This section describes my process for this body of work. It is lengthy as it covers ideation phases, note-taking, concept sketch work, surface prep, image transference, the painting process and the finalization of the work, varnish, and prep work.

IDEATION
Unlike my personal work, the stories that make up the meditations of the Rosary are defined. The inventions around them, to the extent they can be constructed are inevitably a reflection on our relationship to them. In that relationship an artist attempts to connect ideas and experiences to a story In a way that offers to a viewer a unique perspective that can promote meditation and if he’s fortunate, a communion of understanding.

NOTE-TAKING
Note taking is an essential part of this project as the stories contain reoccurring characters, and those stories involve a lot of symbol and inner meaning. My note taking in part is a catalog of those characters, the symbols that must be communicated and the devices I use that must remain consistent throughout. In a project like this, keeping the details straight and consistent is important to the authenticity of the work. In each painting where Mary is present, the sky is overcast as a symbol of her suffering. The exceptions are:

• The Annunciation
• The Visitation
• The Glorious Mysteries

Keeping track of these details is important to the telling of the stories. In this case the symbol needs to be consistent with its intension or it ceases to act as a symbol.

REFERENCES & SKETCHWORK
Reference work for this project is a serious undertaking. It is my intention to add some historical accuracy to these images where possible. I plan to make every effort to use references from actual sites, people, clothing etc. Acquiring these examples will not always be possible and I would not hold up production for that reason. Reference work will consist of photographic reference and work from life. Sketchwork will consist of light, quick sketches to get a feel for the image and more finalized drawings to be transferred to the painting surface.

SURFACE PREP
Surface prep will consist of sanded aluma-core panels to which the linen will be secured. These lightweight panels resist warping and are stable.

PAINTING
All works will be in oil, you can find my palette here.

Governance
Materials