ELEVATE YOUR ART MAGAZINE: Fall '23

FALL 2023

E L E VA T E Y O U R A R T Quarterly Magazine Featuring Photoshop Artists

featuring

M A RGAR ET GOODW I N

Reviewer

Mem bers of the review team are integral to the success of hundre ds of P hotoshop art i st s. H i g hly trained, they provide over 15,000 video reviews a year for me mbe rs of Beyond t he Brushe s.

Vid eo feed back is the key to success for many who are new to P hotoshop pai nt i ng!

Feat ured

A r t i s t : S h e i l a Te n n e s i n s t a g ra m . co m /s h e i l ate n n e s She ila de c ide d to p lay aro un d w i t h t h e i d ea of pa i nt i n g a pret t y c lown — n ot h i n g g oof y, n ot hi ng scar y. S h e exp e r im e nte d w ith b r u s h s et t i n g s a n d a b r i g hter color pa let te t h a n n or ma l. It en d ed u p b e in g s o m uc h f un th at S h e ila ma d e t wo more c lown pa i nt i n g s a n d t u r n ed i t i nto a s er i es .

W EL COME...

Why do traditional artists have such scorn for digital artists? Mostly because the masses of digital artists have earned that scorn by being copy machines and claiming the title “artist”.

In this issue we are going to begin a short series on how we can shake that scorn and earn respect as the true artists we are.

Michelle

C OV E R I M AG E BY A r t i s t : Rowe na C he r r y ht t p s : //w w w. fa ce b o o k . co m /I m a geI nat i o nby Rowe na Rowen a wa s i n n eed of a b i t of c u ten es s . S h e wa s ex pec t i n g a t ropi ca l s tor m to come t h rou g h a n d t h en t h e remn a nt s of a n ea r t h q u a k e h i t . Lu c k i ly t h e power s ta yed on , s o s h e h ea d ed for h er menta l s a fe s pa ce i n P h otos h op, pu t s ome pi eces tog et h er, a n d t h i s t rea t i s wh a t s h e c rea ted .

Ma g a z ine © M iche l l e Pa r s l ey, M. Ph oto g . , M. A r t i s t , C r. , C PP St u d e nt im a g e s © re m a i n w i t h e a c h i n d i v i d ua l a s n ote d .

Screen captur ing a rt wo rk fro m t he m a g a z ine fo r yo ur ow n us e - w h et h e r p e r s o n a l o r co m m e rc i a l us e - i s a vi olat i on of th e a rt ist s’ co py rig ht which is p un i s h a b l e by Fe d e ra l f i n e s of up to $ 1 5 0 , 0 0 0 p e r i m a g e .

P l e a se b e re sp e ct fu l of t h e co py r i g ht of t h e a r t i s t s . T h a n k yo u.

CONTENTS p1 p2 p13 p19 p26

Fe at ure d Rev i ewe r : S h e i l a Te n n e s We l com e f ro m M i c h e l l e Let t h e Work S p e a k fo r I tse l f Art is t Fe at ure : Ma rga ret G o o dw i n Ruf us is a L IA R!

Ar tist: Jana Hof fm a n janahoffmann.e u Ja na ma y be gettin g p re p p e d up fo r th e fal l , b u t i n t h i s pa i nt i n g , s h e wa nted to por t ra y t h e essence of su mm e r. To h e r, th at is a wal k o n t h e b ea c h wi t h a s of t b reeze. Her color pa let te wa s s elected to enh an ce th e l ig ht an d air y fe e l in g .

M ASTH E A D & CO N TR IBU TO RS MICHELLE PARSLEY PUBLISHER HANNAH PARSLEY COPYWRITER CATH SMITH EDITOR ARTICLES: MARGARET GOODWI N IMAGES: ROWENA CHERRY SHEILA TENNES JANA HOFFMAN NANCY FRAKES DAVE TALBOYS CATHERINE HALLECK LANA ROBISON SUE ANDERSON DIANNA PAULK SHERI LINDBERG MARGARET GOODWI N LEONARD BETHEL KELLY O’KEEFE KRYSTAL HISE JANICE BATTERBEE KAY WILSON IRENE BOWERS RUSSELL KINERSON AUTUMN CALVERT DEB RICE SHERI VAN WERT ANN LAUWERS KIMBERLY GUARDIPEE HEIDI GAUTHREAUX

NA NC Y F R A K E S Na ncy has loved dog s a l l of he r life , a nd he r love h a s b e e n reward ed w ith a life f il l e d wit h incre d ib le ca nine co m p a n i o n s ove r the year s. Passionate a b o u t t ra ining a nd showing h e r d o g s , Na n cy di scovered that Beyo nd t he B ru she s co u l d t a ke he r d o g - l ov i n g pa ssi o n up a notch by le a rning to p a int t he m ! She v i ews e a c h pi ece as an oppor tun it y to sp e nd t im e wit h t hat d o g , l o o k i nto t h e eyes , see the intellige nce , a nd re a l ize what a n incre d i b l e g i f t i t i s to be able to communicate wit h a not he r sp e cie s .

That know ledge alone le ave s Na ncy b affl e d , b u t p a i nt i n g t h e m i s a n entirely different se nsat io n! Ea ch b ru sh st ro ke fe e l s l i ke s h e i s actually petting the p re cio u s d o g ’s fu r a nd m a ke s t h e p ro ce s s so rewarding. Nancy c l o se d wit h t his, “ The re is so met h i n g q ui te a m a zi ng about a dog’s wil l ing ne ss to e ng a g e wit h us , a n d I l ove to try and capture that se nse of t he m while p a int in g o r d raw i n g

A r t i s t : D ave Ta l b oys t a l b oys p h oto g ra p hy. co m Da ve photo g rap h e d th is yo un g m an’s h i g h s c h ool s en i or pi c t u res . T h e mot h er lef t s u c h a n i mpres s i on tha t he wante d to do s o m eth in g s p e c ia l for h er. W i t h t h e h elp a n d g u i d a n ce of Rev i ewer Ka t hy Ter ry, Da ve c re ate d a p aintin g m o re s p e c ia l t h a n h e t h ou g ht pos s i b le, a n d h i s a n d t h e mot h er ’s h ea r t s we re f i lled w i t h joy over t h e g i f t .

A r t i s t : C at h e r i n e Ha l l e c k cat he r i n e h a l l e c k p h oto g ra p hy. co m Ca the r in e capture d a s n ap s h ot of a volu nteer t h a t pa r t i c i pa tes i n h i s tor i ca l reen a c t ment s i n St .

Au gu stine, F lo r ida. Itc h in g to us e th e alla pr i ma s t y le s h e lea r n ed i n Beyon d t h e Br u s h es , t h i s por t ra i t served as th e p e r fe c t o p p o r tun ity. S h e s t r i ved to s h ow t h e g ent lema n’s b ra ver y a n d d i g n i t y wh i le p o r t ra y i n g a S pa n i s h s old i er.

Art ist : L a na Ro b is o n l a na ro b iso n. co m

La na a lwa ys tr ie s to do s o m eth in g s p e c ial for her senior clients , an d th is tim e th at b e cam e a pa int ing. B rus hy Go o dn e s s cam e into p lay for more of the p aintin g , b ut B raye r h e l p e d o ut on t he ba ck gro un d. It didn’ t h ur t Lan a’s fe e l in g s tha t those a re h e r two favo r ite b r us h e s to u s e, a nd the m oth e r ’s fe e l in g s we re ove r j oyed !

A r t i s t : S ue A n d e r s o n ht t p s: //fine a r t p h oto g ra p hy 1 8 . my p i xi e s et . co m / Su e s aw th is h o r s e eve r y m o r n in g on h er wa y to wor k a n d per i od i ca lly wou ld s top by to v i s i t .

One m o r n in g , th e h o r s e cam e r un n in g towa rd h er w h i le s h e wa s ta k i n g a pi c t u re. Fa s t for wa rd to Sue’s de c is io n to p aint it! S h e dec i d ed s h e wou ld s et t h e h or s e f ree f rom a s ta ll a n d d u s t y p as ture i nto t h e pa i nt i n g you s ee n ow.

Art ist : D i A n n a Pa ul k , C PP, M. Ph oto g w w w. d i a n n a p a ul k . co m DiA n n a aim e d to m ake m e m o r ie s come t r u e. T h e g ent lema n on ly h a d cell ph on e ph otos ta k e n in a vete r in ar ian’s of f ice to rememb er h i s s pec i a l d og , S a d i e. He wa nted more of a n ou td o o r s ettin g th at m atc h e d o n e Di A n n a h a d prev i ou s ly ta k en of h i s wi fe a n d h er d og . T h e m o re acc urate m emor y ca me t r u e t h rou g h t h i s pa i nt i n g .

LET T HE WOR K SPE AK FOR I T SELF

There is a stigma against Photoshop painting in the art world — and rightly so.

Admitting to any form of “digital painting” will automatically earn a sideways glance from a “real artist.” The artists that work in traditional media will almost without exception look down on a “digital painter” and they should.

If you’re thinking to yourself, “Hold on just a cotton pickin’ minute here! Nobody should be looking down on what I do!” Allow me to explain…

Traditional artists are one hundred percent correct in their assumptions about 97% of digital painters because 97% of digital painters are either using one click filters to create what they call a “painting” in five minutes or less, or they are so married to the photograph they are closer to a copy machine than an artist.

97% is obviously a guess; however, I can tell you that the real artists in the digital painting world are far outnumbered by the rest and

therefore we are lumped in with the majority by artists working in traditional mediums.

So, how can we combat that?

First of all, let the work speak for itself.

Have you ever seen a traditional artist stand by their work in a gallery and explain which brands of paint and brushes they used to create the piece?

Of course not!

Let’s turn this around…

What would you surmise if you witne ssed a traditional artist expound on the source of the substrate, paint, and brushes as if they felt the need to justify their choices? Wouldn’t you begin to question the legitimacy of the piece? If the artist themselves shows a lack of confidence in their own work, why should you have confidence in it, especially as a prospective buyer?

That is exactly what most “digital painters”

do. They immediately start justifying t heir artwork, as if they’re trying to convince themselves that what they’ve painted is “real art” simply because they created it in a digital format. Justification of any kind opens your artwork up to criticism and questions of legitimacy.

Traditional artists never feel the need to justify their creation because the finished work speaks for itself. If you are painting, and I mean truly painting in any “digital” format — Photoshop, Corel, Rebelle, etcetera — stop justifying your artwork. Once your skills reach a level of mastery, those that love your unique style will naturally gravitate to you, and no justifications will be required.

Finally, when you reach the skill level of actually painting in a digital format, I feel it is vitally important to eliminate the words “digital painting” from your vocabulary. I mean that quite sincerely — stop using those words!

You immediately invite questions about the legitimacy of your work when you use those

words because of the stigma attached to them.

If you’re asking yourself, “Then what should I call it? It’s literally digital painting!”

Personally, I use the phrase “hand-rendered, mixed media artwork”. That is a legitimate term for what I do because a good bit of my work ends up with traditional oil paints added at the end. This literally makes the piece mixed media.

If that phrase feels disingenuous to you, find another phrase that accurately desc ribes your process… as long as it’s not “digital painting.” Above all, stop justifying what you do and let your work speak for itself.

A r t i s t : S h e r i Li n d b e rg w w w. s h e r i t i t us p h oto g ra p hy. co m S h er i d ec i d ed d u r i n g t h e Stor y b ook Les s ons t ha t s h e wa nted to c rea te a pi ece centered arou nd he r mom. Her mom’s a b i li t y to pla y t h e pi a no ha s not d i mi n i s h ed even i n t h e fa ce of b a t t li n g de m e nt i a . It h a s b een a li g ht i n t h e d a r k n es s for S h e r i , a nd s he wa nted to por t ra y t h a t i n h er pa i nt i n g .

Ar t i s t S h e r i Va n We r t , C PP ht t p s: //w w w. s h e r i v w p h oto g ra p hy. co m / Sheri once k new a b rave S c r ub Jay th at wo u ld plu c k pea n u t s f rom h er h a n d . Wh en s h e a cq u i red h er f i r s t DS LR ca mera , he be cam e th e in aug ural s ub j e c t. T h en , i t ca me t i me to c rea te h er f i r s t b i rd pa i nt i n g , a n d wh o e l s e to pa int th an h e r c h e r is h e d fe ath ered compa n i on? A t r i b u te to i mmor ta li ze h i s f r i en d s h i p.

A r t i s t : A n n La uwe r s w w w. a n a r t i s t v i ew. n et Ann s p otte d th is im ag e an d kn ew s h e h a d to pa i nt i t . T h e or i g i n a l h a d g ra s s a c ros s t h e d og ’s face caus in g th e cam e ra to g et ou t of foc u s , b u t s h e cou ld s t i ll s ee t h e potent i a l.

Eve n at h is yo un g ag e , th is s h e epd og pu ppy wa s s h owi n g of f h i s n a t u ra l i n s t i n c t s to protec t h i s h erd .

ARTIST FE ATU R E

M ARGAR ET GOODW IN W H E N T HE WO RK S P EA K S I T A L L S TA RT E D W I T H S Q U E E Z I N G I N T I M E FO R G RA P H I C D ES I G N P R OJ EC T S A N D H E R CA M E RA . T H E N , T H R E E M O N T H S AT T H E R O C K Y M O U N TA I N S C H O O L O F P H OTO G RA P H Y S E N T M A R G A R E T OV E R T H E E D G E .

A r t i s t : Ma rg a ret G ood w i n

A r t i s t : Ma rg a ret G ood wi n

Margaret deemed herself unfit for corporate work and took a leap into her artistic journey. She started in real estate photography but found herself in digital painting. Before joining Beyond the Brushes in October 2021, she had a little bit of painting experience in mixed media collages. But why Photoshop?

Inspired by Francois Fressinier, Margaret did complex composite pieces in Photoshop.

Yet, she felt like something was missing and wanted to take her composite work to the next level. Not to mention, there were furry critters that caught her eye, and that led he r to the Pet Painting Course. From there, Beyond the Brushes seemed like the next logical step.

Margaret was quick to get with the program and join the community of artists, but she leaves her own stamp on the community, which must be why she feels akin to Brayer Brush! Even though Brayer is close to her he art, old faithful, Brushy Goodness, was he r favorite brush for this series.

Ea ch piece was inspired differently, but Margaret said it all came back to the intention of pushing herself a little further.

Ea ch painting, her goal is to go beyond the edge of her current abilities and to capitalize on opportunities to reaffirm previous lessons. One such lesson is backgrounds. While it was never her favorite lesson, it has proven invaluable, especially in this series.

Backgrounds were the worst part of the process for Margaret but only because of the subject. The boy is a gift for a

friend, and the reference had a difficult background. Michelle guided Margaret toward a dramatic change, and Margaret took the lesson and ran with it. Watching the paintings evolve was the best part. Tossing a painting in the ugly phase is tempting, but working through it is a challenge worth taking. Margaret paints for that moment when everything comes together but also for something else. Inspiration!

Recently, she heard, “You need to reach as deep as possible to connect with the eternal inspiration of Creation. If you aren’t honest with yourself as truly finding and deeply exploring your true inspiration, others will feel it as a deadness to the work” -Clintavo in Circles of Art Marketing. It has made her stop and really think about why she is painting.

Her inspiration is derived from her tenacity for improvement, her desire to bring composites to life, and her connection to the subjects. While Margaret didn’t take the originals on this series, they were hand selected. The boy was a cell phone image from her friend. The man and dog were a stock image that spoke to her. The fox and the girl were composites, but the girl began with Margaret’s photo of the maypole and then she searched for someone who would match its energy and her vision.

I’ll end with this. Whether you come across Margaret deep amid a composite or painting along to Fleetwood Mac, there is one thing that remains the same — her work speaks for itself.

M A R G A R E T I S A C O R P O R AT E R AT R AC E E S CA P E E T U R N E D A R T I S T. S H E L E F T T H E O F F I C E L I F E FO R T H E S T U D I O A N D CA N ’ T E V E N T H I N K A B O U T E V E R LO O K I N G BAC K .

W W W. P I X E L SA N D PA I N T. S T U D I O

A r t i s t : Ma rg a ret G ood w i n

A r t i s t : Ma rg a ret G ood w i n

r a i L

RUFUS IS A

Picture this…

A p rospective buyer complements your latest painting and immediately your internal dialogue shifts to…

“It’s not a real painting, it’s Photoshop.”

“Cloning techniques mean you’re not a real artist.”

“If you don’t tell them it’s a digital painting, you’re a liar.”

Every single one of those degrading thoughts comes directly from Rufus. He knows j ust what buttons to push and when to push them to make you question yourself and your skills.

It is Rufus making you verbally vomit all the justifications of your “digital painting” on to prospective buyers. Clearly the prospective buyer didn’t care what technique you used — they complemented you and showed interest in your work!

Ruf us cannot stand idly by and allow complements to be well received. He must make you ramble on your justifications, knowing good and well that you’re cheapening your work and creating questions of legitimacy in the process.

If you find your self rambling about “handrendered” and “one brushstroke at a time” instead of readily accepting a complement on a painting, it is always Rufus.

Tell him to shut up! …and then you shut up too! 😂 But what about when the prospective buyer asks about the process? In that case, my painting friend, you need an elevator pitch.

“What’s an elevator pitch?” you ask.

It’s a short explanation of what you do that will satisfy most perspective buyers without tripping over into justifications that go on and on and in the process, cheapen your work. It should be one sentence that accurately describes what you do without any justification.

My elevator pitch is, “It is a hand-rendered, mixed media art piece.” Period. Done.

Anything beyond that is like asking a famous chef for their secret ingredient. It just isn’t done!

Practice your elevator pitch so that when you need it, you can roll it off the tongue in a smooth, confident way and 99.9% of the time, that will end the questions. I can count on one hand the number of times I’ve been asked to elaborate on my elevator pitch — confidence is the key!

Don’t let Rufus convince you to keep talking — because he will surely try!

Give your elevator pitch and hush!

A r t i s t : K r ys t a l H i s e w w w. k r ys t a l h i s e . co m K r y s ta l wa s commi s s i on ed by Ka ren to pa i nt t hi s memor i a l t r i b u te of h er h ea r i n g d og s from Ca ni ne C ompa n i on s for I n d epen d en ce. Bra nd y (left ), Ni nja (center ) , a n d Excel ( r i g ht ) c h a n g ed Ka re n’s l i fe . T he or i g i n a ls were compr i s ed of ph otos ta ke n i n-s t u d i o of N i n ja ( wh o i s ret i red ) a n d Bra n d y a nd a ce l l ph on e referen ce of Excel ( wh o h a s p a s s e d a wa y).

A r t i s t : Le o n a rd B et h e l w w w. l e o n a rd b et h e l . co m Le o n ard did a s tyl ize d p h oto s h oot b a s ed on t h e Reg en cy era fa s h i on , a n d t h i s wa s t h e end re s ul t fo r th e f ir s t of th e fo u r i ma g es ta k en . Br u s hy G ood n es s s er ved a s t h e pr i ma r y b r us h fo r th e s e r ie s an d h as b ecome Leon a rd ’s g o- to b r u s h for a la rg e percenta g e of h i s pa i nt i n g s .

A r t i s t : Ke l ly O ’ Ke efe www. ke l lyo ke efe p h oto g ra p hy. co m Kelly met this gir l w h e n s h e tag g e d alo n g w ith h er d a d on a la n d s ca pi n g job . T h e g i r l d ec i d ed t h a t s h e wou ld ha ng ou t insid e with Ke l ly, an d h e r b e auty an d sweet n es s lea d Kelly to a s k for a ph otog ra phy s es s i on . P la y i n g for a few h o ur s do in g a “ m o de l s h o ot” d eli g hted t h e g i r l, a n d h er d a d loved t h e f i n a l pr i nt .

JA NI C E BAT T ER B EE Ja n i ce s t ays up fo r a c h a l l e n g e , a n d c re at i n g p a i nt i n g s f rom d i f fe re nt s ub j e c t s ke e p s h e r o n h e r to e s .

W h i l e s t i l l l i fe p a i nt i n g s a re n ot i n h e r us ua l re p e r to i re, s h e came a c ro s s a p h oto g ra p h s h e’d t a ke n ye a r s a g o . S h e t h o ug ht i t would m a ke a n i nte re s t i n g p a i nt i n g a n d e n j oye d co m m e m o rat i n g t h e f i r s t p o m e g ra n ate s eve r g row n i n h e r g a rd e n . t h e p a i nt i n g of t h e g i r l a n d h o r s e i s o n e of Ja n i ce’s f r i e n d s .

T h e a i m wa s to c re ate s o m et h i n g t h at s h owe d t h e e mot i on al co n n e c t i o n b et we e n t h e m w i t h o ut t h e s t a b l e p i g g et t i n g i n t h e way.

F i n a l ly, t h e p o r t ra i t of t h e yo un g g i r l i s a s n a p s h ot f rom an a n n ua l fe s t i va l h e l d i n A l i c a nte , S p a i n . Fa m i l i e s d re s s up i n b e a ut i f ul , co l o r f ul co s t um e s to t a ke p a r t i n p a ra d e s . Jan i ce was l uc k y to h ave h e r c a m e ra up w h e n t h i s yo un g l a d y s t ruck t h e p e r fe c t p o s e w i t h h e r fa n r i g ht i n f ro nt of A l i c a nte’s Tow n Hall doors.

A l l t h re e p a i nt i n g s we re c re ate d w i t h t h re e b r us h e s - Br us hy G o o d n e s s , G re a sy B l e n d e r, a n d S k i n B l e n d e r.

Art ist : I re ne B owe r s , M. A r t i s t ( PPA ) M. Ph oto g ra p h e r ( PPA ) www. l i fe s p a n p h oto g ra p hy. co m Irene cha llenged h e r s e l f to c re ate n ew ar tis ti c ren d i t i on s i n a n ef for t to a ccommod a te h er c li ent s’ g row i ng d e s i re for bla ck a nd w h ite p o r traiture . S h e s tar te d in cor pora t i n g t h e c h a rcoa l b r u s h es to c rea te t h es e n ew pi eces a nd i s a d a pting to cre atin g b oth p ainte r ly an d s ketc h - li k e i nter preta t i on s . It ’s b een a won d er f u l s k i ll to a cq u i re t ha t i s rewa rd i n g a n d f u lf i lli n g .

A r t i s t : Rus s e l l K i n e r s o n

Rus s e l l inte n de d to s et th is up to b e a ton a l u n d er pa i nt i n g . However, h e t h i n k s h e li k es it exac tly h ow it is an d addin g more d eta i l wou ld r u i n i t . Du r i n g t h e c rea t i on proces s , h e flip p e d th e refe re n ce an d s im p l if i ed t h e color s w i t h h i s s elf- ma d e pa let te. Bra yer, P a let te Kn ife , an d B r us hy Good n es s b eca me h i s i n s t r u ment s of c h oi ce.

Art ist : Kay W ilso n v iv ia nkay fine a rt . co m Ka y pa inted this as a g if t to n e ig h b o r s n e ar and d ea r to her hear t. Th e m o m an d h e r th re e gi rl s lived a cross the s tre et f ro m Kay g row in g u p, a nd with Kay h av in g two s is te r s of h e r own, they formed a b o n d. Fro m th e ir p are nts going to high sch o o l to g eth e r to g row in g up toget her, they ha d h is to r y an d b e cam e fam ily.

A r t i s t : Aut um n C a lve r t ww w. a ut um n c a lve r t a r t . co m Au t u mn h ad a p aintin g ide a in m in d a n d rea c h ed ou t to h er h ometown f r i en d a b ou t pa i nt i n g h er d a u ghte r. W hy th e daug hte r ? We l l , Au t u mn wa nted t h e pa i nt i n g to v i s u a lly repres ent t h e power a nd fre e do m th at co m e s w ith b e in g a you n g women i n t h i s wor ld . Wh a t b et ter wa y t h a n u s i n g a p ag ea nt q u een t h a t you k n ow !

A r t i s t D e b Ri ce D e b exp e r im e nte d w ith b r u s h mod i f i ca t i on s a n d d ra w i n g / li g ht i n g tec h n i q u es s h e le ar n e d in B eyo n d the Br u s h es . Ma ny of t h e b r u s h es t h a t s h e ea r n ed g o in g th ro ug h th e Ap p re nt i ce s ta g e of t h e cou r s ewor k were a d a pted for t h i s p aintin g . He r favo r ite p ar t t h ou g h wa s pa i nt i n g t h e eyes of t h i s you n g ma n a n d b r i n g i n g t h em to li fe.

Art ist : K i m b e r ly G ua rd i p e e www. g u ard i p e e p h oto g ra p hy. co m Kimb e r ly to o k th e o r ig in al p h oto w i t h a n ent i rely d i f ferent con cept i n mi n d for a pa i nt i n g . As she was g o in g th ro ug h th e im ag e s f rom t h e ph otos h oot t h ou g h , t h i s i ma g e k ept s ta n d i n g ou t .

She followe d w h e re th e p aint le d h e r, a n d a mod i f i ed Br u s hy G ood n es s d i d t h e t r i c k on b r i n g i n g t h e pa i nt i n g to li fe.

A r t i s t : He i d i G a ut h re a ux h g xp h oto g ra p hy. co m He idi to o k a s h ot w ith a s m al l u n d er wa ter ca mera d u r i n g a mod el ph otos h oot . S evera l photo g rap h e r s we re p re s e ntin g im a g es to t h e mod el, s o s h e wa nted to prov i d e a d i f ferent perspec tive . P aintin g al lowe d He idi to t ra n s for m t h e u n d er wa ter s h ot i nto t h e et h erea l v i s i on s h e h ad in m in d. It capt u red a moment t h a t t h e ca mera cou ld n ot .

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