Chicago. There, in addition to developing his fine art talents, Doug also studied graphic design, which launched him on a successful career in advertising and branding.
Now retired from his business, and with time to paint as much as he wishes, Doug divides his time among painting, reading, travel and staying active. “I don’t paint every day,” he says. “I consider painting or making art very intense activity — I cannot do it 8 hours a day. I like to work in 2 to 3 hour segments.”
Red Beauty, Oil, 14 x 18, $925
He works primarily in his studio but highly values plein air painting. “It’s important to get out and let nature hit you in the face. But you have to work fast and make quick decisions — your prospects for success are reduced because you have a one to three hour window to paint.”
And often, these constraints result in a strong, fresh picture. When the piece is less than great, it can still become a helpful guide to developing a good painting in
the studio. “I think of doing a painting as something akin to building. You start with a strong “foundation”, or idea, and then it becomes a multitude of small decisions, leading to completion” Zeigler explains. “You go through this personal creative process and, hopefully, you’re satisfied when to sign it.”
And often, these constraints result in a strong, fresh picture. When the piece is less than great, it can still become a helpful guide to developing a good painting in
the studio. “I think of doing a painting as something akin to building. You start with a strong “foundation”, or idea, and then it becomes a multitude of small decisions, leading to completion” Zeigler explains. “You go through this personal creative process and, hopefully, you’re satisfied when to sign it.”