Apart from my time in the intaglio world, I probably spend the same amount painting digitally. In these works, I explore the tension between precision and imperfection, all in effort to push vector-based illustration toward a distinctively painterly or ‘misprinted’ sensibility. Rather than embracing the inherent cleanliness of vectors, I deliberately introduce texture, grain, and misregistration to evoke the tactile irregularity of hand-pulled prints or analog processes. Most of the time, this grain is pulled directly from environmental documentation; my current workflow including building a library of visual impressions created from nature. The result of this process helps to simulate ink bleed, paper tooth, and overprinting through densely layered transparencies. I aim to make and sell work juxtaposes a constructive and weathered condition; visceral and nostalgic. Sitting softly between digital clarity and analog grit — MOONBASE