Above - one of my newer digital prints, Dreaming, which was conceived for our granddaughter (the ballerina) & which was recently seen in a show at the Technology Garden in downtown Syracuse.

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I've chosen to include here 'retrospective' images of the various media in which I've worked over the years. Artists are given to experimentation. There is an excitement involved - a sort of natural evolution of style & technique. At present, I'm deeply involved with computer graphics - but some things never change. My love of drawing, for instance. My sketching materials still travel with me wherever I go...

Sandwich Salt Marsh:watercolor 

Cranberry Bog - Computer Graphic

2 Pears: watercolor

Dory: Computer Graphic

Salt Marsh - Maine: screened monoprint

 About my recent work with computer graphics:  Some call them ‘digital prints’. I prefer the term ‘computer graphics’ because I have done traditional prints—linocuts, serigraphs and woodcuts—in the past. The word ‘print’ is often used interchangibly as a descriptive term for reproductions  of paintings or drawings that are produced by a mechanical printing press. My computer pieces are not reproductions. Creating original art on the computer  is a relatively new field—a new medium—and I suppose the terms will eventually ‘shake out’ into uniformity.  It is interesting that so many different people, in experimenting with the computer as an art medium, produce such widely diverging results—their own ‘style’ is as marked as that of artists working with traditional media.

My computer prints are the equivalent of traditional printmaking techniques—in that the original design is conceived & executed on the computer, just as linoleum and woodcuts are done on the wood or linoleum block; the serigraph is done on the silk screen; the lithograph is done on the stone; the etching is done on the metal plate.

People ask me how I do ‘this thing I do'. The answer is—in multi-layers. It starts with one of my own scenic photographs, old photos from family albums—or a photograph of one of my earlier works. I then ‘explore' it, sequentially using three or four of the photo editing programs that I have—but in no particular order. I manipulate shapes, colors, composition. Some photos work with relatively little manipulation because they were so tightly composed in the beginning—others involve so many stages that I would find the process hard to duplicate in the event of a computer crash. As the complexity increases—so does the level of excitement. I must state here that the computer does not make the print—it's a tool that I use much like a brush or pencil and I can ‘feel' it, just as when I'm using one of those more traditional tools. And— yes—it is as satisfying and stimulating as the use of those traditional tools.