My acrylic on paper paintings are almost like a visual diary. It is in these works that I work out my ideas on an ongoing, almost daily, basis, before going into the larger works on canvas.
I have a general process that takes at least 5 days, depending on drying time and the number of layers I use in a piece. There can be as many as 30 layers to the paint, once in a while more.
I work with liquid acrylics and a lot of medium. It is like working with liquid color . I like a lot of transparency in the paint so the light penetrates deep down into the paint, enriching the colors. Similar to when you polish wood and it brings out the grain and depth of the wood.
Opus 1661 is a particularly deeply layered piece, almost impossible to reproduce accurately digitally. But it stil looks good.
Unlike the live image perceived by two eyes, each seeing a slightly different retinal scan and then processed in the brain, and thus extremely sensitive to depth, whether something is scratched in or scumbled on top, and enhanced by our memory as we move into and away from the image obtaining new visual information regarding surface, color, and process, a digital image is created via a single lens, set a specific distance from the painting, and then takes all data and reduces it to a single number, without any consideration for layers underneath. Thus a digital map of the painting is significantly reduced from what our brain processes during a live encounter with the image. Bottom line: if you like the digital image of these pieces, you’ll love the work live.