Why 'paint within limits' put Primary Hughes on a journey to honest, traditional art

Like a lot of people, as a kid, painting with Bob Ross and drawing from dinosaur books. I took all the art classes I could and participated in summer youth programs at Kent State University where I’d eventually earn bachelor’s and master’s degrees in visual communication design.

Most artists are observers and I’m no different. If I’m talking with someone, I’m also drawing their face or thinking about what paint I’d mix for their skin tones. In my portrait paintings, I explore identity, beauty and transformation through a melding of the human form with floral or abstract elements.

More complex than I imagined. It’s rewarding to have a life full of art as a practitioner and a professor, but often uncertain and demanding in ways that go beyond just making art. There are moments and periods – like with the current omnipresent threat of AI – when the future can feel unclear. Sometimes the most hopeful act is choosing to keep going, even without a clear map.

Think of every bad drawing like a brick on the path to becoming a great artist. You need a lot of them to build the road. Don’t worry about being perfect, just keep laying bricks and you’ll get where you’re going.

Within the digital world, the sheer volume of tools, layers, and endless undo options can be paralysing. The infinite choice can dilute intention. Traditional painting requires me to be present. The materials have limits, and within those limits, I find clarity. There’s an honesty in having to make decisions that can’t easily be undone. That finality doesn’t restrict creativity, but sharpens it.

I’ve naturally developed a pattern of using different media for different subjects. Some of it is practical, like using acrylics in the studio to avoid solvent exposure. I’ve also built a strong body of acrylic portrait work, and I’m committed to developing that focus. For plein-air painting, I use oils since outdoor airflow makes the process safer. While for figure drawing and life studies, I turn to pastel and charcoal for immediacy and responsiveness.

The analytical side of me thrives on this compartmentalisation; each medium has a place and purpose. That said, as a professor, I remain flexible and enjoy using mixed media for low-stakes, playful work.

During summer, I’m an active plein-air painter. So far, I’ve created more than 150 oil paintings of Presque Isle Park, a rugged stretch of Lake Superior coastline in Michigan.

While painting on location, I try to capture how light, colour, and atmosphere combine and reveal the true feeling of a place. These pieces hold more meaning for me than any photo or souvenir. They’re shaped by deliberate observation and the feeling of standing still while the world around me moves.

Presque Isle has become such a part of my practice that, even in the studio, I often paint from those memories, hoping a warm breeze might guide my hand.