ABOUT DIGITAL ART
Those who have followed my 35-year career as an artist are not surprised that I am using the computer as a tool for painting pictures. Computer software gives me fantastic new creative tools. My methods and materials have always been eclectic and frequently unique. For instance, at www.artfocus.com you will see my sculptured paintings created by modelling the canvas.

I do not use a mouse when working on the computer. I draw or paint with a stylus on a tablet while watching the results on my monitor. I can program my stylus to simulate any traditional artistís brush, pen or pencil and select from thousands of colours. Computer programs such as Adobe Photoshop allow me to draw and paint in a traditional manner or I may create a geometric composition from perfect circles, ovals, squares and rectangles then distort them into smooth free-form shapes.

Nine of the digital art paintings displayed here are a colour-related series. They evolved through distortions of an earlier composition titled "Jungle Flora". Painting with simulated brushes and other tools I altered and perfected each composition. Some, of course, were discarded along the way. Not every painting works out right. "Stalactites in Winter" and "Stalagmites in Summer" are related to one another but not to the Jungle Flora group. Some of my compositions are celebrations of design and colour, some are imaginative interpretations of the world we live in and some just encourage a smile.
The final original prints from my digital art can be produced on paper or canvas, ranging in size from 10"X 10" to 44" by 72". When creating a work of art that can be printed very large, I must view it section by section on my monitor at its actual maximum size. This reveals the minute details that are not visible when the whole image is displayed on the monitor screen. I then undertake the final meticulous job of smoothing, blending, altering and perfecting my digital work of art.

Painting on computer requires far more time than painting on canvas and the printing process is expensive. However, it is worthwhile because it enables me to create forms that I would never have conceived and textures that would require a one-haired brush using traditional painting methods. Viewing the first large print off the press is an exciting moment. It is the first time that I am able to view my entire composition in full size and detail.