The Setup Process
As I work from direct observation (as opposed to photographic references), setting up and lighting the scenario begins the process. Though I may have thought about a setup for some time, it is largely a spontaneous event, and may take several days to complete. In general, as I begin the physical setup process, I simultaneously begin writing fiction to help me find my way toward the end result. The writing assists the physical setup, and the setup further informs the writing until I have what I feel to be a rich concept. The writing is ultimately shared as Tales from The Kingdom.
I have surrounded myself with still life props: first among them being Origami Dragons (the foundation of The Kingdom). I also commonly use various dolls as characters, colored glass to produce what I call “luminous shadows”, and when need be, alter or fully construct props that otherwise don’t exist.
Utilized objects are selected consciously and subconsciously, chosen for their aesthetic contribution of course, but they must also survive layers of intellectual and visceral filtering in order to ultimately remain and participate within a constructed scene. They must "earn the right to stay," so to speak.
Technique
I begin with no preliminary drawing, or tracing. I begin by “drawing” in paint, gradually transforming a ghost image into something ever more solid: a mixture of what I see, and what I need to see.
Each painting begins upon a mid-tone ground, utilizing traditional techniques as I work out the “drawing”. Along the way, however, I use stipple brushes to eliminate brush strokes and soften the image, which results in the ghost image previously mentioned. This allows represented objects to emerge from their surroundings and shadows gradually, becoming more solid only as need be. In fact, I seek opportunities wherein contours can be lost completely; treatment of dynamic edges is of great importance: soft vs crisp, lost and found.
What is particular to me is what I call Stipple Glazing; I did not invent this technique, but did however develop my version over years in isolation. This technique allows for subtle gradations, great texture variety, and atmosphere. Complimenting my expected techniques, I intermittently glaze broad areas (adjusting light, shadow, or color temperature) by means of large stipple brushes. I do this throughout the development of the image: a combination of direct and indirect painting. In fact, though my brushes become smaller as I add final touches, the finishing touch to my painting might be applied with a large diameter stipple brush.
Along with Stipple Glazing (and corresponding wiping), a variety of common techniques are also employed along the way, including dragging, rubbing, scumbling, tamping, and even flogging.
Preparation
I use birch and masonite panels, applying gesso with a foam roller. This leaves a subtle orange peel texture which is visible through the final varnish, and compliments the Stipple Glazing to come, which ultimately defines my surface. An alkyd based mid-tone ground is brushed over the gesso, after which the application brushstrokes are eliminated by a Stipple Block. The panel is now prepped for painting.
Color Palette
My glazing medium (Special Goo) is Windsor & Newton Original Liquin. My palette consists of Cobalt Blue, Alkyd Ivory Black, Burnt Umber, Quinacridone Violet, Cadmium Scarlet, Raw Sienna, Yellow Ochre Pale, Cadmium Yellow Pale, Naples Yellow Light, as well as Permalba White. I also utilize Ultramarine Blue, Phthalo Blue, and Phthalo Green on occasion. This palette consists mostly of transparent and semi-transparent pigments.
Tools
· Scott Shop Towels (Blue Wipes): They are folded for rubbing, wiping, tamping, and softening edges. I also roll them into points for precise "drawing" in paint. As they are a staple of my studio, I will list them first.
· ChalkPro 2", & 1 1/2" Rounds: produced as "waxing" brushes for the furniture market; these are fantastic stipple brushes, and very well made. Used for my Stipple Glazing technique.
· Pouncers: (Badger Hair, no longer available) produced for the faux finishing market. Used for my Stipple Glazing technique.
· Flogger: wood graining, dragging, texturing, produced for the faux finishing market.
· Mops, small Stipple Rounds, & small Deer Foot stipple brushes: various
· 1”, ½”, & ¼” Flats
· Script Liners
Varnishing
I add a final (thinnest possible) barrier layer of alkyd resin to ensure that the delicate gradations of paint are protected from any future varnish removal and cleaning. I brush on Gamblin Gamvar gloss as an initial sealing varnish, and then apply Krylon Archival spray satin as a final varnish.
Clean-up
I maintain 2 lidded gallon containers which remain about 1/4 full of artist's grade Odorless Mineral Spirits: one is a "dirty wash" of OMS (to collect the paint from the brushes), followed by a "clean wash" of OMS to rinse the brush. Obviously, these containers must be tended to on occasion (when sediment is settled) by pouring off the OMS and disposing of the sediments (I collect this "goop" in another sealed container, for final disposal). The poured off OMS may then be poured back and topped off for continued use.
Finally, I wash and rest brushes overnight in Murphy's Oil Soap.