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Like many artists and people in creative fields Ken Moran’s career as an artist has not been a linear progression. And, like many artists, Kens professional career has been a means to support his career as an artist. However, Ken has been fortunate to be able to work in places where creativity is a requirement for the job. Ken’s professional life began as an art teacher in an elementary school then, for practical reasons, he became re-certified in technology education (formally known as Industrial Arts – shop class). Ken focused on graphic arts and wood working because he saw creative design as a large part of their foundation and a greater connection to art in general. After a few years teaching graphic arts in the shop department, he took about a fifteen-year hiatus from education, working in a variety of jobs from doing paste-ups in a greeting card company to finish carpenter. Ken returned to education and taught cabinet making for ten years, finally moving back into the art department where he has developed and implemented the current graphic design and digital photography curriculum. Ken continues to teach digital photography and graphic design.
“Photography is relatively new when compared to other fine art mediums; however, the creative process is essentially the same. Whether it is a brush to apply paint to a canvas, a chisel to carve a block of stone or a computer to electronically affect virtual specs of color called pixels, the artist uses and manipulates tools and materials to achieve a personal vision. Photography, even in its infancy, has been a technology based medium and like all art mediums it relies largely on the artist’s ability to understand and manipulate the process. This is the creative process and the core of the making of art I consider my camera, computer, and the programs I use all part of the “artist’s palette”. For me, photography goes beyond simply exposing an emulsion (or sensor) to light and processing it to produce an image that is a faithful representation of the scene that is being recorded. I consider the images I record as base or source photos that are for me a place to start. Most of these source photos are shot in HDR with three to six exposures for each image. However, I do keep many of my base images as finished pieces and occasionally show them.”
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How To Return a Purchase? If you are not completely satisfied; you can return your art within seven days. Please save the original packaging when you receive the art. If you choose to return the art, repackage it in its original box and contact us at firstname.lastname@example.org or (844) 210-7722. We will then issue you a prepaid FedEx or UPS shipping label to affix to the box and return. Items must be shipped backed within seven days of receiving the order. 50% of the cost of the return will be deducted from your refund. If you live outside of the United States, please see below for the return procedure. Art that is returned damaged will not be refunded. Photographs and limited edition prints that are returned wrinkled, dented, or smudged due to mishandling will incur a handling fee based on the size of the piece. Outside the United States, How To Return a Purchase? If you are not completely satisfied; you can return your art within seven days. Please save the original packaging when you receive the art. If you choose to return the art, repackage it in its original box and contact us at email@example.com or (844) 210-7722. We will provide you with the return shipping address so that you can ship the artwork with the carrier of your choosing. You are responsible for the cost of return shipping and any customs and brokerage fees charged upon return. Items must be shipped within seven days of receiving the order. Receipt of a Damaged Piece of Art? We package all artwork in custom built art boxes to insure safe delivery, so receiving damaged art is a rare occurrence. If you receive a damaged piece of art, contact us within 24 hours, at firstname.lastname@example.org or (844) 210-7722. Please take a picture as well as save the box and all packaging material; we must have these items in order to process the claim.
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Archival Quality paint must have certain qualities. The first is the paper itself. The paper or canvas must be manufactured using pure alpha cellulose fibre, pure cotton fibre or a combination of the two materials. This will ensure the paper base is pH7 or above or acid free. A paper that contains lignin cannot be acid free as lignin is a naturally occurring acid within plant fibres. It is the lignin content in newsprint paper which causes it to yellow and go brittle over time. Next the paper is coated for preparation of printing. This preparation changes depending on the machine and paper used. The coating is applied to the surface of the paper base to ensure that the ink is absorbed in just the right amount. Once a coating is applied, the pH value (acidity) of the entire paper changes. The only way for this to be addressed is for manufacturers to ensure that the coatings used on their papers are as close to acid neutral as possible and to supply the pH value of the total paper (base and coating) rather than just the base. Then the ink is applied to the Archival paper. In order for a print to be considered An Archival print the inks used are pigment-based instead of dye-based. Finally; to maintain your Archival Print, below is a checklist.: 1. Ensure all the materials used to mount, frame and store finished prints are acid free. 2. Display your own prints out of direct light, in an environment with stable temperature, and humidity levels.
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