PAINTING PROCESS:
It all starts with an experience, a stroll into the woods or a hike along a steep mountain path or maybe exploring a deep hidden part of a swamp or marsh. Even feeling the spray of salt water while surfing can generate inspiration for a painting. The desire to capture the experience is followed by a sketch and or reference photography shot on location.
My goal in painting is not to just paint a pretty picture or an absolute photo detailed image, but rather a combination of those things while most importantly create a feeling within the viewer of being there. I'm really telling a story that I want the viewer to experience.
After the initial inspiration, then it is back to the studio for more reference gathering, several thumbnail sketches exploring composition, etc., and a final layout sketch. A drawing is then sketched in pencil directly on the panel or transferred from a sketch with chalk rubbed on back of the reference and then traced on to the panel . A thin coat of workable spray fixative seals the drawing and allows painting to begin without affecting the sketch.
MATERIALS:
Every effort is made to use the best quality materials and paints, including Winsor and Newton Fine Artist Oil Colors.
SURFACE:
Most of the paintings (oil or acrylic) are done on a composite metal panel surface. This panel is composed of an inner core of PVC with an outer shell of painted aluminum. This provides an extremely durable moisture resistant panel which I find much more stable than Masonite or other wood surfaces. The panel is wet sanded with 320-400 aluminum oxide sandpaper which provides a fine "tooth" for the oil or acrylic to adhere.
PAINTING PROCEDURE:
First the colors are blocked in "alla-prima" usually working from the background to the foreground. The attempt is to paint all the colors in their proper form focusing first on major form and working toward refining smaller details. Usually if the painting is fairly complex, I might paint the sky first and let it dry. Then I continue with smaller individual items painting each one, again generally working from the most background elements to the foreground. If working in acrylic, additional layers of paint are added refining the form and final details. Several layers may be applied as details are added.
If working in oil, the paint is laid or "blocked" in, then lightly blended with a soft hake (white bristle) brush. This creates a slightly blurred image which is then left to "set up" for a bit. Then more colors are added and refined re-accenting the detail and then left to dry completely. After the paint is dry to the touch (up to several days), a thin layer of linseed oil is rubbed over the surface to create a "wet in wet" environment to apply the next layer of paint. More color is added and details are refined then it is allowed to dry and possibly followed by more layers of painting if needed.
After the painting has dried sufficiently, it is coated with several coats of museum quality varnish (Kamar ®) for protection and to bring out the colors.
It all starts with an experience, a stroll into the woods or a hike along a steep mountain path or maybe exploring a deep hidden part of a swamp or marsh. Even feeling the spray of salt water while surfing can generate inspiration for a painting. The desire to capture the experience is followed by a sketch and or reference photography shot on location.
My goal in painting is not to just paint a pretty picture or an absolute photo detailed image, but rather a combination of those things while most importantly create a feeling within the viewer of being there. I'm really telling a story that I want the viewer to experience.
After the initial inspiration, then it is back to the studio for more reference gathering, several thumbnail sketches exploring composition, etc., and a final layout sketch. A drawing is then sketched in pencil directly on the panel or transferred from a sketch with chalk rubbed on back of the reference and then traced on to the panel . A thin coat of workable spray fixative seals the drawing and allows painting to begin without affecting the sketch.
MATERIALS:
Every effort is made to use the best quality materials and paints, including Winsor and Newton Fine Artist Oil Colors.
SURFACE:
Most of the paintings (oil or acrylic) are done on a composite metal panel surface. This panel is composed of an inner core of PVC with an outer shell of painted aluminum. This provides an extremely durable moisture resistant panel which I find much more stable than Masonite or other wood surfaces. The panel is wet sanded with 320-400 aluminum oxide sandpaper which provides a fine "tooth" for the oil or acrylic to adhere.
PAINTING PROCEDURE:
First the colors are blocked in "alla-prima" usually working from the background to the foreground. The attempt is to paint all the colors in their proper form focusing first on major form and working toward refining smaller details. Usually if the painting is fairly complex, I might paint the sky first and let it dry. Then I continue with smaller individual items painting each one, again generally working from the most background elements to the foreground. If working in acrylic, additional layers of paint are added refining the form and final details. Several layers may be applied as details are added.
If working in oil, the paint is laid or "blocked" in, then lightly blended with a soft hake (white bristle) brush. This creates a slightly blurred image which is then left to "set up" for a bit. Then more colors are added and refined re-accenting the detail and then left to dry completely. After the paint is dry to the touch (up to several days), a thin layer of linseed oil is rubbed over the surface to create a "wet in wet" environment to apply the next layer of paint. More color is added and details are refined then it is allowed to dry and possibly followed by more layers of painting if needed.
After the painting has dried sufficiently, it is coated with several coats of museum quality varnish (Kamar ®) for protection and to bring out the colors.