STATEMENT OF TECHNIQUE



            Following is a description of the techniques and materials that I employ.


            First of all, as one can probably tell, I rely heavily on photographs, both digital and slides.  Once I have decided on a subject, I may take as many as five or 10 photos from different perspectives and at various times of the day to find the best possible composition for a painting.


            When I have selected the proper photo, I employ the use of an opaque projector or a slide projector.  I seldom spend more than five minutes drawing the image on a panel; I use the projector to establish reference points.  Although I rely on the projector, I don't use this device for all my paintings.  I look on it as a useful tool that is primarily a time saver. 


            I must emphasize that I do not try to depict everything as it is in the photo.  Invariably I make changes by adding something or subtracting something to enhance the overall painting.


            After the projection, I begin a careful drawing using the print as a reference.  I have found "col-erase" colored pencils to work quite well, but on occasion, I will employ a 6H graphite pencil.  As the drawing progresses, I will either leave out or add things that I think will enhance the drawing.


            My palette includes:


                        titanium white                                      mars orange

                        unbleached titanium                            cadmium yellow

                        ultramarine blue                                  cerulean blue

                        alizarin crimson                                  zinc white

                        burnt umber                                        Daniel Smith moonglow


            As a medium, I use only turpentine or "turpenoid".  I use a variety of small synthetic brushes (#00-#6), and to smooth out certain areas, I've found a cotton ball with cheesecloth wrapped around it to be an indispensable tool.


            I try to paint "alla prima", that is, to get everything right at one stage, but occasionally I'll have to come back, glaze over, or change an area.