My process

From Digital Direction to Direct execution My process is built on the pursuit of efficiency. I believe the time spent at the easel should be focused entirely on the decisive application of paint to the panel. To achieve this, I utilize a rigorous pre-production phase to architect my vision before the first brushstroke is ever made.

I develop my references through a hybrid of modern and traditional tools—including digital drawing, photo apps, and AI generative tools—to explore lighting, mood, and composition. Having spent years mastering the fundamentals of traditional sketching, I now use these advanced tools to "direct" my compositions. I can take an initial sketch or an old color study and use these tools to stress-test the concept. From there, I meticulously modify and re-render every element using digital apps until I have a complete, technical roadmap. The time spent making a quality reference is immeasurable. It is non-negotiable and pays dividends.

I embrace modern technology as a digital drafting table. There is truly "nothing new under the sun," and art history is a record of artists leveraging every available technology to expand their vision. I choose what to keep and what to fix. The AI provides the suggestion; I provide the choice.

My approach to the painting process varies some, but it is a direct wet on wet technique. I try to finish passages in one go. If I do an underpainting it is normally a relative value wash. Just like a watercolor. You can see in process pics for each piece in the store. It just depends on the complexity and the lighting. Some pieces have an acrylic underpainting. I hate acrylics. But, they can really lay down color fast, AND seal the ground. A huge plus for a dark painting.

My living- studio

About a year ago I made the decision to create a second small studio near my living area so I could make even an hour of painting; something that maximizes my time. I use Masterson Sealed pallet containers and Bloxygen to keep paint fresh in the fridge. With a standardized pallet of 8-10 opaque colors, I can have 4-5 paintings in progress on dryer racks near the fireplace, all of which have 9x12 sheet metal attached to their backs with Command Strips, and are setup on a magnetic easel, giving me the opportunity to work everyday. All of these changes led to a “no excuse” paint everyday living area, and greatly increased my output. By limiting my use of solvents, I have no issues with fumes. The smell of Linseed oil to me, is not obnoxious, or harmful. I’ve also learned it is the best brush cleaner. I use a brush dip made from Stand and Clove Oil and rarely have to resort to Odorless Mineral spirits for any cleaning. So If you come by; I hope you like the smell of Clove Oil.

My Materials

A 9mm panel in process.

A 24 x 24in x 3/8in (9mm) prepped Baltic Birch B/BB panel weighs 5lbs. I cut them slightly undersize so that there are no fitment issues for any frame that has a 1/2in deep rabbet. I also use 6mm birch for some panels 18x24 and under. Any slight warping is easily dealt with using standard frame staples. This rigid support is mandatory for lead based grounds, and to facilitate the custom textures that I generate in the final layers. In my opinion, Birch panels are near perfect. 30 x30in is about the limit of size for this type of support.

The integrity of the painting starts with the support. My default preference is 3/8" (9mm) 7 layer Baltic Birch (B/BB grade) (No added Formaldehyde). I special order this from a supplier in Wisconsin. They are prepared to a rigorous archival standard:

• Triple-Sealed: Every panel is sanded and triple-sealed on all six faces using GAC100 acrylic sealer and synthetic white shellac primer to prevent moisture penetration, SIC, and ensure longevity.

• The Ground: I apply three foundational coats of gesso, followed by a final lead based ground (Natural Pigments brand), or a specialized gesso layer along with 1-2 coats of Krylon acrylic matte to achieve the specific absorbency required for the piece. I determine beforehand whether to use foam rollers or brushes to create the final textures.

• Alternative Supports: I also utilize Ampersand tempered hardboard, and Centurion linen panels. Professional-grade gallery wrapped canvas, and cradled panels are for larger-scale works.

• My oil paint brands are Tusc and Pine, Richeson, Williamsburg, and Windsor & Newton. On occasion, I will hand make small batches from dry pigment; (That’s a Zen thing mostly).

• All paintings are varnished using Gamvar products.