These works are generally larger then my plein air work and are completed using a layered or glazing approach beneath the coloured surface.
My paintings, carried out on location, remain the source of inspiration for these larger works.
By working in the studio I am free to spend more time planning the composition and colour harmonies before preparing to work on the final piece.
A piece of board is then cut to size and prepared with multiple, thin layers of a glue chalk gesso. This technique is borrowed from the Boroque era where this was common place. The result is a highly durable and archival base as well as a favourable working surface that is much smoother than canvas.
An optical grissaile, or underpainting, is worked up in multiple layers before applying the final colour layers to finish.