How I create my paintings in oil.

I use the techniques of 17th century Dutch painter, Jan Vermeer. I lay down a foundation of primary colors, and subsequently layer glazes to establish flesh tones without obscuring the vibrant under-painting.

For some subjects, I concentrate on detail-often not evenly over the surface, but by focusing on my point of interest and leaving outlying areas in more suggested states.

When I work in oil, I begin with pure color washes of violets, greens, yellows, reds and oranges. These are all colors that are reflected from surrounding areas and are the flesh and blood of my paintings. The wash also helps to unify a painting. An isolated spot of color, will stand out like a 'sore thumb' throbbing its message, 'I don't belong.' I make sure that each color I use is applied in several areas.

I do not worry at this time about washes being covered by succeeding layers of paint; I just enjoy the bright pure colors. I tend to tell myself, at this point, that I will not refine my painting, but leave more of the bright colors showing. I have yet to restrain myself and stop. It seems I always need one more stroke to refine the work. I am better when I am readying a painting for a particular competition and have a deadline. You just have to stop to allow drying and glazing time.

Next, I lay out Grumbacher red, cadmium yellow light, and cobalt blue as points of a triangle on my palette and begin to refine the face. These primary colors, along with titanium white, give me many of the greens, lavenders and peaches needed for skin tones. I use this combination to refine and soften the underlying wash but not to totally cover it. At this time I am careful not to overwork the faces or to fully cover and dull my washes. Laying in 'raw' color first keeps faces from having a chalky look.

I work from the eyes out, as they are what gives the work life. I once exhibited with a famous wildlife artist and noted that the animals were beautifully done but there was a dead look to their eyes. Later on, I found out that the artist painted from taxidermy animals. I firmly believe there is a life, which needs to be painted, in a living animal.

Throughout the painting process, I return to the face to adjust areas that are misaligned or that bother me and I work out to the canvas edge. I have had people walk back and forth, and tell me that the eyes of my paintings follow them. I could not begin to tell you how I do that. I just see beauty and life in people's eyes and that is what I paint.

Nothing is alone in the world and the colors are continued out as I work. The hair is laid in next so it can be blended over the skin. The background color is important to keep the values correct. A face against a white canvas will look much different than when the hair and background surround it.

I try to remain open to new ideas, techniques and tools. You can never learn too much. That is what makes the world exciting and enjoyable. Beside, you can learn something new from each teacher you have, no matter how many years you study.

My oils of choice are Grumbacher. I have used them for twenty years and love them as much now as when I started with them. I have tried other brands but always return to Grumbacher.

Link to Grumbacher art supplies