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Description
"New Age Dawning" (1999), acrylics on illustration board, 50 x 100 cm / 20 x 40 in.

I consider this to be one of my best paintings so far and maybe also the one I worked on longest (with some time of dawdling...). All in all it was on my desk for about 4 months, also vanished in my drawer for some days, until I took it out, when I thought I could thoroughly concentrate on it, and went to work again. It finally nearly turned out to be the way I had imagined it.
By the way (I suppose to the amusement of all computer-experts), I designed the motif of the sundial on a piece of paper and then with the help of the hopelessly antiquated grid to paint with a perspective I copied it on the illustration board.
For the clouds I used varnishing coats at first (some clouds had also been, according to a feeling of necessity, masked) and later worked on some parts with covering colours. Thus, according to my opinion, the cloud layer seemed in parts tight, in parts transparent – just the way clouds are supposed to be.
The city lights far under the clouds were as well etched as painted in with a brush. Some were also masked with a liquid mask.
For the skyscrapers I partly used designs of high-rises, which I painted more dramatised, the ruin of the skyscraper on the left is my own invention.
The idea withered surfaces I achieved with colour pencils and a scalpel. Furthermore, a lot of the parts were etched and in some parts I used colour which was heavily watered down, which I smeared afterwards.

I love to work out details…
… you can even read the label "Dockers" on the shoes of the boy

Description
"New Age Dawning" (1999), acrylics on illustration board, 50 x 100 cm / 20 x 40 in.

I consider this to be one of my best paintings so far and maybe also the one I worked on longest (with some time of dawdling...). All in all it was on my desk for about 4 months, also vanished in my drawer for some days, until I took it out, when I thought I could thoroughly concentrate on it, and went to work again. It finally nearly turned out to be the way I had imagined it.
By the way (I suppose to the amusement of all computer-experts), I designed the motif of the sundial on a piece of paper and then with the help of the hopelessly antiquated grid to paint with a perspective I copied it on the illustration board.
For the clouds I used varnishing coats at first (some clouds had also been, according to a feeling of necessity, masked) and later worked on some parts with covering colours. Thus, according to my opinion, the cloud layer seemed in parts tight, in parts transparent – just the way clouds are supposed to be.
The city lights far under the clouds were as well etched as painted in with a brush. Some were also masked with a liquid mask.
For the skyscrapers I partly used designs of high-rises, which I painted more dramatised, the ruin of the skyscraper on the left is my own invention.
The idea withered surfaces I achieved with colour pencils and a scalpel. Furthermore, a lot of the parts were etched and in some parts I used colour which was heavily watered down, which I smeared afterwards.

I love to work out details…
… you can even read the label "Dockers" on the shoes of the boy