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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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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.

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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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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.

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partly cloudy and forty-eight

Did the drawing with a fountain pen on a cool day in early spring from a thrid storey window from a building on a tall hill on the Bellarmine University campus, looking south. Came home and added a lot of pointilism work with dipping pens with Hunt 102 and 107 nibs, adding color to the grass sections in mid- and foreground, with a bit of green for the building to the right and some pink on the horizon trees. Added more when scanning showed the first application to be too faint, taking care to let the uncolored portions work with the color to emphasize objects in the landscape in an engaging way spatially.

10 x 6 11/16 inches, watercolor pencil and dipping pen 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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big stairs

The reservoir in the Crescent Hill neighborhood of Louisville Kentucky has a big stone staircase leading up to its perimeter sidewalk, a nice example of late 1800’s architecture (it was done in 1879, I think). I thought it would make a good point of departure for a really abstract work, so I based two ink drawings on it, settling on the larger one. Tried to make the lines refer to overgrown vegetation and other images. To make it stand out, I wanted to feature the negative space as much or more than color (when people hear “abstract art,” they think about paintings, usually using a lot of color).

10 x 13 inches, watercolor pencil 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 ink which meets the ISO 11798 fade-resistance standard.