Every original begins the same way: a blank sheet of watercolor paper and a decision about where the first layer of color will sit. What follows is not a single sitting but a sequence — thin veils of acrylic built one over another, each left to dry before the next is added. It is slower than painting directly, and that is the point.
Transparent layers behave differently than opaque ones. Light passes through them rather than stopping at the surface, which is why a finished piece can look different at ten in the morning than it does at dusk. That effect is not added at the end. It is built in, layer by layer, over the course of the work.
Once the painting itself is finished, it still is not ready to leave the studio. Each piece is framed to order, using museum-quality UV-protective glazing that keeps color from shifting over time. Framing alone typically adds another one to two weeks. Between painting and framing, most originals take five to six weeks from start to finish.
None of this is by accident, and none of it is a bottleneck to be solved. A faster process would produce a different kind of image — flatter, more immediate, less willing to change with the light in a room. The time is part of what the work is.
Every finished piece is signed and delivered with a Certificate of Authenticity, then shipped fully insured.