work in progress


I've started a new body of work which I hope to unveil later this year. However, if you are interested in watching it unfold from sketches to drawings and paintings, you can head over to my Instagram Page. I'll be posting updates and sneak peeks into the work as it's being made. I'll also be posting images of ephemera that have a direct influence on the creation of the new work. best of all, my Instagram Page is public so you can still view my images even if you're not an Instagram user. 


Digital Painting - Courtny


As many of you know I've been experimenting with the iPad's capabilities as a painting medium for a few months now. This is my latest piece, once again done in Savage Interactive's Procreate with Artist Harware's Sensu Brush and Targus' 2-in-1 Executive Stylus. I worked on this portrait in my spare time over the course of a few days. Altogether I'd estimate that it took just under 4 hours to complete. During that time documented my process which, if you're interested in reading about, can be found after the jump. As always, if you have any questions just leave a comment and I'll be happy to replay as soon as I can. Enjoy.

Work In Progress

Here is a detail from Aida, the latest addition to This House of Glass. I started by laying in a monochromatic blue underpainting to define the shapes and space of the room and figure. Then I layered in transparent washes of local tone to further define the structures and light source. At this point I'm laying in reflected light and pushing the shadows further to establish the value range we'll see in the finished piece.  Check back for more soon.

Related posts: Finished Drawing Transfered Drawing

Work in Progress

Aida Detail

Many people see the final drawing before I move onto a finished painting - but few ever get to see what that drawing looks like once I transfer it onto the watercolor paper. All of my problem solving is done on small pencil sketches leading up to the final drawing (see HERE) but the real details are added once I transfer that drawing to the watercolor paper. I mount a blown-up copy of the final drawing to the back of the watercolor paper and use it as a road map while I re-draw the entire composition - once again from the photographic reference. This gives me the opportunity to "flesh" out the details and lay down a system of lines that later communicate how the paint will be applied. It's a slow and methodical process but it ensures that by the time I start the underpainting I've accounted for as many variables as possible.