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winter coffee

Did this one Sunday in late winter 2019 with a fountain pen. Made a minor digital correction then added watercolor to the houses in the center background only. Left it alone for about two months while I gradually used more and more color in my drawings. Returning to it in early May, I added color to the foreground lawn and most of the trees. Pretty busy look for winter, but the colors harmonize.

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

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march storefront

Did this in a coffee and tea place across the street using my small sketchbook. Enlarged it a bit and added watercolor as carefully as I could so as not to distract from the building structure too much. Added two applications of medium-dark inkwash when I thought the high color saturation gave it an airless feel. Much prefer it this way.

6 7/8 x 10 inches, inkwash and 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. Part of a limited print run of fifty. I only use lightfast, pigment-based HP ink, which meets the ISO 11798 standard.

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indoor vine

Another laundromat sketch. Challenge here was to rotate the greens and several other colors so that no two adjacent leaves were the same. Harder to do that than I at first thought, but I was determined not to compromise or leave any of the leaves blank.

25.4 x 16 cm, 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, part of a limited print run of fifty. I only use permanent, pigment-based HP inks, which meet the ISO 11798 standard.

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school in april

Liked this view of trees overlapping buildings, and made a point of returning to draw it before the leaves and flowers obscured it too much. If you’re wondering, the pine tree visible in the background had had its lower branches shorn so that all that was left was the trunk, which was hidden by some of the foreground trees. This is a drawing that made me use several versions of the same color (pink and blue). Left the grass white so that the drawing breathed better. Unusual proportion for me, as it’s nearly square.

7 1/2 x 7 3/4 inches, watercolor pencils 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, 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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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.

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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.

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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.

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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.

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blue oak

They say blue is the rarest color in nature, apart from the sky I suppose. In any case this was an awesome oak, so it got to be blue.

Sketched a tree with a fountain pen in my small notebook on a Saturday in mid-November 2018 in Joe Creason Park in Louisville, and liked the result so much I came back the next day and sketched it again with my 10 x 14 pad (that drawing turned out to be “Unending Oak”…see below). Was at a loss how to add color and not have the trunk looking like a lollipop stick. Weeks later I realized that I should color in the leaves of the tree and the background trees with the same watercolor wash, leaving the all the trunks bare.

9 15/16 x 6 5/8 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 ink which meets the ISO 11798 fade-resistance standard.