The "Phelps Process" - In 2008 I set out to first capture the eyes, then the souls of all who view my art. I want to harness my entire skill set to create amazingly colorful, soul-capturing paintings.
I strive to transport my viewers to the wonderfully colorful world in my mind.
I want to be the best. In order to be the best you have to show the world something not only amazing, but brand new.
I spent two months researching all of the ideas running thru my head. My brainstorm overwhealmed me to the point of sleeplessness.
I had several criteria for my new process:
- Maintain the artistic style or voice that I had already developed
- My early work employed a traditional painting process, parts of which I found very tedious. I had to find a way to eliminate the tediousness and make the entire process fun. The more fun I have, the more passion translates to the canvas
- Increase the quality and appeal of my work, but at the same time, increase my productivity
- Use my unique skill set to invent a brand new artistic process
- The process had to be green, or eco-friendly
I picked the brains of all who would listen. Most thought that I was crazy, "No one's ever tried anything like that," "it will never work." Though all doubted my ideas, most offered any suggestions they could. I learned what I could from each and started ordering equipment and materials.
During the agonizing wait for all of the equiptment and materials to arrive, I became discouraged. I let all of the "nay sayers" get me down. I started to believe them; maybe I was crazy, maybe I was wasting my time, not to mention a lot of money. One night I was surfing the internet, desperately searching for any sign that my ideas were sound; that this craziness might actually work. That was when I found a small article on Hercules Seghers. Seghers was a European artist in the early 1600's, he played a vital role in the revival and advancement of etching, printmaking, and painting. Seghers is a little known figure in art history, but his printmaking skill and painting compositions inspired Rembrandt's career, style, mediums and techniques. (Email me if you want to learn more about Hercules Seghers). Anyway, back to the story.
Halfway thru the article on Seghers I discovered that 400 years ago this innovator (who was called crazy in his day) had the same artistic ideas that consumed my mind. Seghers developed a similar process to the one I had invented. I WAS NOT CRAZY, IT WOULD WORK!
Now, I am not using the exact process that Seghers tried to popularize, but many of the same fundamental ideas are there. The "Phelps process" is completely unique. I am the only artist in the world who has mastered and combined the artistic disciplines of: photography, drawing, digital manipulation, relief Solarplate printmaking and painting (oil, acrylic and watercolor techniques are all part of the process).
If you want to discover the secrets of the Phelps process, please read on: |
1. Photography - It all starts with the inspirational beauty of the places I travel to. My brain automatically turns everything I see into a finished "Phelps painting." I am constantly analyzing the world in front of me, deciding which images should be brought to life on canvas. I photograph these amazing compositions as references for my bold paintings. |
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2. Drawing - Back at my studio in Centennial, CO I use the photos for inspiration. I pick out the images that really speak to me. I let the composition of the image determine the size of the artwork, and the size affects the emotional power of the piece. Once the size is determined, I sketch the composition onto the canvas.
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3. Acrylic Color Wash - I use the sketched out image to guide the acrylic color wash phase. During this phase, the entire canvas is covered with water. I pour liquid acrylics straight from the tube onto the canvas. My knowledge of color and light combine with the power of gravity to create a powerful and bold wash. It is awesome fun to try to control the powers of gravity and water!
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4. Printmaking (Solarplate relief printmaking) - While the acrylic color wash is drying, I redirect my focus to printmaking (I used to love printmaking in college and was thrilled when I found a way to incorporate it into the Phelps process). Printmaking has been a respected artistic method for hundreds of years, partly due to the hard work and innovation of Seghers. There are many forms of printmaking, such as: etching, intaglio, relief, wood block, lithography, and the list keeps on going.
I had always planned on using printmaking in the Phelps process, but initially thought that I would have success using woodblock, or maybe the intaglio technique. One day I was bouncing ideas off of my printmaking press manufacturer and he suggested that I check out Solarplate printmaking. I had never heard of such a thing but was willing to give it a look. It turns out that the Solarplate printmaking technique was a perfect fit for my invention. Solarplate printmaking is an amazing printmaking process developed by Dan Welden in the 1970's. Dan eliminated the harsh chemicals used by most printmakers, creating a "green" printmaking process over 35 years ago! |
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4a. Solarplates are a versatile material, with many applications. I create relief Solarplates for use in the Phelps Process.
Digital Manipulation -To get started I go back to the initial reference photograph. I use my PhotoShop knowledge to manipulate the inspirational photo. Once I am happy with the image, I suck out all of the shadows. I use this new shadow file to create a negative transparency on clear vellum. (everything black on the transparency will be white on the Solarplate) |
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4b. The clear vellum with the negative shadow image is placed on top of the Solarplate inside the vacuum table (the actual Solarplate is a steel sheet covered with a photo-sensitive material). The vacuum table is used to ensure a good consistent contact between the clear vellum and the Solarplate. Mounted to the vacuum table is an 8000 watt UV light. It is the exposure of the Solarplate to the UV light that creates the inkable image. Where the vellum is not blacked out, the Solarplate hardens. The unhardened areas of the Solarplate are then scrubbed out with normal tap water.
For a normal person, this process is fairly safe, but I happen to have Lupus; UV light causes my skin to reject itself. So I am utilizing my kryptonite to create my artwork. (Read my bio for more info) |
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4c. After the UV exposure, all of the unexposed areas of the Solarplate need to be scrubbed off the steel backing. All that is needed is a tray, tap water and a mushroom brush.
As I mentioned before, the Solarplate process is very "green." No harsh chemicals are used as in many of the other printmaking disciplines, just creativity, sunlight (or UV light) and water. |
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4d. After the plate is scrubbed out to the desired depth, it's left in the sun for the final hardening. |
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4e. The finished Solarplate is ready to be inked with a traditional printmaking roller. Again, trying to avoid all of the nasty chemicals associated with printmaking, I found a water soluble printmaking ink that comes in many different colors. This allows me to create dynamic shadows when inking up the plate and stay eco-friendly when cleaning up. |
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| 5. The inked up Solarplate is now ready for its marriage with the dry acrylic washed canvas. This marriage is possible because of the age old invention -- the etching press. |
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5a. The Solarplate and canvas are lined up or registered on the press to make sure that I put the shadows (created by the Solarplate image) in the proper place on the acrylic wash. |
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5b. This is one of most satisfying steps of the Phelps Process. It is always fun to turn the wheel of the etching press; to consummate the marriage of hard edged shadows, with the light and energy of the loose acrylic color wash.
5c. After turning the wheel, you cross your fingers and hope that all of your hard work, vision, and skill have paid off. The pressed canvas is carefully pulled from the inked shadow plate, and the image magically appears!
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| 6. Drying/Stretching - The paintings are hung up to dry. This also allows me time to study the artwork and visualize the final details. I never finish a painting until I can see all of the pieces in my mind. After the paintings are dry, and I can see what details need to be added, I hand stretch the canvas on 1 1/2" deep HD stretcher bars with a gallery wrap (or 3/4" deep if it is a small painting). I wrap the acrylic wash over the edge of the stretcher bars to make the sides of the work as dynamic as the front face.
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My next three paintings (Maui Reef 2, Ullapool Harbor 2, and Pepsi Center) are hung up in the studio to dry and to be studied before I can add the finishing details. |
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7. Painting - The final step, besides signing the artwork, is to finish all the necessary details in the image in order to really connect with the emotions of viewer. For this I use acrylic paints, but I employ oil, acrylic, and watercolor techniques to create the desired effects.
I don't fill in all of the details. I want my viewer's to to use their imaginations to complete the image. This is part of the magic of the Phelps process. There is always something new to see in one of my paintings, some new piece of the puzzle to file in.
I often hear people say "I can never get tired of studying your paintings. I always see something new, and come away with a new experience!" My response is almost always, "then I have done my job well."
Please check back soon to watch the details emerge on my latest works: Maui Reef 2, Ullapool Harbor 2, and Pepsi Center! (If you like what you see so far, click here to pre-order any of the above works before they are finished)
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