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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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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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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.

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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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douglas loop in march

Sketched this from the window of a coffee shop across the street. Inked it in and added inkwash sometime later, adding color gradually, starting with the blue in the far window on the second storey. That seemed too restrained, but I was determined not to over-color, so I did some of the wires next, then the walls of the shops on the left. Tried to keep the saturation and values of the colors and inkwash close enough that they looked like they were in the same light.

10 x 13 1/2 inches, inkwash, watercolor pencil and dipping pen on printed 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 inks which meet the ISO 11798 fade-resistance standard.