Sets of related digital art pieces — each sequence follows a study through a series of variations. Double-click the image to move through each sequence.
Sequence — 4 Linesdouble-click to move through the sequence
Please double-click (or double-tap) to change images and see their shared and different elements.4 lines is one of series of studies that start as lines, ususally drawn on a Samsung tablet in ibisPaint. When I have interesting lines, I begin looking for shapes, adding colors and layers and transparencies, sometimes with more lines, to continue my study of lines and color. Four bold electric-green curves on a pale mint ground — thick, confident strokes that sweep in a vertical cascade, looping and crossing in a figure-eight in the lower half. Where the earlier sequences work in hairlines, these lines have real weight; the width of each stroke is itself part of the composition. The sequence develops the same four curves through color layering and fill studies.
Please double-click (or double-tap) to change images and see their shared and different elements.3 swirls is another series of studies that start as lines. There is so much more to learn about and so much new art to discover in these three swirls.
Three hairline white curves on a sky-blue ground — loose arcs that rise and curl from one corner, like a slow wave or three birds turning together. The sequence explores what happens when those same curves become color zone boundaries, their interior spaces filling with new palettes. At image five the composition flips vertically, opening the arc in the opposite direction — a mirror that feels like a different gesture entirely. The remaining images develop the flipped version with color the same way.
Please double-click (or double-tap) to change images and see their shared and different elements.5 lines on red is a very recent study starting with 5 bright lines on red. In this series I created 3 fill layers and adjusted translucency. I’m not finished with this one. Five lines drawn freely on red — a pure gesture study. This sequence follows how those five lines become the structure for something different. The first image is all line: thin gold curves on a vivid orange-red ground. Add color fills and the lines become zone boundaries: the large loop becomes a sun, a sweeping curve becomes a warm horizon, the spaces between become fields of sienna and olive. A second fill study shifts the whole palette into unified orange.
Please double-click (or double-tap) to change images and see their shared and different elements.6 light on dark was from October 2025 an important birthday month for me (I completed my 80th year). The image is used for the “How Long Has It Been” Time App.
Six curves on a saturated cornflower blue ground — two thick bright yellow arcs and four hairline white curves working together. The yellow strokes carry the weight: one sweeps in from the upper left and plunges through the lower half, the other arcs from the top and crosses it to form a bold X at center. The hairlines trace a large ellipse and several long shallow arcs around them, a network of lighter marks that frame and echo the dominant yellow gestures. The contrast between thick and thin, between electric yellow and barely-visible white, is the structural idea. The sequence develops the same six curves with color fills.
Please double-click (or double-tap) to change images and see their shared and different elements.6 yellow on gold is also quite recent. Another art discovery sequence I’ve just begun.
Six lines on a warm olive-gold ground — bright yellow curves of varying weight against a muted, close-value background. The line-to-ground contrast is subtler here than in the other studies: yellow on gold is a harmony rather than a contrast, and the lines feel almost embedded in the surface. Within the six are hairline arcs that barely lift from the ground and bolder strokes that form two tight loops at center-left, a wide sweeping curve at upper right, and a long horizontal that runs the full width at bottom. Two diagonals cross through the center at a shallow angle. The sequence develops these lines through color fills that draw the zones between them into focus.
Please double-click (or double-tap) to change images and see their shared and different elements.3 and 3 is a very recent study — three bold curves and three hairlines on a dark ground, two different orders of mark working together. I’m just beginning to explore what the fill layers reveal in this one.
Six green curves on a near-black charcoal ground — three with real weight and three as hairlines so fine they read as a different order of mark entirely; the name says it plainly: three and three. The thick curves form the architecture: a tall swooping oval that rises from the bottom-left and loops back at the top, a companion curve that cradles it from the right, and a third that crosses them both near the top to create a small enclosed lens where the two largest loops meet. The hairlines drift across the field at longer, shallower angles — one nearly horizontal, two diagonal — adding a sense of open space that the heavy curves don’t have. In the fill studies the spaces between the thick curves become color zones: muted olive-khaki tones in the first fill, then a warmer chartreuse-olive that floods the upper field while the lower right recedes into near-black; the small dark eye where the two main loops cross is preserved through all three images, a fixed point as everything around it changes.