The paintings are done in four stages:

The drawing- Using a reference photo, I do a detailed drawing of all elements using a sharp black wax pencil - including the form shadows, cast shadows and local dark values. The canvas was sprayed with workable fixative.

The Underpainting (Imprimatura) - A mixture of 3 parts odorless paint thinner to 1 part refined linseed oil was applied over the entire canvas followed by an application of burnt umber. The paint was evened out to a middle value by rubbing the surface with a soft clean t-shirt rag and a establish my lightest values. Q-tips, dry brushes, rags and kneaded erasers, enabled me to establish my lightest values. Additional burnt umber was used to establish the darkest values.

Completing the painting - I then applied opaque color over the transparent imprimatura and mixed my colors and values using white. I avoid "blending" the paint. For each passage, I established an average desirable relationship of value, hue and intensity without leaving any transparent passages.

Finishing the painting- I then work back into each passage, painting light on dark to model the forms. Rather than "blending," I manipulate plane edges where they border each other. I use dry brush and edges for the finished brush work. Within the light pattern, I design crest lights and highlights to model the form. Within the shadow pattern, I carefully render reflective lights and dark accents. Upon establishing my strongest color, darkest dark, lightest light, I then consider the painting finished. Details beyond this point are adding texture, pattern and interest.