The demonstration will begin on a canvas that has previously been treated with an imprimatura, or oil stain, of raw umber, which has been allowed to dry. We will begin drawing the image directly in paint on the canvas, exploring scale, placement, and proportion, while utilizing abstract linear geometry to develop the design.

We will then shift into mass painting, thinly and transparently blocking in shadow shapes in contrast to open spaces maintained to represent the light. Having spent some time adjusting and refining these light and dark shapes in pursuit of a reasonably accurate arrangement of interlocking graphic shapes, we will then block in the light mass with one value representing the lower or darker end of the light spectrum.

The light mass will be blocked in as an addition effort to refine and adjust rather than passively filling in predetermined spaces. Progressively building up paint density simultaneously to expanding the value range, additional shapes will be added, each at a higher value than its predecessor, to breakdown the light mass in a planar fashion relative to the direction of the light source.

This will be done in monochrome to enable greater focus on the development of the drawing. Development of its relative relationship in a mosaic-like manner that maintains the already developed planar structure. This will serve as a foundation for turning form in a more organic manner in the following stage.

Initial color notes, referred to as dead coloring, will be compromised by the monochrome layer beneath them and at best will represent a ball-park estimate providing a beginning context for the gradual development of the chromatic relationship across the whole.

Once this stage has been completed and dried, we will embark on the final stage, introducing a mixed medium of stand oil and solvent, and switching to softer brushes. In this stage, we will render form by building smaller and smaller planes between the larger ones already determined, utilizing their relationships and averages to control the range and key, managing edges, and further developing the relationship of transparent and opaque paint application.

We will work section by section in this manner until the painting is completed. As we approach the conclusion of the demonstration subjects such as varnishing and framing will be addressed. This demonstration is meant to be within the context of a casual and open forum discussion, and audience members are invited to participate in the dialogue by bringing their questions and thoughts to the artist’s attention.