I was a child when my talent as an artist was discovered by peers, parents and family members. I attended various classes in recreational community programs around the neighborhood of my hometown of Walnut Creek, California. I've studied ceramics, life drawing, cartoon drawing with creator of “The Tick,” Ben Edlund, painting, photography film, video, performance, acting, animation, karate, clarinet, guitar, and dance. I endeavored in many things creative, but what I have always been most passionate about is painting and illustration. Being an artist is not just a career, but a way of life, part of my identity as a human being, and discovering the depth of that identity is a life-long process; a joy and a love. I must always strive to be in the persona; spirit of what I'm creating in an effort to produce something genuine and not just a mere interpretation of something that has been done before.

Before I start a painting, I like to take time to think about what I want to do to form a plan. I need time to meditate, to gather enough energy and to channel it on what I want to accomplish. I'll look at family photos, comics, or travel to woodsy areas to find inspiration.

After I have done my research, I'll then be prepared to start painting. When I begin a painting, I'll have a few photo references taped on the wall around me, and I'll start by paining the whole canvas a background color. Then, I gradually build in details from general to specific in layers of paint. I usually have to take breaks every hour or so to let the canvas dry. Eventually the painting gets to a point where I step back and I am awed what I have created. I know a painting is finished when it takes on a life of its own. I'll just look at it and think “if I do anymore to it, I'll kill it.”

When I create a caricature, I use a back Sharpie marker. I can't erase, so I have to know exactly what I want to do before I do it. I look at the person I'm drawing and mentally simplify what I'm seeing into basic shapes. Some heads are oval shaped while others may be octagonal, triangular, or squarish. Then I start with the eyes. Eyes can be round circles, triangular > < marks, especially if the subject is laughing. It's important not think too long about the details, or I'll end up over inking and making mistakes. I must decide what the shape of the eyes will be and move quickly through the drawing. Drawing the eyes close together will make the subject look serious, and far apart will make the subject look cute and young like “Hello Kitty.” Then I move on to the nose. Noses may be long and pointy, round or in some cases non-existent. There are many ways to draw noses. In some cases, a nose may look like an upside-down “2.” It helps to think about what shape will work best for each attribute and go with the first shape that comes to my mind. Then I draw the mouth. In men, a simple “m,” shaped line might work in many cases, and for women I add elongated “U,” pillow shapes under the “m,” to show the fullness of the upper lip. In both women and men, an elongated “U,” shape works well for the lower lip. Then I draw the chin, and in some cases a double chin. Chins are always round, circular shapes. In some cases, I might see a “butt chin.” This is where the chin consists of two rounded shapes that look similar to a “W,” shape. From the chin, I add in a jaw. In adults the jaw can be angular and full, but in children the jaw is always very small, and the cheeks are big like Micky Mouse. The cheek line curves up on each sided into an ear shape. Ears are “C,” shapes. Then I have to consider the forehead. If the forehead is to be a prominent feature, I might consider adding elongated upside-down “Us,” for the brow shape, and elongated “Ms,” for stress lines along the forehead. Hair can be very challenging to draw. The way I simplify hair is to look at the silhouette of the hair. Some people have bangs that hang down over their eyes or on the side of their face. In these instances, it may be in my best interest to plan for that early on by not drawing the eye that the bang will drupe over. In other cases, I'll just draw a few lines over the eye to imply that there is some hair there. It all depends on what you want to exaggerate. In every caricature, It's important to exaggerate one feature in order for it to be comical and have appeal. It's important to know what feature is going to be exaggerated before the drawing starts. If there is going to be color, I'll always start with a flesh tone marker. It's important not to let the marker touch an ink line, or it will smudge. Then I color the hair and eyes. With hair and eyes, it's important to leave areas white to show the shiny parts. Then I use color pencils to render in the shadow areas which are above the upper eye lid, below the lower eye lid, below the cheek bone, nostrils of the nose, lower lip, chin and jaw area. The very last thing I do to complete a caricature, a painting or illustration is sign it. It's important to only sign a caricature at the very end when I'm sure I'm finished.