I have been doing pen and ink illustrations since 1988, but started perfecting the technique in 1994.
I started making sure that I took my time and made each dot perfectly round. There should never be any streaks or lazy dots. Each one should be made with intent, even if they are all overlapping. It resonates with a feeling of an organic visual, yet shows focus and control. It feels like, when does right, you can recreate the look of a photo because they are inherently made up of dots as well.
“I always start with a BW print of a photo sized 6″ x 8″ roughly. Then I begin to draw out all of the details in a light sketch on illustration board. Once the sketch in finished, I begin to add the dots. Each dot needs to be perfectly round so I need to always remember to not rush the process and only work a few hours at a time. The darker areas are dots on dots on dots. The sky is just dots that are closer or farther away from each other to create a nice, subtle, visual density and the illusion of clouds.”
Each piece presented a new challenge in either the perspective, details and accuracy that I had to nail so they would resonate with visual authenticity.
If you are interested in an inscribed and signed print, check out my STORE. You can purchase all items for sale there.
Pen and ink has been a huge part of my life over the last 30+ years. I have been commissioned by my High School Subiaco Academy to do a series of pen and ink pointillist illustrations that highlight scenic views of the academy and the surrounding area.
Each illustration took between 45 and 65 hours to create. I can only work in two to three hours sessions before my hand gets too sore. The key to pointillism is to make each dot perfectly round and not to get lazy or work too fast.
It’s deliberate, delicate and accurate. As an example, with the Statue of St. Benedict in the Inner Court illustration: I finished everything except the face. I waited until I was completely finished with every single dot and then I took my time and spent about a day just on his face, very carefully deciding on where to put the dots to make it perfect.
What’s really cool is the each brick is identical to the original structure. I worked line by line from top to bottom to mimic the stone pattern so it would match identically if you were standing there in from of it. That’s dedication. Maybe overkill, but that’s what it needed to resonate with truth and authenticity, let alone accuracy. That was the challenge for me with that one.
