I was born in 1945. Nearby, University of Pennsylvania Faculty were developing the first Eniac computer. I've been involved with computer imaging for much of my life. Perhaps something was in the air.

I coined the term “Computage” in 1997 to reflect the fusion of "computers" and "collage.” Each work evolves differently, and each is one-of-a-kind.

I begin with the scanner and digital camera and use the computer to combine subjects and "paint" images. Next, I print thermal wax transfer proofs, working small (they are expensive, and I try several variations.) I remove, add, and mix the colors. When I have a proof with promise, I size it, assemble page-sized panels on large stock, and rework. Computages are truly mixed media.

I have become more comfortable with a mouse than I am with a pencil, and the processes I use are as intuitive as a doodle. Recently I've spent a lot of time trying to put what I do into language that others can understand. For example:

(enlargable)

capture ---- compute ---- compose ---- proof ---- size ---- print ---- join ---- paint

The "paint" step in the development of Itopia (above) employ traditional acrylic painting techniques. It's easy to spot the painted transparent purple shadows.

Each work develops differently. Usually the design steps resemble a tree more than a straight line. Each work is unique, and one of a kind. I print small reprodouctions only after the original works have been sold.

Brushes don't make paintings, and computers don't make art.

Computers are Easy - Art is Hard.

Though I've taught computer image manipulation (digital art) for decades, I have not written about it as it is still evolving. I do give lessons, talks, and workshops. Contact me for information.

For an explanation of Additive, Subtractive, and Manipulative techniques for encaustic on paper, go to:

I'm ambidexterous with traditional art materials and the tablet stylus, right-handed with the mouse, and write with my left hand. Anything within reach is fair game when I'm painting.