Craig L Haupt's portfolio

'The Journey to Ukazoo' From art exhibit project to self-published book

Project 1: ArtStory Book—Design, Self-Publishing, Social Media, and Artwork

In 2013, I secured an exhibition space at the now-closed Ukazoo Bookstore in Towson. With ten months to prepare, I launched an innovative social media promotional initiative called "The Journey to Ukazoo." This creative campaign chronicled a fictional adventure across the United States and back, ultimately concluding at the Ukazoo Bookstore. Over the course of 37 weeks, I produced and shared a new story each week, pairing each narrative with one of my original artworks. These stories and images corresponded to 37 distinct stops along the imaginative route.

Beginning in 2018—five years after the initial exhibit preparations, I started transforming this body of work and the related art exhibit into a unified book. The project was made possible through a successful Kickstarter campaign, which enabled me to design and independently publish the completed book. The resulting art book measures 12 by 9½ inches, contains 142 pages, and showcases 37 single page short stories, additional 8 vignettes with images (titled ‘Snapshots & Memorabilia’), and 150 full-color images. The book was officially published in 2019.

Key components of this first project include the book cover, a sample story, and select images.

Book Cover Front.jpg
The front cover shown here is from my 2019 self-published book, The Journey to Ukazoo. The design was created at the actual size of the finished book, measuring 12 inches in height by 9 ½ inches in width. All illustrations on the cover were meticulously rendered using pen and ink along with watercolor techniques. Once the artwork was completed, it was digitally scanned and imported into a dedicated ‘Cover’ file in Adobe InDesign for the final layout process.
Further details, including additional notes, a sample story, and supporting images, are part of Project 1 and 2.
- Book Dimensions: 12 x 9 ½ inches
- Total Pages: 142
- 150 Full Color images
- ArtStory Book
- Self-published: 2019
But the Map Says...Story-Slide 28.jpg

The Process of Creating and Editing Social Media Stories
Initial Story Development
The stories for the social media project were originally formatted in Microsoft Publisher, utilizing a single-page text box layout. Each story required rapid conception, writing, and multiple rounds of revision and proofreading within a one-week timeframe to ensure readiness for Monday postings. During this phase, all proofreading responsibilities fell solely to me.
Transition to Book Format
In 2018, I compiled all 37 Ukazoo social media stories into a book format. This process involved reworking the introductory sections of each story to establish a more consistent and cohesive thread throughout the collection, enhancing the sense of a unified journey.
Collaborative Proofreading
Once the text had been revised for consistency, I distributed each story to three friends for additional proofreading. Their input helped ensure accuracy and clarity, while carefully preserving the overall tone and cadence that defined my writing style.
Sample Story and Layout
Shown is a sample story accompanied by the designed layout from the book, illustrating how the final format brings together both content and visual presentation.
Preparation of Printing
Once the entire book was successfully reformatted in Adobe InDesign, it was exported as a PDF file. This PDF version provided a print-ready format, allowing the document to be sent directly to the printer for production.

Story/Slide 28, But the Map Says…’, December 9, 2013.
Location: North Tonawanda, New York, 13 miles south of Niagara Falls.
c Border Art.jpg

Border Art and it's inclusion into the Ukazoo book.
Following the conclusion of the Ukazoo solo exhibition, I received encouragement from many friends and fellow artists to consider transforming the Journey to Ukazoo, a 37-week social media project, into a book. Despite this advice, I postponed the idea for four years, as I became absorbed in ongoing art projects and additional exhibitions.
Whenever I revisited the possibility of adapting this project into a book, I recognized a strong desire to incorporate a cohesive design element within the journey’s pages. To address this, I designed a border box to be placed near the bottom of each page, featuring artwork that complements each story and its paired image.
Given that there are thirty-seven stories and thirty-seven images, the project required a total of seventy-four full-sized border strips. Displayed here are three examples from the set of seventy-four borders, each crafted to enhance the narrative and visual experience of the book.
Each Border box ink-line & dot work plus interior artwork measurement is 2 5/8 high x 8 inches wide and retains this actual size in the book.
Each border box, meticulously crafted with ink-line and dot work, along with its interior artwork, measures precisely 2 5/8 inches in height by 8 inches in width. This dimension is maintained in the final book, ensuring that every border retains its original scale and visual impact.
How to Spin a Top_0.jpg

Artwork Selection for Thirty-Seven Stories
The artwork featured in the thirty-seven stories was carefully chosen from my personal collection, which encompasses pieces created over several years. This diverse selection includes watercolor and pen & ink illustrations, acrylic paintings, as well as oil paintings.
The image accompanying this section, along with the next two, serve as representative examples of my watercolor and pen & ink artwork.
Shown here is "How to Spin a Top," one of the selected works.
For nostalgic reasons, reflecting on my prior experiences with film cameras and slide development, especially during college course critiques, I decided to present these images.
Artwork Information
Title: How to Spin a Top
Copyright: CLHaupt
Dimensions: 14 x 11 inches
Medium: Watercolor, Pen & ink on Bristol 400 smooth paper
Year Completed: [Year not specified]
Image Usage
This image was featured in Slide/Week 7-July 15, 2013.
Story Location
The setting for the story is ’Arkadelphia, Arkansas
Caterpillar.jpg

Artwork information
Title: ‘Caterpillar’
Copyright: CLHaupt
Dimensions: 14 x 11 inches
Medium: Watercolor, Pen & ink, graphite on Bristol 400 smooth paper
Year Completed: [Year not specified]
Image Usage
This image was featured in Slide/Week 20-October 14, 2013.
Story Location
The setting for the story is Priest Lake State Park, Idaho
Strolling Lawn Vases

Among all the stories, three included poems. Two of these poems were written by me, while the third was a creative adaptation of the traditional Christmas song, "The Twelve Days of Christmas." For this adaptation, the setting was the porch of the inn, where I sat reading a book. After finishing each chapter, I would look up from the page and witness an event unfolding in front of the inn.
The image associated with this moment is titled "Strolling Lawn Vases." Depicting three figures, this image was chosen to represent the third day of Christmas. The corresponding lyric for this day was:
“On my third completed chapter, I just looked up to see, 3 strolling vases.
For each viewing, I also included a second descriptive verse to provide further detail:
Out for some shopping, and afterwards a well-deserved drink.”

Artwork Information
Title: Strolling Lawn Vases
Copyright: CLHaupt
Dimensions: 12 x 16 inches
Medium: Watercolor, Pen & ink on Arches smooth hot press paper
Year Completed: [Year not specified]
Image Usage
This image was featured in Slide/Week 30-December 23, 2013.
Story Location
The setting for the story is ’Saguenay, Quebec
At the Beach.jpg

When curating artwork for the journey stories, I had the flexibility to choose from a broad range of pieces that I had previously created. This selection process allowed me to consider not only watercolor and pen & ink illustrations but also works completed in acrylics and oil paints.
Use of Oil paintings in stories
Among the images featured in the 37 journey stories, several oil paintings were included. The next set of images consists of three oil paintings that are part of the multiple oil works incorporated into these narratives.
Artwork Information
Title: ‘At the Beach’
Copyright: CLHaupt
Dimensions: 14 x 11 inches
Medium: Oil on board
Year Completed: [Year not specified]
Image Usage:
This image was featured in Slide/Week 2-June 10, 2013
Story Location
The setting for the story is Ocacoke Island, North Carolina
But the Map Says.....jpg

Oil painting used for Ukazoo story
Title: ‘But the Map Says…’
Copyright: CLHaupt
Dimensions: 16 x 16 inches
Medium: Oil on Board
Year Completed: [Year not specified]
Image Usage:
This image was featured in Slide/Week 28-December 9, 2013
Story Location:
The initial setting for the story is North Tonawanda, New York, thirteen miles south of Niagara Falls. Story progressed to Niagara Falls.
Broken Penny Farthing.jpg

Oil painting used for story
Title: ‘Broken Penny Farthing’
Copyright: CLHaupt
Dimensions: 8 x 8 inches
Medium: Oil on board
Year Completed: [Year not specified]
Image usage:
This image was featured in Slide/Week 32-January 6, 2014
Story Location:
The initial setting for the story is Bar Harbor, Maine. Story progresses into Acadia National Park, Maine.

12 x 12 inches
Oil on Board, in private collection
This painting is considered the one that pushed me to make the leap to oil. I had a rough time working the gradation of the two spheres. I was satisfied with the result but the time and effort with the gradation was too much work.
I needed to seek an instructor that could introduce me to working with oils.
kickstarter.jpg

The Kickstarter Campaign for 'The Journey to Ukazoo' ArtStory book
Overview:
To obtain the necessary funding for printing the "The Journey to Ukazoo" ArtStory book, I created and launched a Kickstarter marketing campaign on the Kickstarter website. The goal was to encourage followers of my art to invest in the project by pre-purchasing the book. This approach provided a platform to reach a wide audience and secure the funds required to bring the journey book into printed form.

Setting the Funding Goal:
A crucial aspect of the campaign was establishing a monetary target—the minimum amount needed to cover the printing costs. The campaign was structured within a specific timeframe, and it was imperative to reach this goal within the allotted number of days to secure the pledged funds.
Marketing and Outreach Strategies:
To ensure the campaign’s success, efforts extended beyond direct, person-to-person contacts. An extensive social media campaign was launched to reach potential audiences, inviting them to support the project and invest in the journey book. This broader outreach was essential for generating interest and attracting backers.
Learning and Preparation:
In preparation for the campaign, I utilized various resources to guide my approach. Besides the image showing the Kickstarter website page, an inset image features three self-help books I read and highlights the numerous YouTube videos I viewed about Kickstarter strategies. These resources provided valuable insights and informed the development of the campaign.
Campaign Outcome:
The Kickstarter campaign was successful, resulting in the printing of 200 copies of “The Journey to Ukazoo.”

The 37-week Journey to Ukazoo: Art Exhibit Overview

Featured Art Projects in Ukazoo art Exhibit

The 37-week Journey to Ukazoo was conceived as a promotional endeavor for my solo art exhibition at Ukazoo Bookstore in Towson, Maryland, which took place from February 17th to April 12th, 2014. The exhibition highlighted two distinct art projects completed in preparation for the show.

The first project consisted of a series of nine oil paintings. These works marked a significant step in scale for me as an artist; five pieces measured 20 x 16 inches, two were 20 x 20 inches, and the remaining two were 18 x 24 inches. Previously, my largest oil paintings had never exceeded 11 x 14 inches. The transition to larger canvases required me to rethink my artistic approach, particularly in terms of subject matter, color choices, and layering techniques. The use of larger brushes also played an important role in shaping the final appearance of these pieces.

The second project involved a collection of 23 small watercolor and pen & ink drawings, each measuring 2 ¼ x 2 ¼ inches, collectively titled ‘Thumbnail Sketches.’ These were developed alongside the oil paintings as a side project and showcased a different facet of my creative process.

As the process of creating the self-published art/story book for the Ukazoo project began in 2017, a key decision was made to feature the nine oil paintings and the accompanying set of 23 ‘Thumbnail Sketches’ drawings from the solo art exhibition. These works were selected to be included in the ‘Journey to Ukazoo’ ArtStory book, ensuring that both major projects from the exhibition were thoughtfully documented and presented within the publication.

The Couple.jpg

First 6 entries are selections of the nine oil paintings that were included in the Ukazoo art exhibit.
Title: The Couple
Copyright: CLHaupt
Dimensions: 20 x 16 inches
Medium: Oil on Board
Year Completed: [Year not specified]
She Loves Me Not.jpg

Title: She Loves Me Not
Copyright: CLHaupt
Dimensions: 20 x 16 inches
Medium: Oil on Board
Year Completed: [Year not specified]
Still Life Vase & Apples.jpg

Title: Still Life, Vase and Apples
Copyright: CLHaupt
Dimensions: 20 x 16 inches
Medium: Oil on Board
Year Completed: [Year not specified]
A Walk In The Park.jpg

Title: A Walk in the Park
Copyright: CLHaupt
Dimensions: 20 x 20 inches
Medium: Oil on Board
Year Completed: [Year not specified]
Pirates in a Bathtub.jpg

Title: Pirates in a Bathtub
Copyright: CLHaupt
Dimensions: 18 x 24 inches
Medium: Oil on Board
Year Completed: [Year not specified]
Room With A View.jpg

Title: Room with a View
Copyright: CLHaupt
Dimensions: 18 x 24 inches
Medium: Oil on Board
Year Completed: [Year not specified]
Four Thumbnails drawings.jpg

The initial set of four 'thumbnail' sketches demonstrates the workspace utilized for the project. Each drawing was created within a lined box featuring the thumb illustration, with individual dimensions of 2 ¼ x 2 ¼ inches. These sketches are displayed in the Ukazoo book at their actual size, offering viewers an authentic representation of the original artwork.
Matted and framed thumbnails.jpg

The following group of four 'Thumbnail Sketches' illustrates the subsequent steps taken to prepare the artwork for display in the 'Ukazoo' exhibition. The process began with cutting two mats to create a double matting effect, as depicted in the top two images. Special attention was given to color matching the bottom mat, ensuring it complemented the artwork. Both mats were precisely measured and cut using a Logan 40 ½ inch Professional mat cutter, a task I undertook personally. To complete the presentation, the matted pieces were placed in stock frames, providing each artwork with a polished and professional appearance suitable for exhibition.
Blue Sphere, Green Man

Sequence and Structure of the Ukazoo Book and Exhibition Postings
The Ukazoo book was organized to follow the chronological order of the journey leading up to the art exhibit. However, there was one notable addition to the sequence, which occurred during the actual exhibition. After dedicating nine months to weekly posts documenting a fictitious journey to Ukazoo, I faced a decision regarding the continuation of my Monday evening social media updates once the exhibition began.
At that point, I considered two possible paths. I could either share images of the nine oil paintings featured in the two-month exhibit or choose to postpone those posts until after the exhibition concluded. Ultimately, I decided to maintain the established narrative format of 'The Journey to Ukazoo' and delay posting the exhibited artwork.
Beginning on Monday, February 17, 2014, and continuing throughout the eight weeks of the exhibition, I introduced a new series of posts centered on a correspondence theme. Each installment included a short story and selected image; each linked to a specific stop from the original journey. This eight-week project became known as 'Snapshots and Memorabilia,' providing a cohesive continuation of the existing narrative during the exhibition period.
This first one was connected to week/slide 27, Bowling Green, Ohio, December 2nd, 2013

Week 5, Snapshots and Memorabilia, March 17, 2014
Title: Blue Sphere, Green Man
Copyright: CLHaupt
Dimensions: 11 x 14 inches
Medium: Oil on Board
Year Completed: [Year not specified]
Marble Hitting the Forest Floor

Week 6, Snapshots and Memorabilia, March 24, 2014
Title: Marble Hitting the Forest Floor
Copyright: CLHaupt
Dimensions: 12 x 16 inches
Medium: Oil on Board
Year Completed: [Year not specified]

Oil paintings in 'The House That Jack Built' 2015 exhibit

Developing the Next Creative Project

Following the conclusion of the Ukazoo exhibit, I turned my attention to planning a new endeavor that would help maintain a steady presence on social media. Reflecting on previous creative explorations, I remembered a loosely structured worksheet for a 2D diorama of a house in my sketchbook. Despite several unsuccessful efforts to transform this concept into a finished artwork, the idea continued to resonate with me.

This reflection led to a fresh perspective: instead of approaching the house as a single composition, I chose to divide the open-air, skeletal framework of the worksheet into four distinct sections. Each section would focus on a different aspect of the house, allowing for a more detailed and nuanced exploration. The four sections identified were:

The front porch and the door leading into the living room
A second-floor window and the adjacent interior room
The exterior window and the combined dining and kitchen area
The front yard featuring an entrance gate

This segmented approach provided a clear structure for the next project while collectively representing the diorama concept.

Jack's Doodle, rough worksheet, social media worksheet.jpg

Conceptual Beginnings:
The project’s initial inspiration is captured in a 2008 sketchbook doodle, located in the upper left corner, which illustrates an early idea for a house and yard configuration. This drawing served as the foundation for the subsequent creative exploration.
Worksheet Evolution:
In the lower left corner, early sketches and rough worksheets display preliminary ideas for items to place in each area of the house. Recognizing the need for additional elements to complete each section, I decided to invite participation from my 'friends' and 'followers' on Facebook. This transformed the endeavor into an interactive audience participation project.
Engaging the Audience and Finalizing the Worksheet:
To encourage engagement, I shared one developed worksheet for each of the four house sections, posting them individually. Along with each post, I set out basic criteria to guide item suggestions appropriate for the specific section. Participants were invited to offer one suggested item per section, and the response was enthusiastic, with a wide range of creative ideas submitted in the comments.
On the right side, the finalized worksheet shows several items contributed by the audience, which were incorporated into the drawing. Once all four corners were filled with selected objects, an 18 x 24-inch board was prepared for transferring the concept to oil painting.
1 The House That Jack Built.jpg

The Finish Painting and Reflection on Collaboration and Community
The journey of developing “The House That Jack Built” spanned a year and a half, transforming a refreshed concept into a completed painting. Throughout this process, I expressed deep gratitude to the more than thirty individuals who contributed their ideas for objects to include in the work, alongside my own creative input. Their suggestions were instrumental in enriching the final composition.
Inviting my social media community to participate in the creation of the painting presented both challenges and moments of genuine connection. The collaborative nature of this project was ultimately rewarding, fostering a sense of shared achievement and warmth as the artwork reached completion.
'The House That Jack Built'
18 x 24 inches
Oil on board
Completion: 2015
The Nudge.jpg

Title: The Nudge
Copyright: CLHaupt
Dimensions: 16 x 16 inches
Medium: Oil on Canvas
Year Completed: [Year not specified]
in private collection
Cuba Rum.jpg

Title: Cuba Rum
Copyright: CLHaupt
Dimensions: 12 x 12 inches
Medium: Oil on Canvas
Year Completed: [Year not specified]
in private collection
Butterflies & Guitars.jpg

Title: Butterflies & Guitars
Copyright: CLHaupt
Dimensions: 20 x 20 inches
Medium: Oil on Canvas
Year Completed: [Year not specified]
in private collection
Pulling on a Loose Thread.jpg

Title: Pulling on a Loose Thread
Copyright: CLHaupt
Dimensions: 16 x 16 inches
Medium: Oil on Canvas
Year Completed: [Year not specified]
in private collection
Always Look Both Ways.jpg

Title: Always Look Both Ways
Copyright: CLHaupt
Dimensions: 20 x 16 inches
Medium: Oil on Canvas
Year Completed: [Year not specified]
In private collection
Partial Observation -.JPG

Title: Partial Observation
Copyright: CLHaupt
Dimensions: 14 x 11 inches
Medium: Oil on Canvas
Year Completed: [Year not specified]
Tea For Two.jpg

Title: Tea For Two
Copyright: CLHaupt
Dimensions: 11 x 14 inches
Medium: Oil on Canvas
Year Completed: [Year not specified]
in private collection
Two Part Harmony.jpg

Title: Two Part Harmony
Copyright: CLHaupt
Dimensions: 16 x 16 inches
Medium: Oil on Canvas
Year Completed: [Year not specified]
in private collection

12 + 12, 12 x 12's: A collaborative Art Project

Project Conception and Development

After completing the ‘House That Jack Built’ project in November 2015, I allowed myself a break during the holidays. However, even during this downtime, the creative part of me continued to wonder what might come next. In February, as I began working on a couple of 12 x 12-inch paintings, an idea emerged that would deepen my engagement with audience participation in my social media art projects. Inspired by the ambitious scope of ‘The Journey to Ukazoo,’ this new endeavor was conceived as a long-term commitment, ultimately requiring nearly three years to bring to fruition.

Although my initial goal was a little over two years, a couple of unexpected but ultimately incorporated detours that extended the timeline by another four months.

Project Structure: 12 + 12, 12 x 12's

The project was titled ‘12 + 12, 12 x 12’s.’ The “12 x 12’s” refers to the format of all the paintings, each measuring 12 x 12 inches. The “12 + 12” aspect represents a twofold creative approach. First, I selected ‘doodles’ from my own sketchbooks and transformed them into twelve oil paintings, each adhering to the specified size. Second, I invited twelve individuals—fellow artists, family members, and friends—to participate. Each selected person received a sketchbook, which they explored to choose up to three doodles that sparked their interest. I then transferred these chosen doodles to a worksheet and used them as inspiration to create a finished painting of my own design.

Selected Works from the Project

This fourth section features ten of the twenty-four paintings produced for the project. Included are five paintings based on my own selections and five more developed from the audience’s choices. These works exemplify the collaborative spirit and creative exchange that defined the ‘12 + 12, 12 x 12’s’ project.

Tidying Up.jpg

Artist-Selected Doodles: Process and Integration
For these first five paintings, I personally selected the doodles from my various sketchbooks and developed them into completed works. This phase represented my direct involvement in the creative process, shaping each piece from initial sketch to finish 12 x 12-inch oil painting.
The creation of these twelve paintings did not occur in isolation or as a separate stage from the audience participation. Instead, my efforts to complete the artist-selected pieces and the audience-selected paintings were interwoven throughout the nearly three-year duration of the project. Ideas emerged organically at different times, leading to a dynamic and collaborative workflow where both elements of the project influenced and complemented one another.
Title: Tidying Up
Copyright: CLHaupt
Dimensions: 12 x 12 inches
Medium: Oil on Canvas
Year Completed: 2016
In Private Collection
Please, Fetch!!.jpg

Title: Please Fetch
Copyright: CLHaupt
Dimensions: 12 x 12 inches
Medium: Oil on Canvas
Year Completed: 2016
In Private Collection

12 x 12 inches
Oil on canvas
In private collection
HEY!! Hands Off the Marble.jpg

Title: Hey!! Hands Off the Marble
Copyright: CLHaupt
Dimensions: 12 x 12 inches
Medium: Oil on Canvas
Year Completed: 2017
In Private Collection
Bing Cherry.jpg

Title: Bing Cherry
Copyright: CLHaupt
Dimensions: 12 x 12 inches
Medium: Oil on Canvas
Year Completed: 2017
In Private Collection
Post Expiration Date Blues.jpg

Title: Post Expiration Date Blues
Copyright: CLHaupt
Dimensions: 12 x 12 inches
Medium: Oil on Canvas
Year Completed: 2018
In Private Collection
Sorry.jpg

The Second +12 Project: Collaborative Doodle Selection and Painting
The following five paintings are representative of the project's second phase, referred to as the "+12" segment. In this stage, a sketchbook was provided to each of twelve individuals, including selected artists, friends, and family members. Each participant was invited to browse through the sketchbook and choose a doodle/s that particularly resonated with them.
After each doodle was selected, my role involved developing their chosen image: I prepared a worksheet based on their selection/s and then transferred the refined design onto canvas. This process culminated in the creation of the finished paintings displayed here.

Title: Sorry
Copyright: CLHaupt
Dimensions: 12 x 12 inches
Medium: Oil on Canvas
Year Completed: 2016
Doodle/s selected by Karen
In Private Collection
Stickman.jpg

Title: Stickman
Copyright: CLHaupt
Dimensions: 12 x 12 inches
Medium: Oil on Canvas
Year Completed: 2016
Doodle/s selected by Pat
In Private Collection
Pondering.jpg

Title: Pondering
Copyright: CLHaupt
Dimensions: 12 x 12 inches
Medium: Oil on Canvas
Year Completed: 2017
Doodle/s selected by Mattye
In Private Collection

12 x 12 inches
Oil on canvas
in private collection
The Leap.jpg

Title: The Leap
Copyright: CLHaupt
Dimensions: 12 x 12 inches
Medium: Oil on Canvas
Year Completed: 2017
Doodle/s selected by Susan
In Private Collection
The Connection.jpg

Title: The Connection
Copyright: CLHaupt
Dimensions: 12 x 12 inches
Medium: Oil on Canvas
Year Completed: 2017
Doodle/s selected by Mac
In Private Collection

The Intermissions: Unexpected Detours in the 12 + 12 project

The Intermissions:

As previously mentioned, during the 2016 to 2018 12 + 12 oil painting project, there were a couple of unexpected but ultimately incorporated detours. These detours, later titled "The Intermissions," became woven into the fabric of the larger 12 + 12 project.

On two separate occasions, while searching through sketchbooks for inspiration for the 12 + 12 oil paintings, I encountered doodles that immediately caught my attention. Although I was drawn to these sketches, I knew instinctively that their concepts would not align with the parameters of the ongoing project. The first of these doodles seemed to call for an 8 x 10-inch canvas, a departure from the established format.

Motivated by this inspiration, I temporarily set aside the 12 + 12 project to create a single small painting. This initial diversion quickly blossomed into a series, as I discovered additional ideas that compelled me to paint eleven more works in the same format. Upon completing these twelve smaller paintings, I experienced a sense of relief and satisfaction, which allowed me to return to the main project with renewed focus.

Oh My!!!.jpg

The 8 x 10-Inch Intermission: Featured Paintings
The first five paintings presented here are selections from the 8 x 10-inch intermission series. These works emerged during a pause in the main 12 + 12 project, inspired by sketches that stood apart from the project's original direction. Each painting reflects the spontaneous and creative detour that contributed to the evolution of the larger body of work.

Title: Oh My!!!
Copyright: CLHaupt
Dimensions: 10 x 8 inches
Medium: Oil on Canvas
Year Completed: 2016
In Private Collection
The Little House.jpg

Title: The Little House
Copyright: CLHaupt
Dimensions: 8 x 10 inches
Medium: Oil on Canvas
Year Completed: 2016
In Private Collection
Fractured Sun.jpg

Title: Fractured Sun
Copyright: CLHaupt
Dimensions: 10 x 8 inches
Medium: Oil on Canvas
Year Completed: 2016
In Private Collection
Red Sphere.jpg

Title: Red Sphere
Copyright: CLHaupt
Dimensions: 8 x 10 inches
Medium: Oil on Canvas
Year Completed: 2016
In Private Collection
Alert.jpg

Title: Alert
Copyright: CLHaupt
Dimensions: 10 x 8 inches
Medium: Oil on Canvas
Year Completed: 2016
In Private Collection
Yes, Almost Full.jpg

The 11 x 14-Inch Intermission: A Second Creative Pause
Several months after completing the initial set of smaller paintings, I found myself in a familiar situation. While reviewing my sketchbooks, I discovered another doodle that seemed to demand attention—this time, it called for a larger 11 x 14-inch format. Rather than ignore this creative impulse, I once again set aside the ongoing 12 + 12 project to pursue this inspiration. What began as a single painting quickly expanded into a series, and I ultimately completed nine additional works in the same size, resulting in a total of ten 11 x 14-inch paintings.
Project Completion and Achieving Balance
With the conclusion of the 12 + 12 project, which comprised twenty-four 12 x 12-inch paintings, I took the opportunity to reflect on the entire body of work. At that stage, the project consisted of twenty-four 12 x 12-inch, twelve 8 x 10-inch, and ten 11 x 14-inches. Striving for a sense of balance across the series, I identified two more suitable doodles and completed two additional 11 x 14-inch paintings. This brought the final total to forty-eight paintings: twenty-four in the 12 + 12 series and twenty-four in the Intermission series.

These five works represent a selection from the twelve paintings comprising the 11 x 14 Intermission series.

Title: Yes, Almost Full
Copyright: CLHaupt
Dimensions: 14 x 11 inches
Medium: Oil on Canvas
Year Completed: 2017
In Private Collection
Twilight Profile.jpg

Title: Twilight Profile
Copyright: CLHaupt
Dimensions: 14 x 11 inches
Medium: Oil on Canvas
Year Completed: 2017
In Private Collection
A Perception of Balance.jpg

Title: A Perception of Balance
Copyright: CLHaupt
Dimensions: 14 x 11 inches
Medium: Oil on Canvas
Year Completed: 2017
In Private Collection
Green Tongue.jpg

Title: Green Tongue
Copyright: CLHaupt
Dimensions: 11 x 14 inches
Medium: Oil on Canvas
Year Completed: 2018
Blue Sphere.jpg

Title: Blue Sphere
Copyright: CLHaupt
Dimensions: 14 x 11 inches
Medium: Oil on Canvas
Year Completed: 2017
In Private Collection

Dual Solo Exhibitions: Artistic Projects Amid and After the Pandemic

This project consists of ten images that represent the merging of two distinct solo exhibitions. Following nearly two years of business closures brought on by the Covid Pandemic beginning in March 2020, I spent that period diligently working on a new series of paintings. These works, along with others, were showcased in an exhibition held just after restrictions began to lift in October 2021. Notably, this series was independent of any ongoing social media initiatives.

The subsequent five images in this collection are drawn from my second solo exhibition, which took place at the same gallery in November 2023. This later body of work was the result of a dedicated social media project. The concept for the project originated from a mix-up involving my name in an art print journal where I had been selected to be featured alongside other artists.

Comprehensive descriptions of each project are provided with the first example of artwork from each respective series.

First Step.jpg

Post Pandemic Exhibit Overview
During the Covid epidemic, widespread shutdowns meant that artists, me included, found us with plenty of time but nowhere to go. This situation naturally led to an increased focus on artistic pursuits, and I dedicated much of this period to creating new work.
As vaccines became available and restrictions were gradually relaxed, opportunities to reconnect with public spaces emerged. Among the two galleries I was involved with at the time, one was able to commit to scheduling a solo exhibition for me. This decision was not a reflection on the other gallery, as considerable apprehension surrounded the idea of hosting art exhibits during that period.
The solo exhibit was scheduled with careful consideration of the ongoing, gradual easing of Covid restrictions. By the time the exhibit opened in October 2021, government and medical guidance had relaxed conditions enough for us to comfortably request that all attendees be vaccinated. Mask-wearing was made optional in accordance with the advice at the time.
The Craig L Haupt Post Pandemic Solo Exhibition
The Craig L Haupt Post Pandemic Solo Exhibition showcased more than forty pieces of artwork, featuring a blend of watercolor, pen & ink, and oil paintings. This diverse collection included both earlier and recent works, reflecting the artist’s creative output during a period shaped by the Covid pandemic.
Within this sixth project, the first five images presented are selections from the Post Pandemic Solo Exhibition, offering a glimpse into the range and style of artwork that was on display.

Title: First Step
Copyright: CLHaupt
Dimensions: 12 x 12 inches
Medium: Oil on Canvas
Year Completed: 2020
In Private Collection
Karen's Seashell.jpg

Title: Karen’s Seashell
Copyright: CLHaupt
Dimensions: 18 x 24 inches
Medium: Oil on Canvas
Year Completed: 2021
In Private Collection
Over My Shoulder.JPG

Title: Over My Shoulder
Copyright: CLHaupt
Dimensions: 14 x 11 inches
Medium: Oil on Canvas
Year Completed: 2019
Minor Indecisions.jpg

Title: Minor Indecisions
Copyright: CLHaupt
Dimensions: 14 x 11 inches
Medium: Oil on Canvas
Year Completed: 2020
Partial Observation.JPG

Title: Partial Observation
Copyright: CLHaupt
Dimensions: 10 x 8 inches
Medium: Oil on Canvas
Year Completed: 2021
An Extremely Vague Reflection.jpg

The Backstory
After submitting my artwork to "The Huts Magazine," an Instagram-based online and print publication, I was thrilled to learn that my work had been accepted. Naturally, I ordered a print copy. Inside the two-page spread, my four images, biography, and artist statement were displayed beautifully. However, there was an unexpected twist: my name appeared as "Haupt Craig" instead of "Craig L Haupt," with the 'L' omitted and the order reversed.
From Snafu to Alter Ego
As I shared this amusing name mishap with close friends, their reactions ranged from suggesting that "Haupt Craig" sounded like a German or Dutch Renaissance artist to increasingly lighthearted and silly interpretations. This playful banter culminated in my adopting the name "Haupt C." and, finally, "Hauptcee Haupt." This persona fit perfectly alongside the three other fictitious twin brothers who have made cameo appearances in my YouTube art videos, making Hauptcee Haupt my fourth invented sibling.
The Artistic Journey of Hauptcee
Embracing the fun, I decided to sign my next oil painting as "Hauptcee." What started as a simple joke evolved into a year-long creative exploration. For the next body of work—a new series of paintings—each piece would be created and signed by "Hauptcee Haupt." I dedicated two sketchbooks exclusively to this persona, tasking my fictitious twin brother Hauptcee with filling them with doodles and sketches throughout the year. Every completed painting in the series was to originate from these sketchbooks.
Exhibition and Collaboration
Six oil paintings were finished for an upcoming solo exhibition featuring the works of Hauptcee Haupt, alongside my own watercolor and oil paintings as Craig L Haupt. Two additional paintings by Hauptcee were left in various stages of completion; I planned to finish these myself after the project's conclusion, sharing credit for their creation.
A Tongue-in-Cheek Endeavor
It is important to note that this entire project is intended as a lighthearted, tongue-in-cheek response to the art publication's misprint of my name. Through this playful approach, I have enjoyed exploring new creative possibilities and sharing the humor with friends and viewers alike.
Title: An Extremely Vague Reflection
Copyright: CLHaupt/Hauptcee Haupt
Dimensions: 18 x 18 inches
Medium: Oil on Canvas
Year Completed: 2022
On Second Thought....Pearls.jpg

Title: On Second Thought…Pearls
Copyright: CLHaupt/Hauptcee Haupt
Dimensions: 18 x 18 inches
Medium: Oil on Canvas
Year Completed: 2022
In Private Collection
Red Ball Hinge.jpg

Title: Red Ball Hinge
Copyright: CLHaupt/Hauptcee Haupt
Dimensions: 18 x1 8 inches
Medium: Oil on Canvas
Year Completed: 2022
Look!! Birds!!.jpg

Title: Look!! Birds!!
Copyright: CLHaupt/Hauptcee Haupt
Dimensions: 18 x 18 inches
Medium: Oil on Canvas
Year Completed: 2023
Stone Petals.jpg

Title: Stone Petals
Copyright: CLHaupt/Hauptcee Haupt
Dimensions: 10 x 8 inches
Medium: Oil on Canvas
Year Completed: 2023

Transitioning from the Hauptcee Haupt Exhibit to New Art Book Projects

After the completion of the Hauptcee Haupt exhibit, I began exploring fresh concepts for my next long-term project. In reflecting on my most recent endeavors, I considered revisiting the '12 + 12' project as a potential foundation for a second self-published ArtStory book. This required careful thought regarding common themes and narratives, as well as attention to the design layout and written content.

Over the course of two years, I intermittently dedicated significant effort to this second book project. This included developing twenty-four stories to accompany each of the twenty-four '12 + 12' images. In addition to developing the stories and coordinating the art for the book, substantial time was dedicated to pen and ink work for the various design components. This included the creation and refinement of the Front and Back Cover artwork, as well as the layout for the Front-matter, Body, and Back matter pages. Each stage of the design process requires meticulous attention to detail to ensure visual cohesion and to support the narrative flow of the project.

However, I encountered a minor flaw in coordinating the artwork and stories within the main body design. Unable to resolve this issue to my satisfaction, I ultimately decided to set the project aside.

Despite shelving the '12 + 12' project, this process opened the door to a new direction for my second possible art book. I shifted my focus to creating a dedicated art book that would document my progression into oil painting, featuring a chronological overview of the oil paintings I had completed up to that point.

While reviewing the unused '12 + 12' project materials, I identified useful design elements and ideas that could be repurposed and integrated into this new art book project. Additionally, I discovered that organizing the first seven sections of the Baker Project could serve as an effective outline and provide a template for the sectional descriptive text, which would narrate the different phases of my journey with oil painting.

All this and the sign off on a future solo art exhibit in early 2027 will provide a juncture for the actual promoting of the second art book project to facilitate a path to funding the self-publishing and printing of the art book.

Juke Box Lady.jpg

Milestone: Preparing for Promotion and Publication
The culmination of this ongoing work, along with the recent confirmation of a solo art exhibit scheduled for early 2027, marks a significant juncture in the evolution of the second art book project. This exhibit will serve as a strategic opportunity to actively promote the art book to a broader audience. By leveraging the visibility and momentum generated by the exhibit, I aim to establish a clear pathway toward securing the necessary funding for self-publishing and printing the book. This coordinated effort represents a crucial step in transforming the long-term vision for the art book into a tangible and shareable publication.
Shown in this section are ten works of art created from 2023 to present.

Title: Juke Box Lady
Copyright: CLHaupt
Dimensions: 10 x 8 inches
Medium: Oil on Canvas
Year Completed: 2022
One Painting, Two Stories.jpg

Title: One Painting, Two Stories
Copyright: CLHaupt
Dimensions: 10 x 8 inches
Medium: Oil on Canvas
Year Completed: 2022
Tossing Balls.jpg

Title: Tossing Balls
Copyright: CLHaupt
Dimensions: 16 x 16 inches
Medium: Oil on Canvas
Year Completed: 2023
One Ball, Two Balls.jpg

Title: One Ball, Two Balls
Copyright: CLHaupt
Dimensions: 10 x 8 inches
Medium: Oil on Canvas
Year Completed: 2024
Evening Drive to the Corner Store.jpg

Title: Evening Drive to the Corner Store
Copyright: CLHaupt
Dimensions: 16 x 16 inches
Medium: Oil on Canvas
Year Completed: 2024
Butterfly & Berries.jpg

Title: Butterfly & Berries
Copyright: CLHaupt
Dimensions: 12 x 12 inches
Medium: Oil on Canvas
Year Completed: 2024
Out for a run with Lenny.jpg

Title: Out for a Run With Lenny
Copyright: CLHaupt
Dimensions: 10 x 8 inches
Medium: Oil on Canvas
Year Completed: 2025
8 Two Part Harmony.jpg

16 x 16 inches

Oil on board
9 Minor Indecisions.jpg

14 x 11 inches

Oil on board
10 Partial Observation.JPG

14 x 11 inches

Oil on board

Evolution of my artistic retreats in Maine to include a reconnection with Photography

My art and trips to Maine

For the past 25 years, I have made it a tradition to take an annual trip to Maine, dedicating a week or two each year to quiet solitude with my art. The primary aim of these retreats was to provide uninterrupted time away from family and work obligations, allowing me to focus exclusively on my creative pursuits. Each journey typically began with visits to museums and galleries along the way, followed by settling into a chosen inn where I could immerse myself in artmaking for the remainder of the trip.

As the dynamics on the family front shifted—through separation and as my children grew older, I found myself devoting more time to art throughout the year, which gradually lessened the necessity for intensive art creation during my Maine trips. Recently, my visits have included not only museums and galleries but also more tourist activities, resulting in fewer hours spent on hands-on art. Despite this change, these experiences have continued to nourish my creative spirit.

Return to Photography

In the past few years, I have found myself reconnecting with photography after a 45-year break. My early photographic experiences were rooted in film, slides, and black-and-white images developed in the darkroom. As I immerse myself back into photography, I observe a fascinating evolution in my creative approach, shaped by both my artistic background and the passage of time.

Unconsciously, I am drawn to seek out distinct shapes, a sense of balance, and thoughtful compositions within my photographs—elements that strongly echo the design principles I employ in my art creations. This overlap between my artistic background and photographic endeavors becomes even more pronounced as I approach my subjects more closely. The nearer I am to what I am photographing, the more likely I am to capture abstract compositions, allowing the familiar language of my art to guide my vision through the camera lens.

Shown in this project are photographic images I took during the past three years of Maine trips.

Plant on Wall of Stone

Evolution of my artistic retreats in Maine and my return to photography
For the past 25 years, I have made it a tradition to take an annual trip to Maine, dedicating a week or two each year to quiet solitude with my art. The primary aim of these retreats was to provide uninterrupted time away from family and work obligations, allowing me to focus exclusively on my creative pursuits. Each journey typically began with visits to museums and galleries along the way, followed by settling into a chosen inn where I could immerse myself in artmaking for the remainder of the trip.
As the dynamics on the family front shifted—through separation and as my children grew older, I found myself devoting more time to art throughout the year, which gradually lessened the necessity for intensive art creation during my Maine trips. Recently, my visits have included not only museums and galleries but also more tourist activities, resulting in fewer hours spent on hands-on art. Despite this change, these experiences have continued to nourish my creative spirit.
Return to Photography
In the past few years, I have found myself reconnecting with photography after a 45-year break. My early photographic experiences were rooted in film, slides, and black-and-white images developed in the darkroom. As I immerse myself back into photography, I observe a fascinating evolution in my creative approach, shaped by both my artistic background and the passage of time.
Unconsciously, I am drawn to seek out distinct shapes, a sense of balance, and thoughtful compositions within my photographs—elements that strongly echo the design principles I employ in my art creations. This overlap between my artistic background and photographic endeavors becomes even more pronounced as I approach my subjects more closely. The nearer I am to what I am photographing, the more likely I am to capture abstract compositions, allowing the familiar language of my art to guide my vision through the camera lens.
Shown in this project are photographic images I took during the past three years of Maine trips.
Plant in Jagged Rocks

Ogunquit, Manie: The peninsula
Plant in Jagged Rocks, 2024
Lake on a Truck

Damariscotta: A Central Haven for Artistic Exploration
Throughout my various trips to Maine, Damariscotta stands out as the area where I spent the most time. My frequent stays were largely influenced by a wonderful Bed & Breakfast, which featured a spacious room perfectly suited to setting up my art station. This accommodation not only provided comfort but also served as a convenient hub from which I could visit numerous art museums and galleries and explore notable small towns and scenic vistas in the surrounding area.
A Tribute to Bobby and the Enduring Pickup Truck
The grounds of the inn themselves proved to be a rich source of inspiration, offering a diverse array of subjects to photograph during my stay. The following five images showcase scenes captured at the inn, highlighting the beauty and character of its environment.
Bobby, one of the innkeepers, was a beloved figure at the Bed & Breakfast. Although he passed away a year ago, his presence is still felt on the grounds, especially through his cherished 1957 sea-green pickup truck. This vehicle, still running after all these years, served as Bobby's reliable companion for local errands.
The pickup truck itself has become a symbol of resilience, much like the plants thriving in rocky crevices nearby. Its surface, adorned with patches of rust and lichen, tells a story of endurance and the passage of time. The next two photographs capture these details, offering a visual narrative that intertwines the truck’s enduring spirit with the natural beauty of its surroundings.
Lake on a Truck, 2024
Truck Handle and Gas Cap

Door Handle and Gas Cap, 2024
Fog on the Lake

The Pond and it's Unique Features
Adjacent to the inn's grounds lies a picturesque pond that adds to the charm and tranquility of the setting. At the southern end of the pond, visitors will find the Alwives Fish Ladder, a remarkable structure that descends fifty feet, connecting the pond to the Damariscotta River and Salt Bay. This feature highlights the ecological significance of the area and provides a fascinating glimpse into the region's natural processes.
On the northern side, the pond, via a narrow channel, seamlessly opens up to the expansive Damariscotta Lake, which stretches for ten miles.
This first of three photos is from the north side of the narrow channel that divides the pond from the lake.
A Foggy Morning, 2023
Reflection Across the Pond

A View from the Inn, a black and white study, 2023
Tying Off Bobby's Boart

Tying Off Bobby’s Boat, 2024
Racing Rocks

Peninsulas South of Damariscotta
South of Damariscotta, the coastline is characterized by a series of peninsulas that extend out from the shore. Beginning in Brunswick, travelers encounter the Harpswell Peninsula, followed by Phippsburg, Georgetown, Boothbay, Pemaquid, Cushing, and finally the St. George Peninsula, which lies just before reaching the town of Rockland, located 52 miles from Brunswick.
Pemaquid Peninsula
Of these, the Pemaquid Peninsula offers a direct route from Damariscotta, making it easily accessible from where I stayed. The drive to the tip of Pemaquid Point covers approximately 15 miles and leads to the area’s main attraction: the Pemaquid Point Lighthouse.
My personal interest in visiting Pemaquid Point has always centered around its remarkable geological formations. Here, a rocky finger made of exposed metamorphic gray rocks, interspersed with dikes of harder, white igneous rock, extends nearly 300 feet out into the ocean. The area’s unique layered rock formations are the result of millions of years of buildup and volcanic molten rock activity, creating a visually striking landscape that is especially appealing to photographers.
The accompanying images capture scenes from this distinctive area.
Racing Rocks, 2024
Receding Rocks

Receding Rocks, 2024
Green Water, Blue Rock

Green Water, Blue Rocks, 2024

The Trains of Steamtown, Scranton, Pennsylvania Photos

In September 2025, on the route to a small town in New York to visit some artist friends, just east of Port Jervis, I made three stops in Pennsylvania over two days. At my third stop in Scranton, PA I took a series of photos at the 'Steamtown' train yards/museums. All ten of these photos were from the steam train engines and railcars that were parked on a series of rail tracks and long past operable.

Several of the photos focused on the abstract nature of the decay of a once lucrative and proud rail industry that supplied the east coast with coal and goods.

Each of the ten photographs were taken using my Android phone. Where necessary for artistic considerations, I enhanced the images by applying different degrees of color correction using Microsoft's editing app, ensuring the visual quality and fidelity of the collection.

11 The Lock.jpg

The Lock, detail photo from Steamtown, Penn. trainyard
Cotter Pins

A bolt held to the steel plate on a section of a train-railway car by two cotter pins
13 Wheels & Wheels.jpg

Overhead view of two kinds of stacked rusting wheels for trains on an old wooden flatbed train railcar sitting in a railyard.
14 Green Buckets.jpg

An unusable railway tank car with two green buckets covering holding tank pipes to keep rainwater from entering
15 Wood Block.jpg

A close up of a block of weathered wood between two metal brackets
16 Tilted Panel.jpg

Tilted steel panel on the side of a rusting train car
17 Rust Island.jpg

close up view of a rusted out section of a train car
18 Engine Face.jpg

A combination of metal plates, compressors, pipes, and hose lines giving the appearance of an anthropomorphic face
19 Wheel & Shock - Copy.jpg

Close-up view of a single train engine rusted wheel in the Steamtown trainyard in Scranton, PA.
20 Pollock's Private Train car.jpg

Side panel of an old trains coal-tender that has top and lower coats of paint peeling off the metal exterior walls giving the appearance of an abstract painting.

This section is currently and though Dec. being revised under the heading YouTube Art Videos

In September 2020, I established a YouTube video channel with the goal of developing an additional art-focused social media platform. This initiative was aimed at expanding my audience and enhancing the potential for a successful fundraising effort, specifically for a second ArtStory book project.

To facilitate the creation of high-quality art videos, I invested in upgrading my computer system. The new setup was chosen to support an NVIDIA graphics card, the DaVinci Resolve editing program, and any supplementary applications required for video production and book design, such as Adobe InDesign.

Since launching the channel, I have produced and uploaded a total of 134 YouTube videos. These "Art Stuff" episodes document my ongoing artistic journey, including the creation of new artwork, participation in art exhibits, photography projects, the development of art books, and the publishing process.

This section provides an overview of the essential components and workflow involved in making my YouTube videos.

Still shot of Canon M50 and various accessories used for filming.jpg

Camera and Accessories Setup
A crucial component of the video production process is the arrangement and use of various camera equipment and supporting accessories. The main filming device utilized is a Canon M50 digital camera. In addition to the primary camera, an assortment of microphones is employed to capture clear audio for each episode.
Supporting storage devices are also integral to the workflow. USB drives and SD cards are used to transfer and store footage and other necessary files efficiently. Among the accessories, special attention is given to the orange unit positioned to the left in the setup—this is a Lacie 5-terabyte external hard drive. This external drive contains all of the video episode film clips, visuals, music tracks, scripts, social media text, and the rendered finished videos downloaded from DaVinci Resolve.
Utilizing an external hard drive is essential in this process to prevent overloading the main computer’s C and D drives, which could otherwise become overwhelmed by the large file sizes associated with video clips and media assets.
Image:
Still shot of Canon M50, LaCei 5tb External Hard drive, and various accessories used for the filming.
Cameras for Filming Art content videos.jpg

Once an art subject has been chosen and then scripted for the current video, staging areas for filming are then considered the videos. Most filming areas are within my primary work area for art. On the smaller tripod (center) is the Canon M50 digital film camera used for all my main filming. To the left is newly acquired Nikon D7100 digital camera (replacing no longer operational Nikon D80) for additional filming so that the M50 can stay in a set position if replacement takes are needed. To the right, there is a Nikon Point & Shoot on the silver tripod, gifted to me and can be used for backup still and film shots. Also used is the 'smartphone' for extra still shots such as this one.
Filming for a Video Episode.jpg

There are two basic types of filming involved with creating my YouTube videos. One is filming the primary story line for the current YouTube video using a rough script I have written. Both as a single take for each section of script or multiple takes to get the correct film clip/s I need for the video. Normally several of these self-approved clips are edited together to make a complete 3-to-5-minute video for Uploading to YouTube.
The second is filming the ‘B Roll’, which are additional film clips and still-shots used to support the story line such as in-progress working on creating art, framing artwork, etc. These can be without dialog or separate informative dialog added/overlaid later.
Still shot of my being film for a current video.
SD Cards and File folders.jpg

Transferring Film to Computer via SD card
All digital filming is captured and stored directly onto each camera’s SD card. After filming, the SD card is removed from the camera and inserted into the computer. At this point, all film clips are transferred to their designated folders within the LaCie external hard drive to ensure organized storage and easy access.
Primary Film Clips
The primary film clips consist of footage where I am talking directly to the camera about the subject of the current video. Some of these clips are completed in a single take for a particular section, while others require multiple attempts, with the best take ultimately being selected for use. In some instances, different portions from various clips are edited together to form a cohesive segment of dialog, ensuring that the presentation is clear and engaging.
B-Roll Footage:
B-roll footage is organized in separate file folders and includes a variety of collected, unused but interesting film clips, as well as still shots featuring art, locations, or events. In addition to visual content, these folders also contain numerous copyright-free music tracks, which are sourced from the YouTube Free Music Library. For each video, I select supporting visuals and music from these folders to enhance and reinforce the main dialog.
Shown: File Organization and SD Cards
The top visual reference shows 43 items used for Episode 125, including text and script documents, film clips, still images, and music tracks (represented by black circles with white triangles).
The bottom left visual displays rows of file folders organized in the LaCie external hard drive, covering Episodes 63 to 135. Beyond the Episode 135 folder, there are five rows of B-roll folders (only the first row is shown), which serve as a resource for additional footage as needed. There is also an additional folder in this group containing Episodes 1 to 62.
The bottom right visual highlights the SD cards used in the filming process: Black 64GB and 128GB cards for the Canon M50, a blue 32GB card for the Nikon D7100, and a small tan/red 64GB card for the Nikon Point & Shoot camera.
Evening Drive to the Corner Store

16 x 16 inches

Oil on canvas

A current painting that was scheduled to be part of a December Pop-Up show at a gallery. The Show was canceled three days prior to set-up. It will now be used for a future exhibit.
Tossing Balls

16 x 16 inches

Oil on canvas

Another current painting that was also scheduled to be part of a December Pop-Up show at a gallery. The Show was canceled three days prior to set-up. It will now be used for a future exhibit.
One Painting, Two Stories

11 x 14 inches

Oil on canvas

Another current painting that was also scheduled to be part of a December Pop-Up show at a gallery. The Show was canceled three days prior to set-up. It will now be used for a future exhibit.
No Tunnel

14 x 11 inches

Oil on canvas

This 14 x 11 was started five years ago and put aside because of a design issue. Later decided to rework it as a 10 x 8 and on the top left and right horizontal ‘pipe connectors’ I used the surface as a road and created a small entrance/exit at each lower side of the bodies and added some vehicles (1/8 inch in height) travelling in and out. Last year I reviewed the unfinished 14 x 11 and came up with a solution to my design issue and finished the painting as it was intended but didn’t add the tunnels I had used in the 10 x 8 painting. Hence the title, ‘No Tunnel’
Still 2025-10-18 165541_2.11.1.jpg

12 x 12 inches
Oil on canvas
This current painting is, from a viewer’s perspective, finished. From my perspective I will be still going into areas of the painting and working on shadings, values, and gradation to satisfy my definition of finish.
Layout for Solo Art Exhibit

Layout for Solo Art EXhibit