#5 - This Is How It's Done
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My Process
Every piece I create starts with a connection to music, a specific interest, or even a photo I took from a meaningful event. Once I find a source that sparks interest, I go to work.
Surface Matters
Depending on the size and feel I’m going for, I’ll choose between Pastelmat or UART paper—both give me the tooth and control I need. I have the paper mounted locally to 3/16" masonite board to give it stability. For larger pieces, I brace the back with 1x2 wood framing to prevent any warp and keep it gallery-ready from the start.
Laying the Foundation
To transfer the image, I’ll either project it onto the surface or do a freehand sketch—depends on how technical or interpretive I want to get. I’m not afraid to be precise when I need to, but I also love creating freely.
Tools of Choice
I primarily use:
- Caran d’Ache oil pastels for their richness and control
- Blue Earth soft pastels for their softness and tonal power
- Blending stumps to shape and smooth the layers
Sometimes the pastels do exactly what I ask. Sometimes they push back. It’s trial and error and often hoping that I didn’t screw it up. Unlike paint, there are only so many layers of pastel that you can lay down before the artwork has to go to the trash. I work top left to bottom right—a practical move to avoid smudging, especially with how easily pastel lifts off the surface.
Studio Flow
For larger pieces, I work upright at an easel. Smaller works find their home on my drafting table, where I can get lost in the detail. Regardless of size, I always document the journey: I take progress photos during every session, not just to track development—but because I love watching a piece come to life, stroke by stroke.
Final Thought:
This isn’t a rigid formula—it’s a repeatable rhythm. One that gives me the freedom to create without second-guessing my tools or structure. It has taken a lot of experimentation for me to find a method that produces long-lasting quality work.