This scene of the parking lot area of the Basin, in Franconia Notch, is based on a photo taken on an extremely cold winter day, shortly before the winter solstice. It is a dry point engraving that was hand-pulled with a wooden spoon onto Awagami paper.
The image of the large white pine, growing just outside the guest house at Field Farm, is a reduction monotype. The plate was totally inked in blue and then removed with a variety of objects–cotton swabs, bamboo, brush handles, and so on.
Watercolor monotypes involve painting onto a non-absorbent surface, such as an acrylic plate or a synthetic paper substitute such as Yupo. After allowing the watercolor to dry completely, you pull the print with hand pressure or a press onto a damp sheet of paper. This watercolor print depicts crab apple blossoms. I completed the print by embellishing it with a reed pen and Prussian blue ink and adding some black watercolor with a brush.
Brush and ink paintings are among my recent interests. Inspired by the 2017 “Matisse in the Studio” exhibit at the Museum of Fine Arts, I have been working on my own “all over” effect. These two paintings were based on wildflowers at Bascom Lodge, a CCC lodge built at the top of Mount Greylock in Adams, Massachusetts.
Flowering raspberry thrives on top of Mount Greylock, in the shelter of Bascom Lodge–a turn of the century structure built by the CCC. This depiction was made with brush and ink.
This brush and ink painting of wild flowers on Mount Greylock was inspired by Matisse’s “all over” approach. It was painted on site and is on BFK Rives lightweight paper.