AN ORIGINAL TECHNIQUE
It was early January of 2008 when serendipity brought me to my current practice of "Pen & Ink on Sculpted Paper."
1. What is this technique called?
I've often been asked what is the name of my technique. Those seeing my work for the first time are often quick to describe it as "oils", "thick paint", and even "encaustic". These consistent reactions to my completed works helped prove that a descriptive name was a more helpful answer. Thus, I call my technique "Pen & Ink on Sculpted Paper".
2. What is sculpted paper?
I manipulate and "sculpt" a variety of papers by hand with very minimal tools (as seen in video above) in an attempt to create texture that is appropriate for the subject.
A specialty in my technique it to form an entire subject out of a single sheet of paper. Monarch (bear), Scenting Sunshine (and all the foxes to date) are examples of that.
3. Why is the paper stained?
After the surface has dried I apply my under colours in layer of acrylic washes. This helps to colour the papers' peaks and it also results in interesting and unpredictable effects which then become a source of inspiration for the pen and ink work.
4. How long does it take?
I am often asked how long it takes me to do a piece. I believe this question is more about the pen and ink work than it is about all that is required to bring an idea to fruition, and all the administrative details attached to each piece. The entirety of all that goes into a piece is very difficult to determine in actual hours.
After three timing sessions, I found I could not beat my time of five hours per every ten to twelve inch square. However, this is a very simple take on the process as everything needs to be going smoothly and the pen and ink work has to have already been worked out for me to start timing. The subject itself is often more complicated and takes longer.