Method

20181218_004328I work with multiple media, focusing primarily in charcoal or pen and ink for drawing, while I mostly work with oil for painting, occasionally using acrylic for my under paintings. More recently, my primary focus has been with watercolor or acrylic mediums.

To begin I often pull from sketches or jotted ideas I have already done. The work is a culmination of ideas brooded over for some time and revisited often multiple times before I am satisfied with the product, even resulting in multiple versions of the image I am striving to achieve.

When painting with oils, I use a wet on white approach having sketched out my basic forms directly onto a wet white surface, making it easy to transition and block in shapes as needed. Following that I block semi-refined objects using a monochromatic theme, slowly increasing the the variety of color as I build the image. I then use that as a base layer rough, and paint essential colors, marking space for mid tones and highlights. As the work begins to feel more solid, I focus on areas of interest, intentionally leaving some areas rough. I then add in my darks and finish with my darkest blacks, all self mixed and play back and forth between light and dark glazes until I achieve my desired color and luminosity. I make adjustments to the final piece and am finished. In some cases, I will create an underpainting with acrylic paints, and build on that with oil paints for a deeper more refined image.

For drawings in charcoal I use a fast developing detractive method of building and wiping away to the ghost of the image until I am ready to isolate the final refined form which I build by accentuating the darks and cutting away any excess work.

I my pen and ink work I use fountain pens or a traditional quill and well technique.for both approaches I create the image beginning with gestural forms in similar fashion to all my works. I then build the image slowly, fires focusing on composition then form, then light and refinement. I prefer a semi unfinished look. Occasionally I work with wash in pen and ink to achieve an even delicate flow and rhythm.

When making a water color image, I generally begin with a subtle layer of wash, grading from color to color that represents a light version of the color that will be visible in the final image. In some cases, I will do some light drawing first. I prefer smooth blending textures with a significant amount of gradation so I often work very wet within the field of color I am manipulating, even treating the entire paper with varying degrees of wash.

Concerning color, I prefer simplicity and contrast, taking care not to over look subtlety and complexity when the project calls for it. Often I use more subtle tones to nuance the piece or harmonize the image. I am drawn to more serious imagery and find myself focusing on specific components of nature that often go uncelebrated, making them the feature of the image.

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