“New Oil for Old Masters”
About My Technique
The Lighting
The cost of kilowatts probably exceeds the cost of paint for some of my work. I use a combination of industrial, high-intensity tungsten lights and softer incandescent lighting to measure color tint and densitiy. I also test my work under daylight to assure pleasing color.
The Prints
I order only the finest artists’ prints directly from museums and art publishers. I will not recreate a painting from a book or periodical. Artists’ prints are mandatory to assure accurate detail and color correctness.
The Outline
To assure precise dimensions and outlining of a work, I use an HD projector to project the original painting onto a new piece of canvas, where I outline it in pencil. The outlining is intreicate and can take several hours.The quality of the print and of the projector are essential in creating a true and detailed outline.
The Canvas, Color & Paint
I stretch my own canvas and apply my own undercoatings of gesso (primer), usually 2-3 layers. Some artists cake on paint in mass quantity for visual/textural effect. Not me. I’m more conservative with paint, preferring a dab to a glob. I stay true to the original, which usually means a modest volume of paint, letting tint/density do the work to accurately convey the original color. Using the print as reference, I palette-mix colors instinctively, experimenting until I achieve a true match.
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