My preferred medium is soft pastel because they provide the ability to layer and blend seamlessly creating a full range of values and chiaroscuro.

 

I use the sight-size method to draw exactly what I see in real life—careful and truthful observation of nature is my primary goal. As Rembrandt said, “Choose only one master—nature."

 

To set up a still life I first think about a story, experience, or emotion I want to communicate and then I arrange items and light to tell that story. The set-up can take days to finalize with value sketches of every composition along the way until the right combination comes together.

 

Once the still life is ready, I set up my easel at the correct distance from the tableau so that the composition fits on the paper (which has been carefully taped onto a drawing board). Next I put tape on the floor where my feet are positioned so that I can always go back to the exact same spot to observe the set up and determine where corresponding shapes and colors are on the paper.

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All of my artwork is designed to be viewed from a distance of 4'-6' which is the distance I stand from the still life to observe the subject. I also stand about 2' from my easel so a great deal of time is spent observing, walking forward to the easel to make a mark, and then walking back to my observation point to determine if I put the mark in the right place on the paper. If not then I walk forward to correct the mark and then back to check from my observation point. 

 

When working with charcoal I uses Nitram soft, medium and hard charcoal sharpened on a sandpaper pointer and use a kneaded eraser. For charcoal drawings I use Canson Mi-Teintes  paper. With chalk pastels I use both Rembrandt and Sennelier brands of pastel on a variety of Sennelier pastel board.