When beginning any new project, Mark prefers to have a wealth of ‘first-hand’ references available, if possible from his sketchbook or from a camera. At present he uses a Sony Cybershot F505 with a Zeiss lens. With a 64Mb memory he is able to take about 45 photographs at the highest resolution. With camera and sketchbook he makes careful analysis of the subject; it’s character and tactile qualities. Mood is the most important quality when working on digital images; thorough research of the subject can indicate the mood to be captured.

The work on the left, ‘Timeless’ is based upon the photographs taken at Knowlton Church in the heart of Dorset’s countryside and is developed from these with elements taken from further artefacts.

With photographs downloaded in JPEG format, he works on them in Corel’s Photo-Paint and Painter prorams. He creates his own textures at the same time to supplement those from the camera.

He found that the work carried out with digital media had an effect on the work he did with a paintbrush, and from the small watercolours was able to work on a larger scale with oil paint. Textures have become important; ‘I want my work to be tactile - I want the paintings to be felt; digital art can point me in the right direction, the paintbrush can finish off what the computer begins’.

There has to be a distinction between the media. Naturally when working with digital media, he can choose to output the image for internet use of as  an image to be printed. Digitally JPEG format is the most versatile, Corel allows the image to be stored in virtually any format. Mark often makes hard copy prints using a photographic printer with suitable photo-quality papers and cards. When he does this he retains the highest resolution possible for quality.

Mark does enjoy working with traditional media, frequently using coloured pencils to work out his ideas (see right). The final painting may be on canvas, canvas board, mounting board or even plywood or MDF. Size will usually determine the substrate used. When he works on final ideas he tends to prefer oil paints though sometimes falls back on watercolours or even gouache with water colour.

Much of his later work relies on montaging hard copy print outs on matt paper with painted backgrounds and details. This is incorporated with lettering at the rough stage, the lettering being omitted from the final works. He uses words as a visual prompt to achieve mood-setting. In a series as illustrated in ‘Unplanned No1’, Mark lays several prints over one another, cutting them together; finally working on the top with a watery oil paint and fine brushes of grades 2, 1 and 0.

In ‘Druidstone’ he took dozens of photographs of rock and sand textures, together with photogrpahs of the sky throughout the day. Working with prints of these, he compiled a collage of each texture in its relevant place for the collage on the right. The whole piece was assembled on MDF board, about 24” square. the torn quality of the prints adds to the rough landscape quality he was trying to achieve.