About the Artist

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As an illustrator I could handle several styles, often switching from gouache to oil then working digitally. I've collaborated with many NY publishers, creating book or magazine covers, history and religious spreads. Much of my corporate and ad work was for internal use, not public, but you can see a number or pieces in the illustration section of this site. I did a lot of design and comp work in between illustration jobs, so clients kept me very busy doing book covers, ads, concept, editorial and corporate work nationally. To meet deadlines, I frequently worked all night or a few days straight. Once you get into that pattern, its not hard to keep going, knowing you can turn in a nice piece. I was lucky to have many clients who kept me booked with a wide variety of jobs that were always fun to do. 

 Whenever I could, I focused on my fine art; the imagery I paint for myself. I've done a lot of life drawing, hiking, biking, and traveling. Illustration served as great training, but also tightened up my painting style, so I continuously push myself to work with a loose linear stroke and experiment, essentially to improve my craft. 

My fine art often explores spiritual themes and cerebral narratives. I've experimented with abstract techniques and am currently exploring impressionism and pointillism, but I always return to a refined realistic style. For me, good design is more critical than technique, but knowing how to draw and paint allows an artist to approach new ideas with the intention of fully rendering them on canvas or panel.

 I’ve taught painting, drawing, and digital classes while sharing my passion for fine art at various colleges in the Pacific Northwest, including the Art Institute, Bellevue College, and Edmonds College. Currently, I mentor a number of teen and adult private students in my home/studio. This experience is enjoyable and allows me to share the many techniques I’ve learned over the years.

 I wish I had received good instruction when I first started out. All of the realistic techniques I acquired were self-taught. Teaching is my way of giving back, and it’s rewarding to work with students who possess talent but feel frustrated by the lack of good art education in schools, or adults who set aside their artistic passions for family or career. My goal is to bring out the best in every student, whether they have hidden talent or are simply curious to see how far they can take their creativity. I feel fortunate to be a small part of their artistic progress.

 Regarding colleges and art careers - I've talked to a lot of grads who tell me they learned nothing about tecnique while getting a degree in art, My usual response  is to ask if they checked out the instructors before choosing the college. If you don't see at least one instructor whose work is well done (as in realism that is well painted, good drawing, etc.) and that is what you intend to learn, then find a school with instructors who actually teach what they know. Otherwise you waste your time and money on some false guidance by what should be professional instruction. 

If no college suits you and you really want to learn, then seek out artists you admire and email them through their sites. You might be surprised that they, or someone they know, is willing to mentor a few talented students. 

I would advise you to spend a few years just working hard on your craft before trying to get into galleries or make money. The gallery road is primarily for artists who paint to sell, To me that's illustration, and you can simply follow selling trends. I have always kept my fine art separate from commercial work, which is sometimes hard to do. If you do enough research, you might find places to show your work without having to paint subjects just to make money. The main thing is to keep working hard at the craft, try to improve with each piece and avoid the easy road of selling your work by painting what sells, rather than what you feel. 

I'm fortunate to know several talented painters who share a philosophy similar to mine regarding current and past trends in art. Don't believe everything you are told in art school, especially historical trends. Ask your friends if they really think this or that famous artist is worrthy of their reputation and use your head to determine what you like and what you consider garbage. 

 If you do a little research, you'll discover that many art schools struggle to teach traditional techniques because a significant portion of the staff, including those at prestigious institutions, lack any real-world experience necessary to impart what students truly need or want to learn. 

The current hiring system chooses those with teaching degrees over experienced artists. Unfortunately, this state mandate leads to graduates leaving with minimal practical knowledge and uninspired portfolios, often feeling frustrated and financially depleted. 

While there are a number of good  realistic painters living today, I tend to study the work of past masters. Books and internet images can be decieving, so if you get the chance, plan trips to museums to see the original works. I take close up glasses so I can see details of brushwork, and shoot close photos if the museum allows it. My favorite museums for realism that have inspiring works (my choice time period is 1840-1930 or so)  are the NY MET, National Gallery, London has the Tate, Spain the Prado, with some really impressive large works, Musee DOrsay in Paris, etc. Don't get discouraged, but let yourself learn various techniques you've seen, and that growth may lead to improved work. 

In my studio, I often do color sketches, portraits, studies - simple ideas rather than complex pieces. I learn about various techniques much faster when I'm free to just play with the brushwork or color, rather than be concerned about doing a polished, finished piece.  Whatever you paint, have fun with it! If you are not enjoying it, then try other subjects and other techniques. Experimenting keeps me going and can lead to surprising results.