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Tree and Tall Grass

Sometimes you can’t beat drawing from life, and this was one of those days.  However the drawing turned out, working on it made me remember the field, tree and sky a lot more than if I had just taken a picture of them. 

9 x 11 inches, pencil and pen and ink on paper, from 2006.  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.

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November Grass, No. 1

Wanted to do a sketch of leaves in the grass loose enough to add watercolor later, but old habits got the better of me and I made it a contour study.  As you probably guessed, I had to load a new cartridge into my fountain pen halfway through, and ended up liking the look.  Got as far as 75% (left to right) before I had to go in and make dinner.  Finished the following night. 

8 x 5 3/8 inches, fountain pen; from 2018.  Print is a matted, mounted, signed 600 dpi color print on white acid-free cardstock with half-inch borders.  Limited edition run of fifty. I only use permanent, pigment-based HP inks which meet the ISO 11798 standard.

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Unending Oak

Did a fountain pen plein air drawing in my small sketch book of this oak in mid-November.  Liked it so much I had another go with my 11 x 13.25 inch pad the following day.  Thought for a while about how best to color it, settling on a brick red-brown for the leaves and a neutral ink wash for the branches and trunk.  Then hoped that those first two choices were down-to-earth enough to get away with doing the background treetrunks in bright yellow.  A personal favorite. 

10 x 12.86 inches, fountain pen and colored pencil; from 2018.  Print is a matted, mounted, signed 600 dpi color print on white acid-free cardstock with half-inch borders.  Limited edition run of fifty. I only use permanent, pigment-based HP inks which meet the ISO 11798 fade-resistance standard.

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Blue Zinnia

Based on the same drawing as Frankenstein’s Zinnia (see below).  We had a bed of red, pink, magenta, purple, yellow, orange and white zinnias this summer, so I thought a blue one would be nice.

10 x 6.86 inches, fountain pen and watercolor; from 2018.  Print is a matted, mounted,  signed 600 dpi color print on white, acid-free cardstock with half-inch borders.  Limited edition run of fifty.  I only use permanent, pigment-based HP inks which meet the ISO 11798 standard.

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Lewis Chesspiece

Another Inktober drawing (keyword “guarded”), with a replica of the pawn figure of the twelfth century Lewis Chesspiece set that my wife bought me while visiting the British Museum.

8.5 x 5.25, fountain pen; from 2018.  Print is a matted, mounted, signed 600 dpi print on white, acid-free cardstock with half-inch borders.  Limited edition run of fifty.  I only use permanent, pigment-based HP inks which meet the ISO 11798 fade-resistance standard.

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May Field No. 6


Took a picture of a field in Ohio in early May 2018, and about four months later did a quick drawing of it as part of an Inktober challenge (where you have to draw something based on daily keywords every day of October…keyword for this was “tranquility.”).   Applied pretty conventional color choices to it, got bored with those and completed this.

9 7/8 x 6 5/8 inches, is from 2018.  Print is a matted, mounted signed 600 dpi color print on white acid-free cardstock with half-inch borders.  I only use permanent, pigment-based HP inks which meet the ISO 11798 fade-resistance standard.

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Frankenstein’s Zinnia

Tried for a green zinnia with groovy leaves and got this.  Did a fountain pen rendering of one of our zinnias late in the year for a thank-you illustration for customers.  Decided it was too big to be a freebie and so drew some background leaves in from another picture, applied then watercolor and ink wash.   Thought the flower was cool enough to be a Frankenstein’s Monster and not merely a zombie.

10 x 6.86 inches, ink, watercolor and ink wash; from 2018.  Print is a matted, mounted,  signed 600 dpi color print on acid-free white cardstock with half-inch borders.  Limited edition run of fifty.  I only use permanent, pigment-based HP inks which meet the ISO 11798 fade-resistance standard.

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Shawangunk Ridge Cliff, No. 2

Did a pencil drawing of a cliff face based on a picture I took in a park in upstate NY.  Did a dipping pen ink rendering I didn’t care for a few years later, not doing anything about it until this year.  Printed a copy of the original pencil drawing and applied watercolor to the top and bottom of the cliff, inked in the face, applied colored pencil pine tree branches and then brushed the cliff face with an ink wash.

10 x 6.5 inches, ink, ink wash, colored pencil and watercolor; from 2018.  Print is a matted, mounted,  signed 600 dpi color print on acid-free white cardstock with half-inch borders, limited edition run of fifty.  I only use permanent, pigment-based HP inks which meet the ISO 11798 fade-resistance standard.

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Giant Oak

Done in July.

 

This is the same tree featured in my drawing Giant Oak, Close Up. I never took a picture of it. And the field it was in was too small for me to get far enough away from it to get a total picture from that side. So I drew it in parts, taped the drawings together and transferred the completed image onto an 18 x 24 inch sheet of watercolor paper, then inked and washed that in. Some background touches were done with ballpoint pe n.

This was a tree you’d remember. Six storeys high, and it’s trunk so thick it couldn’t be younger than two hundred years old, and very healthy. And as the field it was in had been abandoned for some time, the surroundings were untouched. A lot of work to get the tree and the context, but hopefully there’s a good suggestion of them in the work.

9 x 12 inches, dipping pen, ink wash and ballpoint pen on paper, from 2006.  Print is a matted, mounted,  signed 600 dpi print on white acid-free cardstock with half-inch borders, in a limited edition run of fifty.  I only use permanent, pigment-based HP inks which meet the ISO 11798 fade-resistance standard.

9 x 12 is the biggest I can print this in-house. Anything larger I will consider, but that will mean a higher price.

Published in the Winter 2018 (Initiation) Issue of the Solidago Literary Journal.