ON MATERIALS & TECHNIQUES
Every portrait I create meets stringent criteria for permanence, material integrity, and long-term preservation. I work with museum-quality oils, archival surfaces, and time-honored techniques rooted in Old Master tradition. I do not use acrylic gesso, nor do I paint on cotton duck, pre-stretched, or pre-primed canvases. Instead, I opt for time-tested materials such as rabbit skin glue, finely ground marble dust, and extra-fine Belgian portrait linen. These practices are born of a deep respect for both the subject and the craft of custom portraiture.
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PAINT
My oil paints of choice are Williamsburg Handmade Oils, prized for their rich pigmentation and subtle texture. I also incorporate select colors from Michael Harding, Sennelier, and Old Holland when a specific hue or handling quality is required.
My process involves multiple layers of glazes, following the tradition of the Dutch Masters. This approach builds depth, atmosphere, and tonal richness—qualities that cannot be achieved through direct painting alone.
For medium, I use a personal blend of refined linseed oil, walnut oil, a trace of Liquin for flexibility and flow, and Gamsol as a gentle solvent—balanced to support luminosity, drying time, and archival stability.
BELGIAN LINEN SUPPORT
I work exclusively on raw, fine-woven Belgian portrait linen, either stretched traditionally or mounted on custom wooden panels. My preferred surface is fine-woven Belgian portrait linen wrapped around hand-prepared wood panels.
Each panel is personally selected, cut, and sanded by hand, ensuring it is free of blemishes, knots, and dust. I then apply multiple coats of rabbit skin glue, following a classical formula, to the front, back, and edges—sanding between each layer to seal the surface fully.
Next, I mount linen to the reverse side of the panel using the same glue solution. This balancing technique equalizes tension and prevents future warping.
The final preparation includes 6 to 10 coats of traditional gesso, made from rabbit skin glue and fine white or red marble dust—sanded between each layer until the surface is smooth, luminous, and resilient as stone.
PAINTING TECHNIQUE
STAGE ONE: DRAWING & SURFACE PREPARATION
Every portrait begins with a meticulously rendered preparatory drawing, or cartoon, which serves as the structural foundation of the composition. Once complete, the drawing is sealed beneath a thin layer of traditional gesso, prepared from rabbit skin glue and fine marble dust, locking in the design while preserving the tooth of the surface for subsequent paint layers.
STAGE TWO: BURNT UMBER UNDERPAINTING
The surface is first toned with a transparent wash of burnt umber, thinned with spirits to establish warmth and unity. I then develop a full monochromatic underpainting in burnt umber—a time-tested technique that provides structural clarity and a stable foundation for the layers to follow. This stage allows me to resolve value relationships early and guide the mood and atmosphere of the final work.
STAGE THREE: OPAQUE LAYERS & GLAZING
I build the image through a mix of direct painting and Old Master glazing, alternating opaque and transparent layers to create depth and atmosphere. This push-and-pull of light and form gives the portrait its dimensional presence.
Though painstaking, this process yields results that no shortcut can replicate.
EQUIPMENT
The hyperrealist paintings and drawings I create begin with photographs I take myself, using professional-grade equipment to ensure impeccable source material.
I shoot with the 61-megapixel Sony A7R IV, paired with a selection of high-performance lenses tailored to each subject:
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Sony 90mm f/2.8 Macro G OSS
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Sony FE 28–70mm f/2 GM
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Sony FE 70–200mm f/2.8 GM OSS II
For lighting, I use Flashpoint XPLOR 600Pro TTL Strobes, along with various softboxes, umbrellas, and reflectors to sculpt form and control atmosphere in the reference images.
These methods and materials serve more than tradition—they serve you. Every portrait is shaped not only by centuries of technique. This is not mass production. It is a deeply personal craft—rooted in Old Master methods, realized through modern precision. Each portrait is a singular collaboration, made to honor its subject and endure across generations.
If you are considering a portrait, we invite you to begin the conversation.