AMERICAN MADE

OIL PAINT ON LINEN CANVAS 24 X 34"

I always look for paintings in the people I see. A moment unaware that reveals a glimpse of the person's inner nature waiting to be captured on canvas. The understanding of light and shadow which flows across flesh and bone is more than the ability to capture a likeness—it gives way to the deeper responsibility of representing the human soul. That's what makes being an artist exciting.

The challenge of this painting was to capture this man's rugged independence and inner strength knowing his unique individuality was forged by the generations who fought for freedom before him. Like them, he is American made. Hard working. Proud. Free.

I'm working with a limited palette of colors inspired by the nationally known artist Anders Zorn. My personal vision is focused on painting high contrast passages of light and dark to convey the emotional connection between the human soul and the American landscape.

OIL DETAIL

Most of my brushes are Langnickle sables but I do use bristle brushes as well when needed. I prefer filberts which give me naturally softer edges from stroke to stroke. Capturing the interplay of edges in my figure work is something I really enjoy. This painting gave me a full spectrum of edges to study ranging all the way from sharp focus to completely lost.

At my demos, artists usually ask me what medium I use to mix into my paints so I'll mention it here which is Winsor & Newton's Liquin. I use other mediums as well but this product has grown on me and I find myself using it for most of my work these days. I use lot's of it in my shadow passages with little to none in the area of light. If you haven't tried it out I encourage you to do so and see how it works with your unique style and technique.

HARD DAYS END

Hard Days End: Oil On Linen 24 x 34"

The American landscape is filled with people working hard and living strong. In spite of set backs and rough times people fight hard to come back with a resolve as hard as the land they work. In my painting, "Hard Days End," I've depicted a young man ending his day on the ranch. He's working to feed his wife and child while carving out a new life through tough work and personal determination.

He may be down for now but he's coming back stronger than ever before. In spite of his rough times, it's not about the paycheck—it's about doing the work right because his name still means something. Like his father before him he's building a new life on the land he works. His back aches and his hands hurt but each day brings him closer to seeing the reality of his dreams after the hard days end.

To capture the intensity of this man, I kept half his face in shadow while allowing the other half full illumination. He's going through a transition. He's emerging but not yet there. This balance helps give the painting an emotional edge while creating a dramatic focal point.

It is hard to decide what more to discus here because there are so many technical points to cover. For me, it all comes down to the essence of the human soul being caught in an honest moment. Once I do this I know the painting is finished and it's time to start another.

Detail of Oil Painting

STORM CLOUDS

Storm Clouds/Oil On Linen 26 x 34"

This oil painting launches a new series I'm working on depicting people of the American heartland. I'll be exploring many emotions by depicting character studies of everyday people as they live their lives and dream their dreams throughout our nation's landscape. My main goal is to capture the inner soul of real people and paint a moment in time that encapsulates an emotional beat in their life. Painters like Andrew Wyeth and Edward Hopper inspired me to embark on this journey of discovery in my own unique way.

This series will cover a wide spectrum of people ranging from happy to sad and from lovely to hard weathered. The common denominator will be the truth in what I see—taken as it comes. In my first painting of this series, "Storm Clouds," I took the opportunity to delve into a man's life at a moment when he is dealing with deep feelings and bitter choices.

We have all been cheated. We have all experienced loss. It is what we do in the aftermath that set's the course of our individual life and those around us. "Storm Clouds" captures this inner struggle as it is set against the backdrop of the American West.

Oil Painting Detail

BATTLE READY; Digital Painting

Digital painting of a warrior in battle. In CS2, I like using gritty brushes to block everything in and then build up the areas of light with more refined brushes—this keeps me from painting too slick and smooth. Anyway, I suppose my detailing of the eyes are too sharp in terms of capturing a true rendering of nature but I wanted the attention focused in that area—so much emotional impact is expressed in the eyes.

As for the indication of gritting teeth, it's just two brush strokes but I re-painted those two strokes over and over to get just the right look. When you look at John Singer Sargent or Anders Zorn it's not just about rendering an image—it's about putting energy into each and every stroke. I think that's what makes painting fun and hard at the same time. The whole process is deciding what to leave in and what to leave out and making sure that everything that remains is there for a reason.

WARRIOR BEHIND SHIELDS; Digital

I painted a series of digital paintings to serve as inspirational bluesky development. The over all look and feel of the series was very intense so painting the images allowed me to explore some very interesting emotions. I wish I had more time to make the painting perfect but deadlines are deadlines. I could keep refining it but there are more paintings to do. Anyway, the emotional impact was really exciting to develop. The program I used was Photoshop CS2 with all sorts of custom brushes. I worked it just like an oil painting except I got the added bonus of using command z.

WARRIOR; Digital Painting

This digital painting was a blast to work on in CS2. Talk about primal therapy. I blocked everything in using a custom brush that was ugly grainy—I mean just plain ugly. I used this to work out the big shapes. Then I started to define forms—basically light and shadow using cross hatching. After that, I blended the hatching with my larger grainy brush. The background was ambigouis so the entire head would be the over all focal point.

The detail close-up shows how free the brush work was—just indications of detail in the right places. This painting is really a study of edges. The frontal face edges (although they vary) are sharper than the backside of the head and helmet. I've been studying Velázquez lately for edge work and shadow patterns. Simply amazing. Anyway, this painting gave me the opportunity to have a lot of fun playing around with the shapes and edges.

Digital Sketch—Game Environment II

Digital tonal concept sketch for a gaming company depicting a cityscape with forground elements. The emotional beat in this series remains consistant with the nature of the dark world depicted. This idea was painted with no preliminay drawings. My aim was just to capture the raw emotion I felt about the subject and the energy of the man on a mission.

Digital Sketch—Game Environment I

This is a rough digital sketch I painted of a city environment for a gaming company. I love doing this sort of design work using broad strokes and alternating forms to create movement and drama. All of the artists at the studio are top notch so I was a bit apprehensive at first, but the art took over and it was fun seeing this new world emerge as the strokes of digital paint came together.

Digital Sketch—Game Environment III

This gaming environment leads us inside a maze of steel beams and catwalks lined with tubular pipes, gas lines and cables. Painted in CS2, this quick sketch conveys the over all emotional dynamic of danger, hidden mysteries and pulsating directional lights. In this case, since it was just an idea sketch, I made it up as I went along feeling my way through the many possible design solutions. I had a lot of fun playing light against dark and exploring the raw emotion of the scene.

Marooned

My digital painting "Marooned" depicts a space trooper stranded on an alien planet illuminated by the moon behind him. Wreckage of his ship in the background along with distant planets hint to his long journey from home. His mission completed, so it seems, is now behind him as the lone survivor is forced to ponder his fate. The vast expanse of this desert planet is formidable, but nothing compares to facing the dark enemy he has hated for years—himself.

I was inspired by the great artist, Howard Pyle, who painted a pirate stranded on an island. The emotions of isolation and abandonment touched a cord in me and served well to set the tone for this space environment.

Naruto

I recently worked on product development designs for Naruto which is an ongoing Japanese manga series written and illustrated by Masashi Kishimoto. These are the only design sketches I'm allowed to show. It's funny how I finished illustrating a book project that was inspired by manga styling and then I get handed the opportunity to work on such a classic.

Nartuto is an amazingly successful brand and ongoing series. The artists on the project were just as amazing and fun to work with. Anyway, this is my basic film and product development sketching style for ideation and bluesky concepting. Michael Spooner was my artistic mentor in this technique and I still see his influence in my drawings and artistic vision.

The Doppleganger Chronicles

This is the first book in the ongoing series—The Doppleganger Chronicles by G.P. Taylor. I art directed the first book setting the style template with designers and artists from Markosia Enterprises in London and the USA based Tyndale House Publishers. I included the artist bio page to honor the London based artists Daniel Boultwood and Tony Lee—both amazingly talented and extremely humble guys. You can check out www.dopplegangerchronicles.com to see my video discussing the art direction.

Deadeye

I really enjoyed painting this character study of a cowboy who's eyes give a hint to the condition of his soul. Years of living in the old west has hardened him and his youth faded away along with his dreams. He's found someone he has been looking for making this is a dangerous moment—payback for something everyone else forgot about. He hasn't forgotten. It's as though it happened yesterday.

I wanted his face to be the primary focal point. The shadow color under his eyes is darkened and void of color to give a clearer vision of his nature and intent. This oil was painted on a double primed linen canvas using a lead primer. Very slick to paint on but easy to wipe off when a mistake is made. I allowed the canvas to show through in spots and had a blast playing around with the brush strokes.

Marvel

Copyright © 2009 Marvel Entertainment

More from Marvel. This was one of several sketches for a the animated television series. The character design incorporated a strong anatomical structure that had it's own look and feel. The hardest part, for me, was roughing the poses out trying several ways to express the action with the strongest sense of movement and form. It taught me a great deal about the line of action and posing the figure the Marvel way. I learned a lot from the artists working on this project. An amazing group.

Forever Friends

I painted this oil depicting a little girl who found a friend. The story in the painting depicts a lovely girl with the simple surroundings of a bare orphanage. The girl seems a bit out of place standing in the corner. There is comfort, however, in holding a doll that she found along the way. Their special relationship allows the little girl a friend wherever she goes.

The model for the girl was my daughter, Sarah, who my wife and I adopted from South Korea when she was a baby. I remember when Sarah got older she wanted a doll to play with. We went to the store and she finally chose the one she wanted. She smiled and gave it a big hug. At that moment, I saw in her the first hints of being a mother. A mentor. A woman.

It amazes me how many people define themselves by the job they fill or the talents they currently have. To me, being a dad is everything. When it's all said and done Sarah will remember me most—not for my art or design—but for being her dad. Her memories, as well as my son's, define me. Our relationship makes me the man I am. It also grows me into the man I want to be.