- Technique

I usually do graphite work on a Strathmore 400 Drawing medium surface and charcoal on either a Strathmore 400 or 500 medium one. All are acid free. For pastels there are now a variety of quality support surfaces to work on. Depending on each project I might use tinted Canson Mi-Teintes paper, or the more textured such as Wallis, Sennelier La carte or Ampersand Pastelbord. When graphite, charcoal and pastel are framed behind glass their preservation is assured.

Oil paintings can be done in two different ways. One is often called “alla prima” or direct method. This is where the paint is applied directly to the canvas from start to finish. The initial sketch is done in oil and while the painting may not be done all “at once” as the Italian suggests, everything most certainly proceeds with paint in an increasingly refined manner.

I prefer the more classical approach or indirect method. This technique was employed by many of the great Renaissance artists and involves the creation of a solid drawing foundation. It is here where the likeness is achieved and most problems resolved. Once this is in place the paint “structure” can be placed coherently above it. Paint application begins with a combination of three earth tones painted over the entire piece making a monochrome “grisaille”. While not necessarily gray as the French suggests, it does become a thick opaque under painting serving as an initial layer. Light and dark areas are noticeably emphasized. Upon this, in repeated passes, are applied thin transparent glazes of color. The original darker areas of the charcoal drawing, made even darker by the grisaille, are largely avoided and the glazes of color are added primarily to all the illumined areas.

Oil is the classical medium and a well-done painting is sharper, clearer and cleaner than any other medium. It will last many lifetimes.