Light - Learning from Rembrandt
From Rembrandt, I've learned a great deal about light and lighting. Rembrandt was a master in technical virtuosity and He communicated exactly what he wanted to say and had his technique fully at his disposal to do just that. I have great admiration for his deep understanding of painting as well as paint, the matter itself. In his studio on the north side of his house in Amsterdam, Rembrandt lit his subjects with the natural light of one large window. It had about 10 different small shutters. Depending on the amount and source of light needed on the subject, he would open some shutters and keep others closed. Like him, my daily custom is to use only one window on the north side of my house, which provides a wonderfully consistent, cool light.

Tone - Learning from the Old Masters
By studying the work of many Old Masters, I have come to understand the importance of tonal values in painting realistically. To see my objects more clearly, I put a dark cloth behind the table. Against this dark background. I can easily see

volume, spot texture and details and observe the light's reflection on the objects. Tonal values are also the focus of my first several painting stages. I typically cover my drawing with an imprimatura, a thin coating of a medium valued mixture of Raw Sienna and Ultramarine Blue. I then do a grisaille, or monochromatic, painting of the objects, using the value of the imprimatura as my basis of comparison for all other values.

Colour - Learning from Vermeer and Titian
When it comes to colour, the painters that have inspired me most are Vermeer and Titian. I have worked hard to discover how to use jewel like transparent glazes, typically of the primaries, to build up the sense of atmosphere and soul in my paintings. I mastered these colours under the guidance of Cornelis LeMair, a contemporary Dutch master featured in (international Artist Issue 8, 1991).