The Second District in My New York Series

Standing at a busy intersection in the heart of Manhattan, surrounded by skyscrapers that seemed to pierce the sky, I felt the city's energy vibrate through me. This is New York at its most iconic: vertical, massive, overwhelming. And it's precisely that sensation I'm trying to capture in the second work in my New York Districts series.

While the first work represents the artistic, bohemian energy of downtown, this second painting explores a completely different character – the business pulse, the architectural grandeur, the vertical dynamics of a district where everything is bigger, higher and more intense.

New York has long inspired me. In my previous Skyline series , I explored the city through the lens of time with Dawn , Day , and Night —three works that capture the transformation of the NYC skyline. With the New York Districts series, I delve deeper into the individual neighborhoods that together shape the character of this city.

From Digital Design to Canvas

Each work in this series begins digitally. In Canva, I experiment with color palettes, proportions, and compositions until the essence of a district becomes tangible. For this second work, I deliberately chose a palette that reflects the energy and diversity of this area.

Bright turquoise—the color of the sky between the skyscrapers. Soft coral pink—the warm light reflecting off the glass and concrete at sunset. Deep navy—the shadows between the buildings. Interspersed with warm yellows and rich purples that capture the vibrant energy of the streets.

The digital design serves as a blueprint, but the real work begins on canvas. The first layer is crucial—it lays the foundation for texture, color depth, and the subtle transitions that bring a geometric work to life.

The First Layer: Construction and Technique

The photos show the transition from digital concept to physical paint. The first layer consists of broad, stylized planes that define the composition—the foundation upon which the entire work rests.

Materials: Quality as a Basis

For this work, I use high-quality acrylic paint—primarily Amsterdam and Liquitex. These brands offer the consistency and color intensity I need for geometric abstraction. Good coverage is essential: each layer must be even, without streaks or transparency that would interfere with precision.

For clean lines, I use FrogTape – professional painter's tape that guarantees sharp edges without paint leakage. I apply the tape to surfaces that I've carefully aligned with a pencil and ruler. This systematic approach is inspired by artists like Josef Albers , who elevated geometric precision to an art form.

Layer Building: Patience and Control

My working method is layer by layer: an average of 3 to 4 layers per surface to achieve the right depth and opacity. This gives me the control to refine transitions and achieve the desired color intensity—essential for geometric art where every imperfection is visible.

The drying process requires patience. Acrylic dries quickly, but for perfect results, I let each layer dry for at least an hour. If time is of the essence, I can speed up the process with a hairdryer—carefully, on a low setting, to prevent the paint from bubbling or cracking. This flexibility allows me to efficiently complete multiple layers in a single day.

You can read more about classical painting techniques and layering in my article on grisaille underpainting .

Why This District Affects Me

I've been to New York twice, and this particular district continues to fascinate me. Not just because it's iconic, but because it overwhelms me in a way few places can match.

Everything is tall here. Skyscrapers dominate the skyline, art deco buildings that have stood for a century, modern glass towers that capture and reflect the light. That mix of old and new, of vertical grandeur and historic architecture, is what makes this neighborhood so special.

A moment that stays with me: standing before iconic Art Deco architecture, looking up until my neck ached, surrounded by the energy of thousands of people—tourists, businesspeople, artists, everyone in their own world but together part of this massive choreography. That feeling of being small in something big, of being part of something bigger than yourself—that is the essence I strive to capture.

What I want to convey with this work is the grandeur of NYC—the massiveness and solidity that the city exudes. The colors and composition should make that energy and scale palpable, even on a 50x60cm canvas. It's a translation of sensation into geometry, of experience into color.

Contrast in Color and Character

While the first work plays with muted, earthy tones and a horizontal calm, this second piece brings more contrast and vertical tension. The colors are more intense, the transitions sharper – a reflection of the skyline, the bustle, the energy of this iconic district.

Both works share the same grid structure—a deliberate choice that connects the series. But within that structure, they tell completely different stories. That's exactly what I want to achieve: each district gets its own identity, its own color palette, its own energy. But together they form a coherent whole—just as the neighborhoods of New York together make up the city.

What's Next?

Over the next few weeks, I'll continue working on the next layers of this second work. I'll add depth, refine transitions, and add details that complete the piece. The process is slow and deliberate—each layer must dry, every color choice carefully considered, every line perfect.

Meanwhile, I've already started the third piece in the series – a completely different character with horizontal tranquility and natural tones. While the first two pieces capture the urban energy, this third explores the oases of calm that give Manhattan its balance. The parks, the quiet streets, the places where you can breathe a breath amidst the skyscrapers.

I'll be sharing the progress through my newsletter and social media, so if you'd like to follow the process, stick around. And who knows which New York district will be next – perhaps the artistic chaos of a creative neighborhood, or the elegant tranquility of a residential area.

Frequently Asked Questions about Geometric Painting

How long does it take to make a geometric painting?

With 3 to 4 layers per surface and drying time between layers, a piece typically takes 2 to 3 weeks to complete. This depends on the complexity of the composition and the number of surfaces. This second piece has over 15 different surfaces, requiring additional time and precision.

What paint and materials do you use for geometric art?

I primarily work with Amsterdam and Liquitex acrylic paints for their consistency and opacity. For clean lines, I use FrogTape masking tape, and to lay out the composition, I use a pencil, ruler, and sometimes a spirit level. Quality materials are essential for geometric precision.

How many works are in the New York Districts series?

The series is still in development. Each district requires its own time and attention. Subscribe to my newsletter to stay up-to-date on new work and behind-the-scenes insights into the creative process.

Can I buy art prints from this series?

Once completed, the original pieces and various art prints will be available in the New York Districts collection . In the meantime, check out my Skyline series of NYC-inspired pieces, which are already available as prints.

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