Technical Information on Paintings and Prints

The techniques I use to produce paintings and prints include venerated traditional methods and innovative modern techniques. My process for painting on wood was developed in New York City by studying techniques of restorers of 13th century paintings and icons. Impressed by the better quality of the paintings on wood compared to canvases of the same era, I have duplicated these methods in my studio today. Wood painting surfaces receive the same careful preparation: A base of sanded gesso layers on sulfur-free wood followed by careful application of archival paints and varnishes. Both painting and print ideas are created from small sketches and may take a few days or weeks to complete. Simplicity rules and once finished, paintings are hung unframed on the wall. Works larger than 30”x40” are on lighter weight gessoed canvas panels. Canvas paintings are 1” deep with edges painted to achieve the “more with less” look of the wood surfaces.

Permanence is the guiding principle for both my prints and my paintings yet, technically they differ from one another. The 21st Century computer revolution in printing techniques has opened many opportunities for superior color printmaking. Using a method termed “giclee”, (jee-clay) a French word meaning “spray”, a new standard of print excellence is accessible to me in my own studio. This new computerized printing process surpasses museum standards for print excellence and longevity. Initially, images are photographed with a high megapixel digital camera or scanner, stored in large graphic files on a CD and printed on demand. This differs from conventional printing methods where dozens or even hundreds of prints may need to be produced at one time, making the cost high for the artist and the individual collector. Permanence determines the framing of the prints, which are matted simply with 100% acid free, white Bainbridge museum mats and framed with black Nielsen and Bainbridge aluminum frames.