Just let me know what you would like. Virtually anything can be done. Prices are available upon request, and are dependant upon size, medium, and research involved.
So how do they come together?
Well, no two commissions are ever the same, and the approaches in the creative process can vary. There are several methods that I use in the creation of my work, and they have a way of crossing over from piece to piece. First and foremost, the composition dictates the approach. I will always thumbnail out the compostion before I commit to the actual painting, and I will usually create a fairly detailed drawing to work out any compositional kinks.
I am an avid photographer, and when the opportunity arises, will do my own photography of a subject for reference. However, I have learned never to completely rely on a photograph; the camera lens has a nasty way of putting a subtle, but noticeable, fish-eye distortion on an image, and the closer the camera is to an object, the more dramatic this effect becomes. I'd rather treat the photo as a reference, and attempt to take it somewhere it hasn't been. Keith Ferris, one of the founders of the ASAA, taught me the importance of descriptive geometry, and the error of trusting solely on a photograph, particularly when combining 2 or more photos taken at different times. This can lead to an obviously incorrect and unnatural painting.
So no, I do not use projectors to transfer any image onto paper or canvas. I'll use any combination of freehanding, grids, or perspective charts when a piece calls for accuracy in perpective. This allows me the freedom for subtle corrections or to use creative license in interpreting a particlar subject.
Below is an example of a commission I received from George Bryan, of Bryan Foods, Inc., in May 2001. The goal was to create a color oil portrait of his uncle's 10-man bomber crew, which flew during World War II. There were 2 photo references, but two men would have to be replaced by two others who were not in the original photos. The originals were, of course, in black and white, with the painting to be full color. Also of importance was the airplane, which was identifiable by the name painted on the nose. Below are the steps involved in the painting's creation.
Before any paint touches the canvas, the image is drawn in pencil using a grid method. The original canvas size is 24"x30."
After the image is penciled in, details are refined and sharpened by re-drawing the image in black ink.
Once the outlines are defined, the entire image is given a rapid black wash in acrylics to determine light and dark values.
Once the values are determined, the process is repeated to establish the color scheme using acrylic paints.
The image is then painted with oils, successively layering in thin coats, until the picture is complete.