Trish Doty: brush, water & color

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For purchases, contact Trish at 443-994-0306 or by email: trishdoty@verizon.net

The artist would love to create a personal work for you. The most popular painting commissions are of homes.

Studio appointments to view current works are available. In addition to watercolors, she now creates digital and traditional silk screens. As with all originals and giclées, this work is archival. The last 2 images are examples of her silkscreen technique.

Commission Price List: Miniature paintings are framed. With the exception of the last size, works are unframed in an acid free mat with an acid free backing, ready for framing. All except the last are standard size & do not require custom framing.

Miniature, framed paintings, 2 by 3 inches - $20.00, framed

9 x 12 inches - 11 inches x 14 inches - $75.00

11 x 14 inches - 16 inches x 20 inches - $100.00

16 x 20 inches - 20 x 24 inches - $150.00

22 x 30 inches - Full sheet, no mat - $300.00

2012 SCHEDULE of ART FESTIVALS and EVENTS - SCHEDULE COMING IN THE SPRING
Trish is sorry to report she will not be at the Columbia Festival of the Arts in 2012. The festival has decided to move all artists to less protected tent grounds and increase their fees.
Shows Completed in 2011
December 7 - Big Vanilla Christmas Sale

December 3 - St. Martins-in-the-Field Christmas Bazaar
December 3 - Bruins Holiday Festival at Broadneck High School
November 10 ~ 12 - Mistletoe Mart
October 2 - Takoma Park Street Festival, Space 35

September 24 - 25 - Quiet Waters Arts and Music Festival - Space # 21
September 18 - Bel Air Festival of the Arts, Booth Number 120
September 4 - First Sunday, Annapolis
June 11 - Art Park, Columbia Festival of the Arts
June 4 & 5 - Washington Folk Festival
May 21 & 22 - Towson Arts in the Park
May 15 - Sykesville Flower and Artisan Festival
May 13, 14 - Annapolis BarBayQ
May 1 - First Sunday
April 13 - Big Vanilla

ABOUT THE ARTIST

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Artist’s Statement and Bio

When I choose a subject and begin to paint, it is because I have a visceral response to what I view. My goal is to gain that same emotional reaction from those who observe my renditions, whether my paintings are no bigger than three inches or more than three feet tall. Despite these rather serious aspirations, I simply want my work to be enjoyed.

I have always studied art. After years of teaching outside of the world of art and then working in graphic design, I decided it was time to leave “safer” professions to follow my heart into the world of painting. During the last four years, I have made a concentrated effort to become a professional in the field. In the past, I have been blessed and honored to have studied and work with talented folk who have strongly encouraged me as I travel this path. I will continue to strive with passion.

Questions you should ask before purchasing a work of art:

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Paintings - What was the grade of paint/paper used? The artist should have used artist/professional grade, not student grade paints or inks. Artist grade paints/inks will withstand the test of time; student grade are not fade resistant. Paper should also be archival, 100% rag or lignon-free or it may yellow or degrade.

Giclée or photographs – What kind of ink was used? Inks should be chromographic, which are archival. If printed on a standard inkjet or laser printer, the inks are not and therefore, will fade. What kind of paper was used? You need to know that the paper is archival, so it should be 100% rag or lignon-free.

If a painting, photograph, giclée or print - Does the work have a dustcover on the back? Dustcovers are the brown or black papers applied to the back of the frame with glue or a.t.g. tape. This inhibits bugs from eating the work and will help resist, though not completely protect, a work against humidity.

If framed or matted: Materials used should be 100% rag or lignon-free (archival/acid-free). Museum board, conservation board and alkaline-buffered boards are not high quality and may adversely affect works of art. They are subject to: 1) Matburn, a discoloring and/or holes that can invade not only the mat, but also the work of art. Matburn is a darkening of the paper under the mat or at the bevel cut of the window mat (although some mats purposely have different shades within the cut). Matburn stains permanently weaken the paper fibers. 2) Foxing - Reddish-brown spots are known as "foxing", caused by mold or the deterioration of the metallic impurities left in the paper from the manufacturing process. Keep artwork out of high humidity areas like bathrooms or exterior walls, can help reduce the development of such stains.

The backing boards - are the boards behind the painting or photograph to keep it from bending. They should either be archival or have a sheet of glycene (an acid-free barrier paper) between it and the artwork. If matted works do not have this protection, before framing the piece, have the frame shop remove and replace it with acid-free materials. Archival foam core/board is matte, shiny foam core (board) is not. If you are uncertain about the backing board, remove it.

Hinging – A painting, print or giclée should be attached to the mat or backing board with either linen tape or with Japanese paper (attached with a starch paste). Although works should not be attached with picture squares or corners, there are now archival corners that may be used.

Words of warning: 1) Do not store or display works of art in areas of potentially high humidity or water leakage, e.g. basement, bathroom, outside walls, under pipes. 2) Avoid areas where temperature and humidity fluctuate, or where there is poor air circulation, e.g. attic and places listed above. 3) Do not hang art on/over/under active fireplaces, heating and cooling vents, radiators, or near humidifiers or vaporizers.4) Be aware that over time any watercolors, gouache paintings, modern color inks, pastels, newsprint and all color papers will fade if put in direct sunlight.