After receiving a commission, I will normally travel to see the original and make a detailed examination- taking measurements, examining canvas, texture, brushwork, and photograph the whole and its details. I also bring along my paint together with a few small canvas boards to  colour match in situ.

As much information as possible is recorded before I return home to prepare the canvas, draw out the composition and put in the underlayers. The final stages are done with the original in front of me, either at the studio or in situ.

I go to great lengths to use the same pigments as the artists of the period. Most of these are still available from specialist suppliers. I still use lead white for its covering power and body. Titanium and zinc white are poor substitutes for lead. Again, lead white is still available if you know where to look.

Old Holland paints are a particular favourite of mine - they have been in business since 1664. If their paint was good enough for Vermeer…



I am prepared to rely on photography as an original image if it is the only option and of the best quality. It is now possible to achieve amazing results with digital technology, and I have been delighted with the end product. I can read all the relevant information from a high definition photograph using my background knowledge of old master techniques.