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Working Methods for Portraits

I create my portraits on stretched Belgian linen or stretched, high quality cotton canvas, using Sennelier oil paints, distilled turpentine, and polymerized linseed oil. I use a combination of brushes to achieve different effects and to complete different areas of an oil portrait. These brushes include: Bristle and sable brushes in varying shapes and sizes, i.e.; brites (short with chiseled edge), flats (longer with chiseled edge), rounds (rounded edge), filberts (tapered to a point), and fans (fan shaped for blending).

When completing a portrait of an adult, I prefer to work from live sittings in combination with photographs and sketches that I execute myself. When my subject is a child, I do not consider live sittings to be a workable method of creating a portrait. I then take extensive photographs of my subject. This insures my capacity to infuse the portrait with the child’s mannerisms, emotions, and characteristics, as well as capturing their features, as opposed to simply duplicating one photograph.

I employ a method of painting that I learned from Daniel Greene, a renowned American portrait painter. This method concisely breaks down the fundamentals of portrait painting, creating a technique that is fluid, comprehensive, and easily adapted to each artist’s individual style. Since I have several styles in which I create my portraits, this method serves to enhance my own innate capacity to capture the human face/form in the construction of oil portraiture.

Pastel Portraits are created on the finest pastel papers. I use Sennelier Soft Pastels, along with Rembrandt and Schmincke brands.

My nude paintings are executed with the use of various size palette knives which give the paintings extreme texture, along with different brushes.