Posted on Leave a comment

forest

Sketched the base drawing in the fall in 2018 in Joe Creason Park, tried six times to get the color right on it, lost patience with the version I initially chose, added a few seondary branches to two of the trees. Finally realized that the composition was busy enough to be the main feature, and just accented a few leaves throughout the piece the same color blue to reinforce that (sort of the same breakthrough I had with “sumac”).

10 x 6 9/16 inches, watercolor pencil on printed copy of fountain pen original done on-site, 2019. Print is a matted, mounted, signed 600 dpi color print on white acid-free cardstock with half inch borders, in a limited run of fifty. I only use permanent, pigment-based HP ink, which meet the ISO 11798 fade-resistance standard.

Posted on Leave a comment

january hill

Did the base drawing on the tall hill opposite from this, using a fountain pen as I had been doing for several months up to that time. Was on the fence about the trees in the foreground until I reinforced their orange watercolorwork with some acrylic paint. Left the trolley-bus white to keep it loose and give it more contrast.

6 5/8 x 10 7/8 inches, watercolor pencils and acrylic paint on printed copy of fountain pen original, 2019. Print is a matted, mounted, signed 600 dpi color print on white acid-free cardstock with half-inch borders, in a limited run of fifty. I only use permanent, pigment-based HP inks, which meet the ISO 11798 fade-resistance standard.

Posted on Leave a comment

floating house

Another of my freestyle contour abstractions, using ink instead of pencil to force myself to work with whatever I drew on the first try, and ended up with this. Just as well the house isn’t recognizable, since I did it from life and I don’t live there. Added the color listening to Kind of Blue.

10 1/16 x 13, watercolor on printed copy of fountain pen original done on-site, 2019. Print is a matted, mounted, signed 600 dpi color print on white acid-free cardstock with half-inch borders, in a limited edition run of fifty. I only use permanent, pigment-based HP ink, which meet the ISO 11798 standard.

Posted on Leave a comment

big rock

Big rock is a chunk of cliff that fell into the middle fork of Beargrass Creek, Louisville over two hundred years ago. People have been photographing, painting and drawing it, sitting and jumping off of it a mighty long time. Usually artists go for a view from up- or down-stream, so I chose a view from directly across the water. Ended up featuring the young trees in front of it, but was surprised I was able to get nearly the entire cliff into the scene as well (I was using my small 8 x 5.5 inch sketchbook). Decided to go nuts with the color to keep the viewer awake.

10 x 15 inches, watercolor and dipping pen with Hunt 102 nib on printed enlarged copy of pencil original done on-site, 2019. Print is a matted, mounted, signed 600 dpi color print on white acid-free cardstock with half-inch borders, in a limited run of fifty. I only use permanent, pigment-based HP ink which meets the ISO 11798 fade-resistance standard.

Posted on Leave a comment

just before big rock

Sketched this on the stone banks of the middle fork of Beargrass Creek in Big Rock park in Louisville in March. People kept walking in front of my view of this, possibly because I used my book-sized sketchbook and they thought I was reading, or maybe because it was one of the first warm days of late winter. This part of the creek is often photographed/painted, but since the rapids offered me a chance to draw water warping in relatively fixed shapes over rocks, I had a go. I draw water more precisely from photos, but still prefer to sketch it from life. Added inkwash to highlight the foam on the waves.

6 13/16 x 10 inches, inkwash on printed copy of fountain pen original done on-site. Print is a matted, mounted, signed 600 dpi print on white acid-free cardstock with half-inch borders, in a limited run of fifty. I only use permanent, pigment-based HP inks which meet the ISO 11798 fade-resistance standard.

Posted on Leave a comment

woods

Every landscape artist works at least partially in abstract; just check out how they draw leaves.

Sketched the woods in south central Kentucky about twelve years ago, then picked it up this year for color experimentation and ended up with this. Warmed up to it after adding the hash marks on the tree and background, and after I established a bit of depth by slightly varying the greens in the leaves.

6 3/8 x 9 7/8 inches, watercolor pencils on printed copy of ballpoint pen original done on-site, 2019. Print is a matted, mounted, signed 600 dpi color print on white acid-free cardstock with half-inch borders, in a limited run of fifty. I only use permanent, pigment-based HP ink which meets the ISO 11798 fade-resistance standard.

Posted on Leave a comment

rough trees

One of several old drawings chosen for watercolor practice, I think I drew it in Lincoln Park in Springfiled, IL in 2002 or so. It always stood out among my outtakes, since the lines were so bold. So I gave it a second look this year and added watercolor to it, starting with the green in the leaves and grass, then adding the yellow background diagonals and finishing with the tree trunks.

6 1/4 x 10 7/8 inches, watercolor pencil on printed copy of ballpoint pen original done on-site, 2019. Print is a matted, mounted, signed 600 dpi color print on white acid-free cardstock with half-inch borders, in a limited run of fifty. I only use permanent, pigment-based HP ink which meets the ISO 11798 fade-resistance standard.

Posted on Leave a comment

quiet day

I normally dislike leaving a page partially-filled, but that seemed to add to this piece’s effect.

Did this one weekend in an empty school parking lot, looking to do a freestyle contour abstract featuring architecture and mechanical stuff, but realized understated was the way to go after I got done adding the rock and moss close-ups. Originally wanted to call this “earth neuron,” but “quiet day” seemed more accurate.

10 x 13 1/4 inches, done on-site using fountain pen, 2019. Print is a matted, mounted, signed 600 dpi print on white acid-free cardstock with half-inch borders. Please note this run is unlimited. I only use permanent, pigment-based HP ink which meets the ISO 11798 fade-resistance standard.

Posted on Leave a comment

march hill

By this time I’d already done a few freestyle contour drawings of landscapes, with the albeit heavily-abstracted scenes being done in one, page-filling piece, with contour details of various things drawn on top of the base drawing here and there. This one was an overlapping of many pieces with no base drawing at all, giving it a denser look. Wanted color harmony in there but had to be restrained so as to clarify and not clutter up the composition. This is the other side of the building I sketched sometime later for “side door” (see below). See if you can find the whales.

10 x 12 7/8 inches, watercolor pencil on printed copy of fountain pen original done on-site, 2019. Print is a matted, mounted, signed 600 dpi color print on white acid-free cardstock with half-inch borders, in a limited run of fifty. I only use permanent, pigment-based HP inks which meet the ISO 11798 fade-resistance standard.