During the first period of his artistic production, Lorenzo produced several pieces using sanguine, a material he remains linked to.
The sanguine is indeed an ancient pencil. The very term “pencil “(in Italian matita) originates from hematite, a mineral rich in iron oxide, which leaves behind a red trace generally called Sanguine.

During the 1500s the term matita referred exclusively to sanguine and only later, by expansion of its use, it would more generally mean graphite.

Lorenzo uses sanguine because it represents the soul of the drawing as generally conceived: through history the sanguine has been used for both technical and artistic purposes, exactly because it “ignites” the work - shades included; with its use, the piece of art becomes almost alive, with a distinctive personality.
The hues of sanguine usually used by Lorenzo are at least three: greasy sanguine, 18th century sanguine and Medici sanguine.



In order to salvage the homogeneity of the background in its works, as well as the tonal gradation and mostly the wholeness of the paper support, Lorenzo resorted over time to blend several techniques, specifically watercolour and soft crayon. By combining water-based painting and powder-based “dry” painting, he is able to preserve the “sparkle” of the paper and of the colours used. Following lengthy waiting periods for the material to dry and be reshaped back to form, the pencils, smudge tools, little brushes will eventually finish the work off in each single detail.