How does he do it? Multi-layering process and technique.
“I work in a very unorthodox manner. The paintings are composed of abstract elements, non-objective in certain areas, surreal in others, all combined with a unique layering process to produce what appears to be a real image, yet is totally abstract in its process, technique, and execution. I utilize an experimental state-of–the-art waterborne automotive paint, Dupont Cromax-AT (aqua tint), and I have developed a unique technique and layering process that combines industrial paint technology with traditional brushwork.
Prior to having my hi-tech panels fabricated by Kenneth J. Hermann, Inc., I did the entire fabrication process myself, from welding to grinding, and priming the aluminum surface, before the actual painting could begin. I painted the #24 Dupont Nascar racecar in 1994. It was unveiled in front of 4,000 Dupont employees, vendors, and VPs at the Mirage hotel in Las Vegas in conjunction with the company’s new product release. This occurred three years after I was given the experimental waterborne paint on a handshake!
Most everything is life size in format utilizing the experimental automotive waterborne paint Dupont supplied to me alone. I paint using a multi-layering process of pure color over pure color. No colors are pre-mixed. The colors refract once clear coated, and the process produces a luminosity and depth of color along with a surface finish not possible with traditional paint mediums. To fully see and feel this they really must be seen in person. I can achieve a great amount of saturation of color with even 25 or more layers, and the first color that went on is still there to see, barely visible, but it does its thing and adds to the effect. The process involves the application of dozens of layers of transparent paint—each pure color over pure color—no colors are pre-mixed (example, blues over yellows to produce greens). Usually no more than 8 to 10 pure colors are utilized to produce an entire painting.
I apply wet over dry, wet into wet, however each individual layer allows the pervious layer to show through. Up to 25 layers or more are applied. The painting is given a clear coat, which I then wet sand. One final clear coat is applied and the layering process becomes quite evident. The colors refract, showing and blending through one another, giving the paintings a look and feel, a depth and saturation of color, and a luminosity and surface finish not possible with traditional paint mediums. This process allows me to explore color, shape, and form, and gives the artwork an entirely new dimension.”
Side view: Seven point crossfire perspective.
“To achieve the close-up overall view of the automobile, I developed a technique which I call crossfire perspective. Seven close-up photographs are taken along the entire side of the automobile. One photograph is taken of the front bumper area, one at center line of front wheel, one at A-pillar, one at center line side of car, one at the sail panel, one at center line of rear wheel, and one at the rear bumper area. All seven photos overlap so they do not match. I then draw the car from these photographs. In theory, you are viewing the automobile from all seven points, which actually cannot happen. This creates an illusion which the eye accepts, and when the final life-size painting is viewed in person, it appears close-up and real from anywhere you view it.”
The Making of Dupont.
A Gallery of Pete’s work.
Life-size Budweiser Clydesdale in progress
There are a few posters available of Peter’s work.
Peter has posters available at a reasonable cost of three of his paintings—Stingray, Mako Shark, and the 100th Anniversary Harley Davidsion poster with paintings of 1903 and 2003 Harleys. If you’d like posters of his work, contact Dean’s Garage and I’ll forward your request to Pete.