Digital paints flow very much like real ones - they can be wet-brushed, dry-brushed, flooded, palette-knived, blurred, stucco'd, wiped and stippled, mixing with wet neighbors or underlying colours. Digital paints allow much more though - negative, pressure-sensitive or chromatically reactive paint for example, or paints that graduate as they blend, flow upwards against gravity or that can unblend. Creative tools indeed.

Digital brushes behave just like real physical brushes, with short or long hairs, broad or fine tips, flat or pointed ends and varying paint-loads and stiffness. I have adapted mine to function more intelligently - so I can paint towards or over colours and have the brush adapt its thickness, dryness or colour as it does so.

Sometimes I borrow a little from collage techniques, using painted and photographic textures, bezier tools and a variety of light-based visual processing routines I built myself.

So I love working with computer paint and brushes; together, these tools aren't any easier or harder than physical painting - they just offer more, which is why I like them. Digital paint is just another medium after all.

Papers and Inks

I use two main types of paper materials, both of which have quality and endurance at their heart:

Giclee - the finished digital work is printed onto alpha cellulose top quality heavy papers using state of the art pigments. The resulting colours are totally non-reflective, super-matt, have a deep, rich feel to them, and they're guaranteed to archival standards, which means around one to two hundred years depending on the light you expose it to. This is known as Giclee Printing (external website). If you're into technical detail, I use Hahnemuhle Photorag, an acid-free 100% cotton-based heavy art paper with a fibrous finish. I also use Woodstock Felt Finish, an excellent new 'buffered', fractionally alkaline, paper made without optical brighteners. For pigments, I use Epson Ultrachrome K3 inks in a 9-colour resin-coated process which sprays pigment densely. These inks eliminate metamerism (Wikipedia).

Signed Original Kodak Metallic - is printed as a multi-layer film laminate emulsion onto Kodak Professional Endura Metallic VC paper (Kodak site), a digital C-type photographic paper with a rich metallic base and a large colour gamut. The colours have a reflective, soft metallic and 3-dimensional feel to them and they're guaranteed to archival standards, around one to two hundred years, depending on the light you expose it to.