.
Once I completed all these finer details, which took more than an hour, I brought the painting to conclusion by painting in the foliage to break up the interlocking shapes of all the buildings.

I mixed a nice green made up of Cadmium Lemon, Paynes Grey with possibly the smallest touch of Winsor Green.

Alan Reed

Watercolour Painting of Todi, Umbria

I was back to the size 14 again, this time using mainly the side of the brush rather than the point to represent lots of branches. I used a wet on dry technique, flicking the brush over the surface of the paper to create the effect of lots of foliage.

For the smaller areas of foliage I used the size 4 brush again, going in with a much deeper green, probably more Paynes Grey than green for the shadows. I used the same technique of dragging the brush to create texture.

If you would like to learn more about how to produce a Painting of Todi or similar, why not join us on one of our Painting Holidays in Umbria, Italy.

Watch the Video Painting of Todi here.

Visit www.alanreed.com or www.reedartholidays.com to find out more.

 

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Paintings of olive trees

Alan Reed

Olive Grove, Spring Light

I’ve been painting “en plein air” in Italy since 1991 when Susan took me to Venice. I fell in love with its architecture, the light, atmosphere and culture. However, it was not until our first visit to Umbria in March 2002 that I started to make sketchbook studies of olive trees.

We were staying in the Relais il Canalicchio hotel, perched on a hill commanding stunning views of the Umbrian countryside. During the first night of our stay, having enjoyed a fabulous meal at their restaurant, there was a heavy fall of snow. We awoke to complete silence and total white out. We were literally snowed in until the following day. Once the snow had cleared we began to explore Umbria in earnest, taking in hilltop towns like Orvieto, Todi, Perugia, Assisi and Norcia.

On one occasion we drove to the Fabriano paper factory and I purchased several leather bound sketchbooks containing their wonderful hand made watercolour paper that is so lovely to paint on. On our return to the Relais il Canalicchio I wasted no time in testing the first sketchbook by painting the view from our room as the sun was going down.

Alan Reed

Sketchbook Watercolour from the Relais il Canalicchio

It was during this period that I began to develop a sketchbook painting style in watercolour where I would deliberately avoid drawing out beforehand the scene in pencil. This meant that the brush marks became more considered, fluid and direct.

I also began to make sketchbook studies of the olive trees that surrounded the tiny hill top town of Canalicchio. These became the inspiration for a number of studio paintings including the one below of the Relais il Canalicchio available as a limited edition print.

Painting of Relais il Canalicchio

Relais il Canalicchio

On our reedart painting holidays in Umbria we stay at Chiesa del Carmine. The gardens have plenty of olive trees for the guests to paint. They have fun painting and drawing their twisted branches and beautifully shaped leaves. I also join in the fun with my own sketchbook watercolours. These days I make my own sketchbooks using paper from Khadi Papers and leather from a local supplier.

Alan Reed

Sketchbook Watercolour of Olive trees

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San Gimignano

Alan Reed

San Gimignano, Afternoon Sunlight

Susan and I first visited San Gimignano in February 1999. We were staying in Florence for several days and having seen San Gimignano featured on a holiday programme, we decided to go there for the day. A local bus took us to nearby Poggibonsi then after a short wait, another bus to our destination, the medieval hilltop town of San Gimignano.

From a distance it looks like a mini Manhattan with its 14 towers gracing the Tuscan skyline. Apparently it did boast 72 towers, built by the Patrician families who controlled the town. The bigger the tower, the greater your wealth! I remember painting a watercolour by the well in Piazza della Cisterna whilst Susan went off to buy some wild boar salami for an al fresco lunch. Even though it was February, it was bright, warm and sunny, ideal conditions for painting “en plein air”.

After lunch I spent the afternoon wandering about gathering further reference to do a studio painting to add to my Italian Collection of Limited Edition Prints. As the sun began to set and we made our way to the bus I noticed that the stonework began to turn a beautifully warm pink with hints of orange. I logged the colours in my mind and decided that this would be mood and atmosphere I would aim to capture.

The studio painting of San Gimignano which was reproduced as a limited edition print was an immediate success. I still sell copies of it online and from our gallery in Ponteland. More recently I’ve painted a portrait version of a similar view which is also available as a limited edition print.

You can see a short video on YouTube of the original watercolour “San Gimignano, Afternoon sunlight” which can also be seen at my Studio & Gallery.

 

 

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Roman Forum

Alan Reed

Roman Forum, First Light

For over a year now I have been working on a number of painting commissions for an overseas client who has a passion for Roman history and paintings depicting Roman architecture. To paint these subjects with the kind of insight and integrity that they deserve, I make sure that I gather sufficient original reference by going on location to the exact places that have been requested.

Considerable time is spent surveying the subject from different angles and at different times of day to get the best composition and lighting. For this particular view of the Roman Forum I awoke when it was still dark and walked briskly from our hotel room along the deserted streets of Rome to capture the first rays of sunlight striking the ancient columns of the Temple of Saturn. I have to say, if you are visiting any busy city, it’s well worth the effort to get up early before the rest of the tourists take to the streets.

I wasted no time in whipping out my leather bound sketchbook to do a rapid watercolour study to get a feeling of the mood, light and general atmosphere of the Roman Forum.

Alan Reed

Painting on location in Rome

After taking several photographs from my first view point of the Roman Forum, I then made my way to another vantage point to tackle another possible painting. By then however, the sun had risen considerably higher so the lighting was not as interesting. I decided to return again the following morning. Fortunately I’m used to getting up early, so another visit was very much a pleasure than a chore. In the end, it was the second painting which the client was delighted with and which has been added to his growing collection of Alan Reed original paintings.

I’m pleased to say that my original painting of the Roman Forum titled First Light has been published as a limited edition print available online and from my Studio & Gallery in Ponteland, Northumberland. The original watercolour is also currently on view as well.

 

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Faded Prints

Alan Reed

Correct colours against a faded print

I have been having my original paintings published as limited edition prints since 1993. Initially it was through a publisher that was based in Edinburgh called Di Rollo Ltd. The publisher would organise the printing and ensure that the colours were as close to the original watercolour as possible. I would make the final approval then sign and number each print.

I also began to publish some of my work too and would over see the whole process. In the 1990’s all my prints were printed through a 4 colour lithographic process. In the last 15 years or so, the giclee method of printing has become much more popular with artists. The popularity with publishers and artists has grown for several reasons:

  1. The set up costs are not as high as the lithographic prints.
  2. Although the unit cost per print through giclee is significantly more than a lithographic print, publishers don’t have to print the whole edition in one go, so they don’t have to carry huge amounts of stock.
  3. Publishers can test the market with just one or two prints rather than being left with hundreds of prints if the image is not as popular as expected.
  4. The quality of the inks is far superior through the giclee process than with the lithographic prints so you are less likely to get faded prints.

Today I still sell both lithographic prints and giclee prints, however all my new prints are giclee because of the reasons outlined above.

Since my first paintings were published, I’ve been able to monitor the light fastness of the prints as I’ve seen them hanging on the walls of family, friends and clients. I can conclude that if the prints are hung away from sunlight, the colours remain strong. My sister in law has at least six of my prints which I see on a regular basis. She has been careful to hang them away from strong light. Only one has faded which was close to a large window.

Over the last few years, several clients have brought to me faded prints which they have hung in direct sunlight. The most recent is this lithographic print of the Grand Canal, Venice. I’ve recently replaced it with a giclee print for the client. Indeed, the lithographic version is no longer available, only the giclee.

Even though it is the full responsibility of the client to ensure that ALL their artwork is hung away from strong light, I like to show goodwill with any customer who has a faded print of one of my paintings, even if it is not one that I actually published.

I can replace faded prints at a trade price with a giclee print and I will sign and number it the same as the faded one. I can also put the new print in the frame for a small charge of £20- £30 depending on the size of the frame.

If you feel as though one of your Alan Reed prints has faded, please contact me on 01661 871 800 or email art@alanreed.com

 

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