"A Bridge"

(sold)

"A bridge is the way over murky waters." There is a way across the murky waters of life. It's the Word of God.   The visual image is just another way of connecting art to the deeper things of life.

This bridge is located on the premises of the Biltmore Estate in Ashville N.C. Just an interesting tidbit...the same landscape architect that designed the grounds on the beautiful estate also designed Central Park.  I found this bridge to be very interesting and the water was greenish blue and quite murky. 

When deciding on subjects to paint, I like to include architectural elements or structures as often as possible because they create such a contrast to the surrounding natural elements and seem to add a strong grounding to the piece. It would be great to be able to paint every beautiful scene on location, but often that is simply not possible. In this case the road close to the bridge has a steady stream of cars so there would be no place to park or get close enough on foot to set up an easel. 

The next best thing is a good camera and a good laptop. I personally like to bring the image up on my computer rather than painting from a printed photo. It seems that the back lighting on the screen gives a truer statement of the colors and image. And there you have it...just a few more things to think about. 

"Point of View"

(unavailable....water soluble oils)

"Point of view determines what you see." Not only is this true in art, but it is true in life. A particular point of view about anything will determine outcome.

My experimenting rages on...literally...and I am once again reminded that paintings are made of shapes. It is good to remember this when taking photos as well. Look for contrasts and shapes to get some photographs you can actually use as a reference. In this piece, I probably could have done a better job of visually showing that this barn and foreground tree are at the foot of a hill of green grass with no blue sky showing. So one of the things I learned is that I might want to include blue sky in the photo for a more convincing piece.

However, I am satisfied with the fact that all four corners are designed. And the lettering is inscribed vertically along the right hand side without interfering with the image. I did do an under painting of a "grayed down" orange with acrylic paint before beginning. Hopefully, you will soon see more abstracted landscapes with more lettering included in the background. I plan to have a departure from this to an even more abbreviated image with some of my mixed media techniques also included.

My plan is to do what I know will work over time. And what I know works is that anyone who has a very strong desire to learn something can definitely do it if there is a desire to stay in the game and learn how to be very observant. I am now convinced that the skill of keen observation is foundational to learning art. And there you have it...just a few more things to think about.

"Love Language" (unavailable)

 

(unavailable)


"Flowers are a non verbal love language." Today's posting is for mothers everywhere, but today I want to dedicate this posting to a special mother in my life. She is my daughter, Alice, and mother of two of my grandsons. She is an exceptional mother who has sacrificed time, money, and personal convenience to make sure her boys have every possible opportunity to succeed in life. (The photo in this posting is a bouquet of flowers she sent to me for this Mother's Day.)

This is another piece created by texturizing gesso. That part was done first. The photo was adhered on top of the gesso with gel matte medium. It was printed on Gampi Silk Tissue paper which is totally transparent and has no edge. In other words, it becomes totally integrated on whatever background it's placed. You can only see the edge in this piece because of the application of Speedball Printing Ink over the background and the edge of the tissue which extends beyond the image. It receives the ink differently than the gesso and I quite like the effect.

In recent postings where I've used this gesso technique, I have limited myself to black, white, gray, and silver. The only difference here is that I wanted color so I removed much of the black printing ink with a damp sponge brush and by blotting with kleenex. After drying it thoroughly, I sprayed it with Krylon Acrylic Spray Coating and then applied a coat of Liquitex Clear Gesso. This application prepared the surface to receive soft pastels. It was then sprayed again with acrylic spray coating and then the surface was prepared for lettering. (see other postings for how that's done) You can see that the decisions as to where to confine the color created shapes from edge to edge. Shapes form the foundational "bones" for any piece of artwork. Just a few more things to think about.

"Speed of Time"

(unavailable)


"The speed of time is quite dependent on what you're doing." Have you noticed how time flies with the speed of light when you're doing something you enjoy, yet when you are doing something that you hate, time can be as slow as molasses. So if time is flying by in your life, it could be you're having a fabulous time!

Introducing a bit of color in a black, white, and gray environment can give a subtle power punch to the piece. In this piece, I began with white gesso, followed by texturizing with gestural marks. The color was introduced by applying acrylic paint in a vertical band over the gesso with a brayer. After that dried, I applied the silver leaf over gel matte medium straight from the jar. Use another brayer to roll over the silver leaf. If none of it comes up to reveal the color underneath, simply brush a bit of gel matte medium on the brayer, then roll it over the silver leaf and it will pick up some of the leaf.

After completing this part, there may be some of the color showing beyond the silver leaf. Apply some more gesso over that color to keep the color contained underneath the silver leaf. Then apply some black Speedball Printing Ink with a brayer over all of the white gesso. Dry with a hair dryer and soften the edges with water and blot with a kleenex to achieve the gray areas. Keeping color located in one area or shape is the essence of editing. Color always pops in a neutral environment and it is even more powerful if it is confined. In this case, less is definitely more. Just a few more things to think about.

"Much Ado"

(unavailable)


"Much ado about writing gives voice to my passion." My theory is that words are so important, they need to be written down. This is the last piece of a Black, White, Gray and Silver Quartet of pieces to be hung in my studio.

If you don't yet understand the power of black, white, gray, and silver...my hope is that you will very soon. Old silver is all the rage now and then to also include it in artwork is truly special.

This technique using gesso, silver leaf, photography on transparent tissue paper, Speedball printing ink applied with a brayer has the potential of being a chaotic mess. It is an excellent way to study shapes and organize your design space. The "golden rule" in the visual arts is that paintings are created with shapes...even in super realistic paintings. The values in this piece make up most of the shapes and you can see that there are horizontal bands of black, of white, and of silver. There is also a lot of texture, but it is the organization of the shapes that holds it together. It is a stunning technique and will be one of the pieces created in the upcoming "Symphony of Layers" Workshop. So if you're signed up for that workshop, this would be a good time to begin noticing shapes and how important they are in creating a work of art in any medium. Just a few more things to think about.

"Inscription"

(unavailable)


"Inscribe great thoughts on the vellum of your mind." This is a wonderful thought to begin the week. Thinking great thoughts precedes doing great things.

Black and white plus silver and grays will always have appeal. Black is a fabulous grounding color and gives weight and presence to any room. And if you must have color, just the addition of one other color will work with this combination every time it's tried.

The underpinnings of this piece begin with white gesso and then texture is added by creating gestural marks or writing with the corner of an old credit card, stylus, or any other pointed object. After the gesso dries and the black printing ink is applied with a brayer (over the entire surface), you will be able to see where the best textures are and then crop accordingly. It is extremely wise to not place the image in the center. If you divide the piece into thirds both horizontally and vertically, you can have an idea of where to place your focal point. Any place where the imaginary division lines intersect would be a good option.

You can clearly see that the black, white, and silver shapes do form other shapes which give the piece cohesion. Remember that paintings are made up of shapes. A piece can fall apart when this concept is not clearly understood. Just a few more things to think about.

"The Broken Pieces" (unavailable)

(unavailable)


"Even the broken pieces can form a beautiful pattern." Disparate parts can often be the very best pieces in a mosaic. The pieces in this mosaic image are fairly consistent and uniform, but I have also seen some with rusty metal parts, glass that's been aged by weather, and even wood that a normal person would discard. However, these discarded treasures can come together to make a very compelling statement about what creates beauty. It is wise to think of the dysfunctional parts of life as simply a part of a beautiful life.

This piece began with a photo of the mosaic. I did print it out on a full 8.50" x 11.00" sheet of Arches Text Wove to make sure there was not an exposed  edge around the image. After the gesso was applied with a credit card and texturized with erratic marks and drips...it was left to dry overnight.

This morning I used a brayer to apply black Speedball Printing Ink to the entire piece, excluding the image. It was dried with a hairdryer and then much of it was softened with a brush dipped in water and blotted with a kleenex. I then sprayed with Spray Acrylic Coating before adding the next layer.

White Printing Ink was then applied with a brayer, with a thought to creating an edge to edge shape above and below the image. It was dried, and then the edges softened and unwanted areas of ink removed. Black Charcoal Power was applied over some of the black areas. It was then sprayed with Acrylic Spray Coating.

Liquitex Clear Gesso was applied to all areas except the image. Some soft pastels were applied in brown and pale blue. A kneaded eraser was used to remove the pastel where it was too prominent. It was sprayed again with Spray Acrylic Coating, followed by a preparation of the surface for lettering with (2) parts water and (1) part gel matte medium.

And so that is the process of layering in mixed media. Every step is important as values are adjusted and the main thing is highlighted in a way that it remains the main thing. It is great fun to play with so I would encourage you to do your own experimentation. And these are just a few more things to think about.

"Inkwell"

(unavailable)

"An inkwell is a reminder of unwritten thoughts." This new addition to my inkwell collection is from the 1800's. And with the takeover of technology, it is a beautiful reminder of the handwritten thoughts that reveal our personality. There are still some things that computers cannot do!

In mixed media, timing and planning ahead are key. The silver leaf square was the first thing that was adhered to a blank sheet of Arches Text Wove. I brushed Gel Matte Medium in a freely formed square and then placed silver leaf (the kind with an easy release backing...available at Michaels) over the gel. It is best to brayer over it with lots of pressure for good adhesion. Let it dry overnight. Failure to give it sufficient drying time will result in the leaf moving around and tearing in places when you go to the next step of your process.

I printed my inkwell onto transparent tissue (check paper sources that carry exotic Japanese and Chinese papers. This one is gampi) Brush gel matte medium over the silver leaf and adhere the image. Dry thoroughly with hair dryer.

The remainder of the steps were accomplished with gesso, a brayer, and Speedball Printing Ink. This was an experiment in black, white, and gray with contrasts of shiny silver vs. tarnished silver in the image and the black, white, and gray in the background. A renown interior designer inspired me to try it as I was reading what she had to say about black and white. The beauty of it is that you can get away with using lots of complex patterns and texture. The black and white values tie them all together beautifully. Just a few more things to think about.

"The Bling"

(unavailable)

"Wildflowers are the bling in the spring landscape." The wildflowers are definitely out and I thought it would be fun to describe them with words usually confined to women and their jewelry or other adornments. There is a hugh crop of them this year. Enjoy!

Contrasts have tremendous power to highlight the very thing you want the viewer to enjoy. In the case of this piece, I have contrasted a "pristine" image of a wildflower with a textural, "smudgy" looking background. There are (3) layers of gesso alternated with soft pastels, brayering with printing ink, and (2) layers of Liquitex Clear Gesso in between to cause the pastel to grab hold of the surface. If you have a color in the background that needs to be toned down, you can add another layer of gesso and then create some gestural marks with the edge of an old credit card to "pump up the volume"...so to speak. You can see that I did exactly that in the area right above the flower. This technique also creates rhythm and drama rather than having a solid band of color connecting the image to the top edge.

The importance of the gestural marks flying upwards to the top edge cannot be overstated. Having them in close proximity to the corners, is a good design move as well. If you like splatters, splotches, textural marks, this gesso treatment is something you might want to pursue. And when you blog everyday, you get tons of experience! Today is my (400th) posting. Just a few more things to think about.

"Ashes to Beauty"

($40.00......6" x 6".....mounted on a 1/8" depth clayboard panel)


"When life turns to ashes...focus on beauty." A ton of beauty can do a lot to lift the human spirit. So when life seems to bring you to your knees, it is quite time to focus on beauty and in abundance. The image in this piece is the bougainvillea flower which typically grows in tropical areas. I grew up with these flowers so they have a special place in my heart.

One of my friends calls the look in this piece the "grunge" look which is quite appropriate. It begins with an image (or not) and gesso. I typically make gestural marks in the gesso while it is still wet. Just use the corner of an old credit card, look out the window, and pretend you're writing something. No one needs to read it because you're only doing it to create texture.

The green color was added after the gesso dried overnight. It was applied with a brayer and softened with a brush and a bit of water followed by blotting with a kleenex. Soft pastels and lettering came next. Now if you like smudges and texture, this is the technique for you. There is so much that can be done with gesso...and if you don't like it, you can gesso over the whole thing and start over. I did focus on connecting the image to at least (2) sides of the design space. The connection is the green color. By adding a "grayed purple" pastel color, a haze was created which adds to the color vibration. (red and green are direct complements.  Green and purple are split complements.)  It's fun and generally goes well unless you try to include too much. Keep the main thing the main thing. Just a few more things to think about.


Please contact me personally to inquire about this piece.

"The Triumphant Processional"

($60.00......6" x 6"....mounted on a 1.50" depth clayboard)


"Easter is the triumphant processional celebrating the resurrection of Jesus Christ." All of the color in the flowers, the eggs, the dresses, the hats point to a celebration of the greatest gift ever given to mankind.

This piece is a photo montage of greenery with one lily adhered to a support with erratic pencil lines and writing. After this thoroughly dried, the pouring medium was added with most of it applied in a thin, watercolor technique with some thick medium and marbling at the bottom. It was very important to leave a lot of space with very little detail since there is much going on in the image. It gives the eye a rest and the viewer will not be so quick to turn away. Visual overload and bad design are the number one reasons why an artist cannot keep the viewer engaged.

Even though the lettering may be a bit difficult to read on a computer screen, it is quite clear in the original. I chose not to use pure white for the lettering, but added just a tiny, tiny bit of Cerulean Blue Gouache to tone it down a bit. The robin's egg blue color at the top is achieved by graying down turquoise and adding a bit of that to a ton of white. It really is quite lovely with the Golden Green Gold color mingling together with it in the pouring medium.

This is a good time to also talk once again about positive and negative space. If the two are close to being equal, with the positive taking up a bit more than the negative, there is a bit of drama and it is pleasing to view. If there is not a lot of detail in the positive space, you can create a lot of drama by having the positive image taking up at least two thirds of the design space. Just a few more things to think about.

Please contact me personally to inquire about this piece.

"Light Penetrated Darkness" (sold)

(sold)


"The light penetrated the darkness literally, figuratively, for all mankind...stretching into eternity." This pivotal moment in history gave us redemption. What a day of thanksgiving!

This piece has a different application of pouring medium. It was applied more like a watercolor with no marbling effect and also the use of gray which I haven't used as much in the past. I did work on paper at least twice this size which left me some interesting cropping options. The image could have been "dead center", but by placing it in the lower right corner, I increased the drama 100%. It is so easy to stay in the mindset of the same old formats, but my encouragement to you is to branch out and try some "riskier" options. There is literally something different in every corner which is so much better than a vignette. Remember that paintings are made up of shapes which is another advantage of cropping. Image and strong color, or both, should be touching at least two sides of the design space. You will lose the viewer much quicker by placing things in the center. It is simply not interesting enough.

The paper the image was printed on also creates a rectangular shape, but the color flowing over it onto the negative space (or background) binds them together yet the shape is still visible. This all sounds so easy until you are in the middle of the creation which is why it is important to practice on a regular basis. Just think about it and soon the corners and shapes will come into focus.

"Magnolia"

($40.00.....6" x 6".....mounted on a 1/8" depth clayboard panel)


"The magnolia flower is a model of confidence by the way it sits on the branch." Some flowers may seem a bit timid by the way they present themselves. This is not the case with the magnolia flower which is large, has beautiful form, and sits with confidence on a bed of large magnolia leaves. Of course, there is always something to learn and apply to ourselves as we think about the way we come across to others.

This piece is all about design,  shapes, and texture. I created some erratic lines on a blank paper first. The printed image was then placed over the word magnolia and shows through the flower because it was printed on very transparent paper.

Gesso came next...applied with an old credit card. I then applied some peach and green soft pastels. Gesso was applied again and scribbled into with the corner of the credit card to create texture. It was dried thoroughly

The shapes really began to take form after applying Speedball Printing Ink with a brayer. You can see how the texture marks in the gesso remain white. It is very important at this stage of printing more color with the brayer to make sure your shapes extend edge to edge but also leaving some areas to create smaller shapes. After being satisfied with the shapes, I brushed on some more peach pastel and sprayed the surface with Spray Acrylic Coating.

After preparing the surface to receive lettering, I finished the piece by writing with peach colored and eggplant colored gouache. This type of piece can become chaotic if you use too many colors and include too much photography or collage bits. (Also notice that all of the corners are different and I made sure of that while printing color with the brayer.) The key is to keep the main thing the main thing. Just a few more things to think about.


Please contact me personally to inquire about this piece.

"Portals"

($40.00.....6" x 6".....mounted on a 1/8" depth clayboard panel)


"The ornate memories of the past are often reflected in the portals of my mind." The ornate texture in this image is at the top of the entrance to the Alamo. Now there's a portal with a lot of ornate memories!  Just to use an adjective to describe something that is not typically described by that word helps to pivot to a different perspective. Such is the case here.

This piece is all about texture. It contains simulated and actual texture. You can even see it in the lettering. (A very difficult surface to write on.) The simulated texture is the photo at the top portion of the entrance to the Alamo. There is also a band of collage which was printed on silk tissue paper. I then added some real texture in the form of Golden Crackle Paste around the corners.

After spraying all of that with Spray Acrylic Coating, I brushed on a coat of Liquitex Clear Gesso to help the surface receive soft pastels and charcoal powder. The surface was then sprayed with acrylic coating again and then prepared with gel matte medium to receive the lettering. For those who read my "diatribe" everyday, I hope you notice that I keep repeating my steps so that you can understand the complexity of mixed media and layering. My desire is to continue shaking it up a bit and adding or combining different techniques and materials to create more surface texture and depth. I will also be introducing more contrast of size, color, and gradation in the lettering to add interest as well. Just a few more things to think about.


Please contact me personally to inquire about this piece.

"Tenacity"

($40.00....6" x 6"....mounted on a 1/8" depth clayboard panel)


"The tenacity to make a "comeback" shows up every spring in the form of a flower." You may have noticed that the bluebonnets and other wild flowers have made a great comeback. The beautiful yellow blooms on the prickly pear cactus are soon to follow. Enjoy!

Paintings are made up of shapes. None of us can hear that "four star" tip often enough. It is especially important in mixed media where combinations of different techniques can result in chaos and ill defined shapes.

The small photo was blocked in with gesso and a credit card held like a trowel rather than between two fingers to get closer to the surface. (That may not be the best visual. You almost need to see it done.) After laying down the gesso, it can be texturized by using the corner of the credt card to make erratic lines and gestural marks. At this stage, I left the piece overnight to dry.

This morning I used a brayer to add color with Speedball Printing Ink. Since it's water soluble a sponge brush dipped in water can be used to soften the edges and create a wash in other areas.  All of this must be sprayed with Spray Acrylic Coating. After drying with a hair dryer, sponge on some Liquitex Clear Gesso to give the surface enough "tooth" to add soft pastels and charcoal powder.

While doing all of these layers, keep the main thing the main thing and preserve and further define your shapes. Play the lights against the darks. All of this contributes to a well designed piece of art rather than a scrap booking page gone bad. Just a few more things to think about.


Please contact me personally to inquire about this piece.

"Closed" (sold)

(SOLD)


"Hang a "closed" sign in your mind on any thought that sends you on a detour." Detours are never fun. It generally takes a lot of time and effort to get back on the right road again. That's why it is so important to place a "closed" sign on those thoughts that can derail us. Most of the time we don't like to see the word "closed", but in this context,  it's a treasured word.

In order to have photographic images on hand that provide a lot of interesting shapes, it is necessary to change your mind on what constitutes a good photograph to provide the first layer for this type of piece. Taking photos of the typical scenic images that might be a good source for an oil painting is a different kind of photography. For this type of piece, you need to be looking for odd images that have some interesting shapes. All artwork is made up of shapes so the best candidates for this type of image will be the ones with many different sizes of shapes, overlapping shapes, shapes of different values or colors, and shapes that have edges on a diagonal. It's quite like going on an Easter Egg Hunt for shapes rather than eggs.

This particular signage was seen hanging on the door of a store. I was disappointed that the store was closed, but quite fascinated with the hand made sign that looked like a primitive collage created mostly from newspaper. Notice the division of space created by the sign and the way it was cropped for the photo. I did create a monoprint on Arches Text Wove with Ink before printing the image. Gesso and Black Charcoal Powder helped to add interest and mystery to the piece. Just a few more things to think about.

"Remember the Alamo" (unavailable)

(unavailable......in the permanent collection of dee day)


"Standing on principle can change the course of history." Today is Alamo Day in the state of Texas. This was the day that the Alamo was under siege and all but three people were killed defending this small fortress from the Mexican Army. It was not particularly a smart military move on the part of the Texans, but it gave tremendous will and courage to those who determined that the sacrifices of those who died would not be forgotten. We are still remembering.

The first layer of this piece began with a photograph of the Alamo as it stands today. The original photo was not aged and actually looks a bit odd in a very contemporary setting with modern buildings all around.

However, with the addition of Pouring Medium plus Golden Titan Buff Fluid Acrylic, it was on its journey to looking like something from a history book. The photograph was printed on Arches Text Wove and then mounted to a clayboard panel. I then added the pouring medium mixture and sprayed much of it off with water...leaving the residue mainly on the sides and corners. With the addition of Charcoal Powder and #305 Sennelier Soft Pastel...it morphed and changed dramatically. The one collage piece is Optima (a font designed by a calligrapher) printed out on the computer and then printed onto very thin tissue paper. After preparing the surface for lettering and actually writing the quote, the piece was done.

The particular pink / orange color of soft pastel is one you might want to try. It has a "glowy" effect and works quite well with the "old photograph" look. Running the line of printed text vertically mimics some of the pencil lettering that is also running up the page vertically. This way it is not competing with my one line of written text at the bottom. Lettering placement can be a difficult thing to determine, but I have found that it is best to play off of lines or shapes that are already there. By doing that, it is like having an echo of something else. In other words, the pencil lettering becomes an echo of the printed and collaged text. Just a few more things to think about.

"Lines of Choice"

($40.00.....6" x 6"...mounted on a 1/8" depth clayboard panel)


"Life is like an aged photograph etched with the lines of choice." Choices are the most powerful tool any of us has to alter the course of our life. This is especially true in a free society where we can choose to come and go at will. It is the cumulative effect of choices that make a life rich or destroyed. It's a choice.

As a visual artist, it is impossible to run away from the power created by division of space. It doesn't seem to matter what medium it is or whether the subject matter is realism, abstraction, or somewhere in between. The fact remains that all paintings of all types are made up of shapes. Those shapes create the way the space is divided. One of the most prolific daily painters (Carol Marine...oils) has compelling images because of the way her still life set ups are cropped and painted on the support. She has a great many diagonals plus the straight forward and confident brush strokes are also laid down in many different directions creating a rhythm which is mesmerizing.

The problem with all of us is that it is way too easy to shut off our brains and not intentionally think about these things. The result is often the same old thing with a still life placed in the center with negative space all around or the shadows and draping going off of the page, but always looking at the set up from the same angle. It's time to think because if any of us finds ourselves doing what thousands of others are doing, the viewer will tune out. There are simply too many compelling visuals out there so we must consider creating work that is not seen every day. In other words, to set ourselves apart somehow....some way. It is just something to think about. The division of space in this piece was created in layers with the lines playing a key role in how the space iwas divided, but it start with the division of space created by the photograph.


Please contact me personally to inquire about this piece.

"Balance"

($40.00.....6" x 6"....mounted on a 1/8" depth clayboard panel)


"Balance in life is the right distribution of time in key areas." Ouch! This quote hits me square between the eyes. This is just a friendly reminder to all who care about doing life well.

Monoprint, erratic lines, photography, gesso, graphitint pencils, and lettering. That is the sequence of how this piece was done. It creates a mood and that's what I go for in every piece I create. What is the quote and how do I create a mood that fits?

The Graphitint Pencils (Derwent) are fantastic in helping create mood. I'm sure that some of you might be thinking why not use water soluble pencils. Pencils might still leave some of the pencil marks in place even after adding water. These pencils are water soluble graphite. It is soft and dissolves quite nicely into the background. Even watercolors will not be as completely integrated as these.

And just in case you are under the impression that you are looking at an image of a church. it is not. This is actually one of the many spires emerging from The Biltmore Estate. If you're ever in Ashville, N.C., you really must take a day to go. You will not be disappointed. Just something else to try or think about.

Please contact me personally to inquire about this piece.

"A Broken Window" (sold)

(SOLD)


"A broken window gives clearer vision." Brokenness in life has a good side if it is viewed from the right perspective. This image of an old window shows how clearly the foliage can be seen with the window broken. It's a visual metaphor of the flip side of brokenness. If you have been hurt badly in relationships or physical suffering, you are the ones who can see life quite clearly.

Windows are one of my favorite visual metaphors, especially if they have several panes. This one is especially charming since it had been sitting outside of an antique store for quite some time. When looking for just the right kind of photograph to include in your art work, don't overlook those things which are not included in the obvious choices. This image not only gave me the perfect metaphor, but it has a wonderful poetic quality with the leaves sitting in the sill and the "fogginess" of the glass. The choice of image left me with very little to do.

However, I did add some pencil lines and created a monoprint with Caran d'Ache Saffron colored ink on the paper before printing the image. After the image was sprayed with Acrylic Coating and adhered to the panel, I added Black Charcoal Powder and black erratic lines with a pointed pen. The piece was then secured with spray acrylic coating again....prepared for lettering with diluted gel matte medium with the final quote and white lines done with pointed pen and Winsor Newton Bleedproof White. And that's how it's done! Just something more to think about in transforming a photographic image into a piece of art.