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1998/ - 24" x 28" (max)
Fractal Design Painter 4 Wacom Tablet
…first use of Painter and tablet to produce an impressionist style image from a photograph. After producing Pool of Light photo manipulation was relegated to commercial applications almost exclusively. Recently photography has been re-introduced into the fine art mix.
11/2002 - 11" x 30" (max)
Adobe Illustrator 10 & Photoshop 7
A series of 6 studies based on BC coastlines
… illustrations produced to examine the effects of a combination of filters applied in Photoshop to complex graduations generated in Illustrator. These pieces are based on one horizontal and one vertical depiction of British Columbia inlets in the morning, evening and moon light. ^
02/2003 - 30" x 24" (max)
Adobe Photoshop 7, Fractal Design Painter and Wacom Tablet
…one in a series of 11 from the Digital Coastline series. All images in this series are based on visual studies of British Columbia coastlines. No source photography or drawings were used in their creation. They are studies depicting various aspects of British Columbia coastlines. The objective of the series was to develop digital paintings that have the look and feel of oil, acrylic, pastel and water colour paintings. ^
10/2003 - 30" x 16" (max)
Adobe Photoshop 7, Fractal Design Painter and Wacom Tablet
…this piece was created without a horizon in order to focus the viewer’s attention on the dynamic water and the inviting shade under the trees. Unlike previous images from the series, Starfish Cove included multiple layers in Photoshop. There was a great deal of movement back and forth between Painter and Photoshop. ^
11/2003 - 30" x 24" (max)
Fractal Design Painter and Wacom Tablet
…Although Winter Night Coast #1 and 2 belong to the Digital Coastline Series, they are a separate exercise in a style of impressionist painting. This was an opportunity to use Painters brushes to push colour and create a striking landscape in a style reminiscent of the Impressionist era. ^
05/2003 - 28" x 18" (max)
Adobe Photoshop 7, Fractal Design Painter and Wacom Tablet
…the creation of a still life without a model - no source photography or drawings were used in the development of the image. The objective was to induce sexual tension in the male viewer by focusing on the attitude in the subject’s body language. She’s alluring and pissed. ^
08/2003 - 28" - 18" (max)
Adobe Photoshop 7, Fractal Design Painter and Wacom Tablet
…a discovery was made…attitude helps determine the feel of an image. An animated approach to brush work is reflected in a playful, whimsical portrayal of sheep on a wind swept hillside. This was fun and is a favorite. ^
04/2004 - 30" x 20" (max)
Adobe Illustrator and Photoshop CS1
…the first in a series of 5 Digital Forest images. They all feature streaming light and a diminishing view of the inner forest. No source photography or drawings were used in the creation of the series. This was the first application of multiple layered templates of objects and light sources at different depths in the forest. Subtractive channel painting created most of the texture and detail in the image. ^
07/2004 - 40" x 16" (max)
Adobe Photoshop CS1 and Wacom Tablet
…the final image in the Digital Forest series of 5. By using subdued light, the details in the shadows have been increased and enriched. The template for Forest River has been re-used on a number of occasion to portray the setting at different times of the year. An added benefit to digital painting. ^
03/2005 - 36" x 20" (max)
Adobe Illustrator CS1
...created entirely in Illustrator, this piece was an experiment in generating organic forms strictly in Illustrator CS1. As a vector based program Illustrator had previously been challenged when asked to generate images that looked painted or drawn rather than Illustrated. …Adobe eliminated that short coming with CS1. ^
10/2004 - 30" x 30" (max)
Adobe Illustrator and Photoshop CS1
…produced as a set of 2, Spirits in the Glass was created for output on backlit material. This is the first real foray into abstraction. Abstraction was left to last to explore because without the discipline of traditional painting, drawing and illustration the software would have driven the process rather than the artist. With the lighting subdued Spirits in the Glass uses shadow and reflection to create a liquid form. ^
02/2005 - 30" x 30" (max)
Adobe Photoshop CS2
…a series of 4; identical to each other except for the individual shifts in hues. Spirits continues the studies started with Spirits in the Glass #1 & 2. The focus of this series was to create depth without shading. Depth was achieved through the dynamic relationships between forms and shapes in the image that share similar characteristics. ^
05/2005 - 88'' x 64" max
Adobe Photoshop and Illustrator CS2
…a series of 3…a return to the abstract expressionism and zest of the 60's and 70’s... This series was created to experiment with the relationship of colour and contrast to form and shape. Although simple technically to produce, the result required a great deal of experimentation; trial and error. ^
07/2005 - 30" x 20"
Adobe Photoshop CS2
…the purpose for this piece was the application of a flame technique developed in Photoshop. The image was designed to be cultural and iconic…drawing on the familiar to lend credence to a non familiar representation of a mythical form. ^
04/2006 - 36" x 28" (max)
Adobe Photoshop CS2
…an exercise in the application of texture, dimension and lighting. It’s 2 dimensional character is in contrast to 3 dimensional sensibility. Substance without mass; depth without substance. ^
05/2006 - 60" x 32" (max)
Adobe Illustrator and Photoshop CS2
…derived from a photographic source, this image was an exercise in the combination and application of a series of procedures developed in both Illustrator and Photoshop. The use of photography can help in understanding the nature of digitally rendered edges and transitions between natural shapes and forms. ^