My studio is on the third floor of our 100-year-old house. It is a bright

and spacious work space and I really appreciate the short commute to

work.

Painting area - At this end of the studio I have a drawing desk with a
worktable mounted on the wall right beside it. There is a bathroom to the left

where I clean brushes and fill water containers. I have a sheet of fiberboard

mounted on the wall on which to pin up a book dummy.  It is useful to step back

and see how the story is moving from page to page. The narrow set of drawers

is used to file reference material. On the right, just beyond my desk, is a door

to a small deck. It is nice to step outside without having to descend all the way

from the third floor.

Computer area – I have a 21" Imac, a 21" Wacom Cintiq, a large bed

Microtek Scanner, a small Epson Photo 890 and a large Epson Photo 2200.

This setup allows me to sketch on the Cintiq, email the work to art directors,

revise easily and then print the sketches directly to watercolor paper on the

2200.  I paint the final art traditionally, but if needed I can scan the finals

in, do touch ups in Painter and send the art as digital files to the publisher.

Work table – I use this table as a general work surface. Under the table

I keep paper storage drawers and a paper cutter. The light box is on a small

worktable behind this one, under the wall clock.

In the kick wall cupboards there is storage space for finished art and mailing

supplies. On the right you can see one of the doors to another large storage

closet.

Art desk – Two lamps for working and a third lamp/magnifying glass

if I need it. This chair is fully adjustable and the stool under the desk is for

planting my feet on when I work. This has proved critical for avoiding back
problems. There is a rolling cart to pull out and place where I need for
more work surface.

Paint set up – This is my palette set up for liquid acrylic paint. The paint

trays are stored in an airtight plastic container with a moist sponge in the
bottom of it. (By the way, those little “paint trays” held miniature quiches
from Costco).

Brushes/palette – For acrylic painting I use Windsor & Newton Sceptre Gold,
series 101 brushes. I have another set of these for watercolor work,
along with Windsor & Newton real sable watercolor brushes.
I use old china plates to mix the colors.  I use scraps of watercolor paper to

test colors before I add them to the painting. Brushes are blotted on a wad of

paper towel.  I have to watch out for rinsing my brushes in the cup of tea.



Studio companions – Jewel, the German shepherd, who follows me

everywhere.

Sadie, who naps in this chair while I work.

This is the view from my studio window at sunset on a winter evening.

On a clear sunny day, the mountain is beautiful.






Working on a painting:


A – This is my first drawing. I don't worry about making extra pencil lines
or correcting mistakes. I use a tissue overlay to copy the parts of the
sketch I want and keep working the drawing on the tissue. I was not happy
with this drawing, however. I wanted more going on and the mouse just
bothered me – he was too big and cartoon looking.


B – I have added another mouse and the little drama of it trying to get in
to the cookie jar. I changed the appearance of the mice and also added the
tension of a dog watching the cat. Much of this sketch is traced from the
tissue overlay of the last sketch, so it is cleaned up and I have added more
details.


C – The sketch is moved to the light box to transfer the drawing to
watercolor paper. I used Arches Bright White, hot press, 140 lb paper for
this painting. I did not presoak or stretch the paper. I just cut the
paper with at least an extra inch all around and taped it directly over the
sketch, then used a HB pencil and softly traced the lines.


D – The drawing transferred to watercolor paper. The edges are taped off
with easily removable blue painters tape. I don't always do this, only when
I want a clean edge to the painting. On many of my paintings I just bleed
the color beyond the crop lines, or the faded bleeding edge is part of the
painting.


E – The large areas of color are being laid in and I start to define the
areas of light and shade.


F – The painting is more developed. I have still not decided on the color
of the cat and decide to choose the color once I see how the rest of the
painting develops. Starting to put in some of the finer detail.


G – Almost complete. I still have to strengthen some of the shadows and I
will emphasize more fine detail.


H – Finished painting.