I choose to use photographs I have taken as the basis for my work but I do not strictly adhere to the natural colors of the landscape. What feels right or creates a mood or evokes a memory or an emotion is of more importance to me.
My renderings are done on 4-ply 100% rag museum board which stands up to repeated working. I use only Prismacolor Premier colored pencils because they are thick and soft, lay down evenly and provide good saturation of color. Images are created using standard colored pencil techniques such as overlaying to create new and vibrate hues and dark values; variations in pencil pressure; and in some cases, impressed line technique. Blenders or solvents are not used and I do not burnish my work. My technique is as much subtractive as it is additive. A kneaded eraser is used to lift pigment from the paper to expose lighter areas and to create and define contour. I have recently begun applying inert and non-toxic dry pigments with very soft brushes in order to lay down large areas of color in less time, allowing for larger formats. A unique fixing technique adds a subtle luster to the finished piece.
The use of soft, high quality colored pencils and dry pigments applied lightly to the surface of textured museum board adds a unique depth and luminosity to my work.