Process

Before I begin painting, I spend time carefully studying my reference with pencil and sketchbook in hand. My process has been developed over years of work and shaped by the numerous influential teachers I’ve had. Each part of the process is an important step in realizing the complete work. 

Close-up of a light brown dog with a colorful striped collar, tilting its head back and looking upwards in an indoor setting.

Right: original reference image

Six pencil sketches of facial and bodily features arranged in a grid, including an eye, an owl face, a nose, a hand, a tongue, and a small doodle.

I start by dividing a page into six or eight small squares. Within each square, I sketch and practice drawing individual elements of the reference. This allows me to isolate details, explore forms, and identify any areas that may be challenging.

Step 1 : Mini Drawings

A pencil sketch of a Great Dane dog with big floppy ears, wearing a collar, looking upward.

Next, I create a complete and detailed drawing on a full sketchbook page. This step helps me resolve composition, placement, and angles, while also embedding the image more deeply in my mind.

Step 2 : Full Drawing

Black and white sketch of a dog wearing a collar, facing left with its head slightly tilted upward.

I then move on to a value study. By focusing on the darkest darks and the lightest lights, I establish the drama and the structure of the piece. Squinting at the reference, I use gray scale markers to map the range of values I observe.

Step 3 : Value Study

Painting of a dog, possibly a hound, with a sad expression, wearing a colorful collar, set against a plain background.

Finally, I draw the image onto pastel paper, using everything I have learned from breaking the reference down, applying my understanding of perspective, composition, and value to begin the final painting.

Step 4 : Pastel Painting