People often ask me why I changed my painting signature.
The answer to this is a suggestion that came from the art director of the 1993 Philip Richmond Queensland Country Life calendar when it was in its formative stage.
At first I was bemused by the request as to me, it was all about the painted image, but because it came from a prominent designer who wanted the calendar to gain success in the Australian Print Awards – which it did, I agreed to revisit the idea.
It was then not such a quantum leap to look at my signature as a design feature and incorporate it to both add emotion and individualise the painting.
