My most frequently used materials are papers such as Stonehenge White by Legion Papers, Museum Rising Board 4-ply, also by Legion, and Fabriano Artistico Hot Pressed 600 GSM. These are robust, high-quality papers for drawing and colored pencil work. They handle the media well and allow for multiple layers during colored pencil drawing. Additionally, since most of my portraits are large-scale, I can obtain Stonehenge and Rising Board in large formats.

For colored pencils, I prefer professional-grade pencils with a high pigment-to-binder ratio, excellent construction quality, and superb lightfastness. My top choices are Luminance by Caran d'Ache, Pablo by Caran d'Ache, and Polychromos by Faber-Castell. 

For graphite pencils, I use Faber-Castell regular graphite and Pitt Graphite Matt, General's Kimberly 9XXB for the deepest blacks, Staedtler, and Blackwing.

I use handheld pencil sharpeners such as M&R and KUM . They are well-constructed, robust, reasonably priced, and come with replaceable blades. For erasers, I use kneaded, Mono by Sakura, and small battery-powered erasers, which are essential tools in my work.

When I started with colored pencils, I was not aware of the different levels of professional artist grades available. I began with Prismacolor pencils, but due to their construction issues, I researched and found other pencils on the market that were more robust, had an excellent pigment-to-binder ratio, and required fewer layers or less pressure for good color application. 

I discovered Luminance 6901 pencils by Caran d'Ache about 12 years ago, and they have now become my go-to pencil for portrait work. To me, they are the Rolls-Royce of colored pencils. I needed a pencil that was well-constructed, allowed for ease of layering, blending, and mixing, and this pencil meets those needs. I use this brand because it offers an excellent selection of desaturated colors that are perfect for drawing various skin tones. Their higher price point is justified by their superior construction, robust top-grade materials, and exceptional pigments that cover remarkably well with a light layer of color. They are definitely a professional pencil.

I also use watercolors, inks, and gouache at various stages or for detailed work.

This is an excellent question. Colored pencils are a medium that requires a soft, light hand and a transparent or semi-transparent layering process. 

In my portrait work, I build up multiple layers of color, sometimes up to 10 layers in a small section. This layering is what creates the texture and depth in the drawing. When you look closely at my work, you can see the magic—delicate layers of color become visible upon close examination. The textures, such as wrinkles, pores, and skin bumps, are revealed through subtle color shifts across the layers.

I don’t use solvents on my drawings; all the texture and depth are achieved purely through layering. I also work closely with the paper itself, reading its lines, tooth, and bumps to help create the skin textures. The interaction between the colored pencils and the paper plays a crucial role in achieving the realism and detail I strive for in my portraits.

I was driven to explore unconventional materials because I wanted to push the boundaries of what colored pencils alone could achieve. Colored pencils are naturally a very precise but time-consuming medium, and by incorporating other materials like inks, watercolor, gouache, and colored gesso, I could create richer and more varied effects. These materials allow me to intensify the pigmentation and bring more vibrancy to the colors, something that colored pencils alone might not always provide as easily.

In addition, these materials help me refine details, which is crucial in my large-scale portrait work. The layering of different media enables me to add depth and texture that give the portraits more visual interest and a sense of realism. For instance, gouache allows me to block in solid, vivid areas quickly, and gesso provides a smooth surface that helps with color application. The results are multidimensional and dynamic, combining the detailed control of colored pencils with the expressive qualities of mixed media.

Overall, exploring these unconventional materials has enhanced my creative process and the final results, making my portraits more engaging and impactful.

These unconventional materials in conjunction with coloured pencils lend themselves well

to attaining highly pigmented areas of colour, refinement of line and detail and the ability to create texture and more depth. .

I’m very interested in exploring new and contemporary ways to create portraits while staying true to my aesthetic and vision. For example, mounting my paper onto aluminum panels and finishing the work with varnish creates a sleek aesthetic that aligns with this approach. 

By incorporating mixed media with colored pencils, I can push the boundaries of the medium even further. Working on large surfaces, such as 48” x 72”, with a tool that has only a 1mm point, requires finding innovative ways to move the process along more efficiently. I love being able to create works faster while still maintaining quality!

The main medium I work with is challenging, but in a good way. Since I only create large-scale portraits, covering the paper with a 1mm point is a constant challenge. The question is how to do this while maintaining the level of detail my work requires. Colored pencils are a finicky and demanding medium, requiring time, patience, and countless hours of work. 

For example, just one 1-inch square section can take me 8 hours to complete. Drawing an eye that’s 2 inches wide by 1.5 inches high can take two days, or roughly 20 hours. Some of my drawings take up to two months to finish, with others extending to as long as four months. 

It’s an exacting medium, but incredibly beautiful and rewarding, despite the challenges.

I often consider the sustainability and ethical implications of the materials I use. However, as artists, we sometimes have to work with what’s available, whether due to budget, location, or other factors.

I know that Caran d’Ache, the makers of Luminance pencils, use FSC-certified wood and pay attention to water usage and minimizing waste. It’s important to me to consider these factors whenever possible.