My Typical Processes for Portraiture

I was trained in the French academic method which relies heavily on capturing a moment in time from life. Working from life yields far superior results to working exclusively or predominantly from photography, an unnecessary barrier between artist and sitter.

To that end, I prefer to work, as much as possible, directly from the sitter, though reference photos do save time by helping with the rendering of the costume and background, elements that are less dependent on direct observation of three dimensional form.

I initiate a painting At the first sitting I will complete a color study which states, in a broad way, the composition and coloration of the painting.

Next, I transfer a linear graphite drawing of the sitter to an oil-primed Belgian linen canvas. I proceed with an underpainting in raw umber and Cremnitz white. Finally the full color oil palette is employed. After the final pass of color, I apply the traditional  techniques of glazing and scumbling.