I laid out the drawing using drop point to create my pounce. Once everything was transfered I inked my lines and started with the wood grain on the wine rack. When the wine rack was complete I moved onto the floor and table before starting on the wood grain for the door. The rocks came next and I used cardboard lightly dipped in paint to create the texture. When the project was finished I hung it on the wall where, if you stand in the right spot at the right height, it becomes accurate in perspective.

We used a combination of off broadway and super saturated paints to produce glazes on top of plywood. Multiple glazes and layers were made to produce realistic wood.

I projected most of the imagery for the set, we have 25 flats of various sizes that run the perimeter of the room behind the seating area or directly behind the audience's heads. We painted on muslin covered flats for some (first picture) and others we cut out luan into city-scapes. The cityscapes were mounted onto the front of 6" wide light boxes (second picture). In the third picture is a close up of some of the detail. The designer (Rick Rasmussen) was going for a very raw, graffiti look so we added texture with a rubber faux finish roller in multiple colors on top.

For Polovtsian Dances, designer Joe Tilford rendered a digitally distorted impasto painting on scrim with a range of hues including fluorescent red. After a sampling everything I could think of, I found that to get this specific vibrancy of red on scrim I had to use Supersat Brilliant Red, with dye layered on the peaks. The rest is all Supersats and Iddings. A header also appeared during the piece with primitive ink drawings of symbols and figures that echoed the choreography.

Circus like creation for the play The Resistible Rise of Arturo Ui at Columbia College. The screens were projected and hand outlined then painted with watered down paint to create an opaque area that could also be back back lit.

Circus like creation for the play The Resistible Rise of Arturo Ui at Columbia College. The screens were projected and hand outlined then painted with watered down paint to create an opaque area that could also be back back lit.

My biggest solo project was the 10 foot translucent, backlit moon! First I worked in the basic textures with charcoal and water. Then I went back in with some very, VERY watered down greens and blues. For the moon to stay translucent, the paint could not be too layered or too thick. It was a careful process that required a lot of gentle layering and water, and in the end, the moon became one of the focal points of the show, providing a space for actors to be silhouetted, a sense of distance, and a sense of something supernatural taking place upon the island.

Foot light Shells - Chicago
Detroit Country Day School
Vacuum formed shells were purchased and prepped for process.
Step 1. Shells are coated with a layer of crystal gel allowed to dry.
Step 2. Shells are base coated with Rosco Off Broadway Antique Gold
Step 3. Shells are then scumbled lightly with a mixture of Aztec Gold Mica powder and Crystal gel.
Step 4. Shadowing painted in shell scallops with Rosco super saturated purple toned down with velour black.
Step 5. Dusted with Krylon Black enamel spray paint.

40' X 12' Mountain carved at the Alley Theatre out of foam, coated in jaxsan and painted with Off Broadway paints. The interesting thing about this mountain is that it is only 18" deep at its widest and had to be broken into 10 pieces for loading in purposes. Carved with sawzall (I wanted to use a chainsaw but couldn't)

Painted at Sam Houston State University in 2009 on raw unbleached muslin spattered with OB Yellow Ochre, Raw Sienna and Burnt Sienna. Rear projected with these da Vinci sketches, transferred with pencil and painted with OB Burnt Sienna.