My very first step is to prepare a panel, which is a very delicate process. To achieve an ivory-smooth, brilliant white surface, no other formula equals what I am about to describe. First, rabbit skin glue is dissolved by warming it in a double boiler. I add chalk and zinc white to the warmed glue solution in an enamelled pan - this makes gesso, a glue for use in painting. The gesso is then applied to the panel with a large brush in several layers.

Once a panel or canvas has been prepared, I transfer my drawing to the surface of the panel. The drawing is then finessed to capture any subtleties that I might have missed in my original sketch. After the drawing is transferred to the panel, the under painting begins.

 
 

I start with a thin transparent coat of oil paint. The first layer is typically painted with one of the following colours; burnt umber (greenish brown), burnt sienna (reddish brown) or some other earthy colour. The under painting is the road map for all of the lights and darks that create my paintings.

     
When painting a figure, all of the flesh tones are first painted in burnt umber, black and white paint. Once this area dries, a transparent layer of green paint is applied over the entire area of flesh. This green colour will show through slightly on the finished painting. In between these various layers of paint pumice stone powder is used to sand the surface. This process smooths the surface between coats of paint.
     
     
Once the first layer of paint dries, the second layer is applied in full colour. The colour used in this layer is the colour that shows through the top layer. For example, a green tree will have a reddish tone underneath or a blue dress may have a greenish colour showing through. These layers bring depth to the finished painting.
     
After this process is completed, I begin to work from background to foreground. I pay very close attention to the edges created in my paintings, some of which will be soft and delicate while others will be more rigid and hard.
     
 
     
While the top layers of paint are of a thin translucent glaze, the middle layers of paint are applied Alla Prima (painting wet into wet). Sometimes a colour like blue might have as many as four transparent layers before the semi-opaque middle tones are applied to the top. When the painting is finished, I will sand one last time with pumice stone powder, using a dampened piece of felt. Then, my final touch to bring all of the layers of colour alive is to varnish the painting.
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