Only the most pertenant curated data about the artwork is shown, akin to standard gallery and museum captioning

Includes greater insight into the technical destails of the artworks process and materials.

Add much more obtuse data such as ID information used in databases, technical data points for categorizations, and insights from machine learning data anlaysis of the artwork.

With oil on linen artworks Andrew often stretches the canvas, designated as "stretched". For smaller pieces he will sometimes mount them flat and paint a thin black border around the pained area of the linen, this is designated as "mounted".

Signed notes the lettering and location of Andrew's signature on the piece. For oils on linen Andrew signs them inside the canvas on the artwork itself designated "inside". For mounted canvases Andrew tends to sign these outside the painted border designated "outside".

TEST.

TEST.

A simple averaging of all pixels in the artwork.

The three main colors that appear in a piece of artwork decided via machine learning. This doesn't always represent the average or most frequent colors, instead it represents the 3 colors the human eye is most likely to notice.

A word ID that is unique across all of Andrew's work to identify it in databases. This is generally the artworks name without special characters and spaces replaced with hyphens. Drawings are usually ided after the artwork they were made for suffixed with info about the drawing

An industry standard ID meant to be unique across all of Andrew's artwork. Similar to ID it's more robust as it is unnaffected when an artworks title changes.

Andrew has always numbered his oil paintings sequentially. This number is refered to as the OID.

A numeric ID used by every single unique piece of Andrew's work, including painting, pastels, prints and drawing. This number is sequential based on the completion date of each specific artwork and should represent the production order of all his artworks overtime.