I use the lathe to create a "form" from a single piece of carefully selected wood, most often, non-figured and tight-grained, but occasionally, highly figured burl. Concentric beads are then cut to conform to the developed surface. The valley between each of the beads is friction burned with sandpaper while the piece spins, further defining the concentric line. Next, the indexing wheel on the lathe is used to locate a spoke, a pencil mark approximately every 10 degrees around the form. In the case of enclosed forms, the hollowing is now completed.

In the second phase, after the form has been removed from the lathe, I use my specially designed burning pen to define the marked spokes and the additional radial lines (one approximately every degree). Large platters have 40,000 separate burned marks. This hatch work of concentric lines and radial lines creates a circular grid pattern, the "wooden canvas", and gives the impression of a woven basket. Now is the time I make the final decisions about the design. The form may influence the design or the design may have defined the form.

The third phase is applying the dye. After calculating the numerical layout of the pattern on round graph paper, I use fine point felt tipped pens with light-fast alcohol dye of various colors, applied to the individual rectangles, to create the design and further enhance the illusion. Influences for many of my designs come from Native American and African basketry and Middle Eastern patterns. I am always looking at the world around me; stimulated by visions in nature, architecture and art of all media.