About the Art

If you have been viewing the individual posters on this site you probably already have an idea about my artwork, it’s chronology, and how it has evolved.

Here’s a little more about the drawings themselves. Because of my architectural background I like to draw in pencil. I use a fine tooth mylar which is a sort of textured transparent plastic that holds the graphite and allows me to register multiple sheets over the top of one another.

In the 1990’s it was a cool process. I would draw each color on it’s own sheet and then have it photographed in a huge studio with cameras mounted on tracks and the art suspended on the wall with an air vacuum. I would then take the film negatives that are the same size as the poster, and clean them up – sometimes using a razor blade to etch corrections in the film. Instead of a four-color process each color was a solid PMS color. In that way the hand crafted vibrant ‘feel of the Longs Peak and Half Dome posters were created. My pallet was limited to four colors and style defined.

By the year 2000 the transition to digitally created proofs was complete. When I re-printed my El Cap poster they said they had to dust off the cameras because I was the “last man standing” in the world of 100% hand drawn artwork. Thinking that I was behind the curve, I came into the new era with my Southeast Select Poster. With so many colors and options to choose from I was able to document more and more information but sadly my personal artistic form and style began to erode. My original medium remained pencil on mylar but the work was then scanned instead of photographed.

Redefining both my artistic voice was the end goal of the El Cap Free poster. Anyone who is a climber and has followed the chronological progression of these routes and related with the personalities and biographies of the climbers involved, can feel the magic and vision behind the lines. This has been my inspiration from the start and as our next generation begins to free climb many of the Great Lines a new magic is born. Only in on a scale as large as this poster could a draw topos that reflected the grandeur of these routes.

And only with the support of my sponsors could I afford to print at such a gigantic scale. Companies like The North Face, Black Diamond, La Sportiva, Marmot, Sterling and many others have been involved in nearly every project. I don’t see them as advertisers but rather underwriters of climbing art. They are a collective and not competitors.

See more of my work at diamondproductionstudios.com