The production of all my images begins in the same manner. I first search for potential stills from motion picture DVDs and capture them using computer software. The digital film stills are then converted from a raster based, RGB color, digital image to a grayscale format. I then increase the brightness and contrast of each converted image to replicate a low key lighting effect. Before the image is printed and/or drawn, I convert the image to a vector graphic containing approximately 20 levels of grey tones. This step provides a visual preview of what a final image might look like. If needed, I readjust the contrast and brightness for the desired low key lighting effect. Once the digital image is adjusted, it is then printed for reference or for the purposes of a `wet print.’ I originally used the `wet print’ to simulate matching film stock, but then began to use it as a way to mimic the appearance of ink drawn works. Using a black inkjet printer cartridge, the converted digital images are printed onto water saturated, Arches brand, hot pressed watercolor paper (figure 1.1 and 1.2). (This method is exclusive to the 4.25“ x 10” and 3“ x 6.5” scaled images.)
Prior to my candidacy review I was accustomed to working in a larger scale with greater manipulation of media so I decided to increase the scale and play of material. The 24“ x 55” works require a different set of steps in their creation. I lightly and loosely hand draw the images with non-waterproof drawing ink. Multiple values and bleeds are achieved by allowing the ink to excessively pool and dry. Water and more ink is then applied several times to mimic the unpredictability of `wet prints’ (figure 1.1). The images not using varying bleed techniques are hand drawn using the same non- waterproof drawing ink.