My paintings are done in a traditional style, using paint and brushes on 300 pound rough paper. There is no air brush used. In order to achieve the vibrant colors and a sense of depth in the work, I use a combination of wet into wet, glazes and dry brush. Since I believe that shadows define the shape of an object, or the mood in a scene, light plays an essential part by revealing the color, texture and various shades that dance through a painting.
Greetings From Florida Also available as a print	Cobalt and Chrome	Four Pumpkins	Ruby Glass and Cherry China
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Glass and Grapes	Cherry Baskets	Reflected Cherries	Glass Impressions
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Pumpkins and Gourds	Glass and Limoge Sold Available only as a print	Sunny Side Up Sold Available only as a print	Strawberries and Silver Sold
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Copper and Pear Sold Available only as a print	Working Birds Sold Available only as a print	Old Stoneware Sold Available only as a print	Nautical Memories Sold Available only as a print
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Crocks and Cortlands Sold Available only as a print	Chrome Reflections Sold	Glass and China Still Life Sold	Still Life with Fresh Eggs Sold
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Time for Tea Sold	September Bounty Sold	Glass Transparencies Sold	Four Baskets Sold
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China and Cherries Sold	Mason Decoys Sold	Childhood Companions Sold	Playtime Pals Sold
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Lulu and Friends Sold	Three Decoys Sold	Stream Dreams Sold	Coming Home Sold
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Anglers Artifacts Sold Available only as a print	Wash Day Sold	Low Tide Sold	Days End Sold
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Rockport Harbor Sold	Tropical Bait Shacks Sold	Stoneware with Blue Jug Sold Available only as a print	Sea Shell Still Life Sold
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Winter Stillness Sold	Still Life with Rose China Sold	Canada Goose and Black Duck Sold	Southern Exposure Sold
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View from My Window Sold	Florida Foilage Sold	Cobalt Reflections Sold	Fall Harvest Sold
I begin a still by arranging the props in a composition and then lighting it with a floodlight. This allows me to control the light source as I am working on it. I make a conscious effort to regulate the forces of contrast. Warm against cool color, hard against soft edges, and light against dark shapes are all important considerations in the setup of the still life. Once I am satisfied with the arrangement, I draw it on the paper in outline. Starting with the background and using a wet into wet technique, I blend the color from dark to light across the paper. The background is then dried with a hair dryer, then I paint in the object furthest back and work forward adding the items in the middle and foreground. Because watercolor is transparent, the whites have to be left as unpainted paper and preplanned from the very beginning. In the final steps, any design that is to be added to the cloth is completed, and the highlights are achieved by removing the paint with a razor blade or an electric eraser.