Nevermind about the gradient background. I did a little googling and figured out how to achieve a similar effect.

Thanks again for the great blog. Rock on!

I was wondering, if you don’t mind sharing, how you got your gorgeous gradient background. If it’s too much of a bother, please disregard this message.

Thanks!

–Lance

Cheers from Berlin
K.

Thanks for showing interest,
Taylor Ross

Several years ago, I discovered that a genetic disorder, named Fragile X, lurked deep in my family history. In search of explanations, I was consumed with delving into medical books. The images I found there both fascinated and repelled me. At the same time, I saw a correlation to the cartoony images that had become a part of my paintings. So I consciously and subconsciously made the medical illustrations a part of the images that I use to construct drawings that ultimately become paintings.
Although my paintings are developed with formal structure in mind and an emphasis on material and process, much of the imagery is gleaned from magazine advertisements, animated film and medical textbooks. So it is not an accident that some of my paintings resemble vivid, spongy and psychedelic landscapes that a space-age cartoon family might zoom through; or that others suggest Wassily Kandinsky meeting the Lava Lamp while watching a 1960’s educational film introducing youngsters to the wonders of the digestive system.

Thanks for your consideration,
Beverly Kedzior

Statement
Long before I became acquainted with the Dada and Pop visionaries, I was fascinated by the Jetsons. Saturday mornings were reserved for cartoon shows and Sunday mornings were not complete without the comic strips.

Several years ago, I discovered that a genetic disorder, named Fragile X, lurked deep in my family history. In search of explanations, I was consumed with delving into medical books. The images I found there both fascinated and repelled me. At the same time, I saw a correlation to the cartoony images that had become a part of my paintings. So I consciously and subconsciously made the medical illustrations a part of the images that I use to construct drawings that ultimately become paintings.
Although my paintings are developed with formal structure in mind and an emphasis on material and process, much of the imagery is gleaned from magazine advertisements, animated film and medical textbooks. So it is not an accident that some of my paintings resemble vivid, spongy and psychedelic landscapes that a space-age cartoon family might zoom through; or that others suggest Wassily Kandinsky meeting the Lava Lamp while watching a 1960’s educational film introducing youngsters to the wonders of the digestive system.

I’m a portrait and fine artist currently operating out of the New York
City area. Attached is my website for review to be featured in Cure the Blind. I’m sympathetic to your cause.

Please let me know if you have any questions about my work.

Much thanks,
Ann Marshall
http://www.annmarshallart.com

I’m a portrait and fine artist currently operating out of the New York
City area. Attached is my website for review to be featured in Cure the Blind as I’m sympathetic to your cause.

Please let me know if you have any questions about my work.

Much thanks,
Ann Marshall
http://www.annmarshallart.com

Several years ago, I discovered that a genetic disorder, named Fragile X, lurked deep in my family history. In search of explanations, I was consumed with delving into medical books. The images I found there both fascinated and repelled me. At the same time, I saw a correlation to the cartoony images that had become a part of my paintings. So I consciously and subconsciously made the medical illustrations a part of the images that I use to construct drawings that ultimately become paintings.
Although my paintings are developed with formal structure in mind and an emphasis on material and process, much of the imagery is gleaned from magazine advertisements, animated film and medical textbooks. So it is not an accident that some of my paintings resemble vivid, spongy and psychedelic landscapes that a space-age cartoon family might zoom through; or that others suggest Wassily Kandinsky meeting the Lava Lamp while watching a 1960’s educational film introducing youngsters to the wonders of the digestive system.

The finished paintings stress color, surface and space through the use of traditional and non-traditional tools and printing techniques that include stencils, brushes, rollers, scrapers, masking and resist products. The buildup of texture may be as much as 1” in certain areas.