Hey All –


Almost the first thing I saw when I got back home from my trip late Tuesday night was my beautiful bride’s newly painted toes! Well okay, it wasn’t really the very first thing I saw. Reidun heard me backing in our upper driveway and dashed out of the house. She’d been waiting up for me, reading in bed, and there in my rear view mirror she stood, um, shall we say, spectacularly au naturel? I’m a lucky boy.


Reidun’s pal, Grace, painted her toes. She is just home from a triumphant first year of college, but she and Reidun having been painting toes since Grace was a peewee. They have quite the kit now and Grace is a wonder. She is the happiest, goofiest, quickest witted, most perfect Grace there is, and sooooo lives up to her name.


In a few minutes I’m going to open my ink pots and get to it again! Am hoping I’ll make good moves and quickly. I’ll keep posting as I progress, so check back in once or twice a week!


Summertime living is here!


Your Buddy Bill


PS: For a better view of Reidun’s wonder toes, click READ FULL ARTICLE in the grey bar below!



Well, my ink pots are capped, my brushes are cleaned (sort of), and it’s almost time to shovel stuff into the car. Sometimes I pack quite carefully for an expedition, but that’s not gonna happen today! I’ve worked on the pictures I’m about to show you until almost the last minute.


If you’ve kept up with my blog, you know I’m trying to portray views no one notices when they go to see the Great Falls, in downtown Paterson, NJ. My latest pictures are of the escarpment over which the waterfall plummets – just the rock face and not much more. The falls are out of sight to the right and only the end of the lovely old power plant is in view at left.


I’ve been struggling, but I’ve realized something, and it’s that an interplay of textures can define and describe a scene, perhaps more beguilingly than if it were merely rendered in a range of tones. We must discuss this further soon, but for now, let’s just say that something great is happening, if I can just understand it.


Time for show & tell: this first picture is the study begun on site and since used as a guinea pig for new technique in the studio. Along with regular brush work and mark making, there is the inevitable surface abuse. Added to this, I’ve acually printed some of the building using kraft foam that I cut to shape and beat up with sandpaper. I then brushed it with ink, flipped, positioned and pressed it down to create a grainy, almost foreboding silhouette of structure. Stranger still is how I managed a few areas of the building’s detail. First, in an out of order sort of move, I did a careful architectural rendering (pencil on tracing paper) – aren’t you supposed to do this sort of thing beforehand? Next, I scanned the drawing and took it into Photoshop, where I messed with it for a great long while, giving it graininess and a halo-like effect around the lines. That accomplished, I printed it out in reverse with my laser printer and pigment transferred portions of it right back in over top of my painting! Finally, of course, more brush work over top of all. Cool, huh?




Just so you can see it, here is what the architectural drawing looked like before and after I digitally messed around with it.




And at last, this is my slowly developing maybe masterpiece of grain and texture, done entirely in the studio. All of the method I’ve mentioned is in this one too, along with some pretty difficult inked collage, and even a little grey wax pencil. For the brick work, I created several stamps by incising archival foam core board with a wood burner. These were then inked and printed as with the kraft foam.




I still have a fair ways to go with this, but I’m already excited by what’s happening. Though I have an almost overwhelming desire to keep working, it’s actually a great time to run away for a week. When I get back, I’ll have fresh eyes and who knows, maybe I’ll have caught a muskie (a giant fish that looks like the meanest pike you could possibly imagine) .


I’ll write again once I’m back. Meanwhile take care All!


Your Buddy Bill


PS: to expand these images and see more detail, click READ FULL ARTICLE, immediately below.


Hey All –


I didn’t get as much as I’d hoped done on my latest drawing today, but hey, Reidun got off work early. I’m leaving for a week in two days, and this afternoon was gorgeous – so of course we went right back into the hammock. Wouldn’t you?


And now I have a surprise! Before I tell you more though, I should mention that a pair of pileated woodpeckers are spending a lot of time in the woods around our house. They’re main food source is carpenter ants and these incredibly cool birds are real jackhammers. At some point since last Sunday, they tore into the tree trunk right beside where we hang out!


I have two pictures for you. The first is of my Sweetie in the hammock with the (de)construction site right behind her. It looks like there is a big ant colony in there too, so I bet the birds were as happy as she is.


Can you imagine pounding your nose into an old dead oak like that?


I’ll post a picture of that drawing tomorrow –


Your Buddy Bill







Studio view


Hey ya –


Just a quick note and photo from the studio. I’m slinging ink and messing with some really odd new tricks – pushing hard before I leave on Sunday for southern Illinois. With luck (and hopefully a little bit of sleep tonight), the picture propped up at lower left may be a good bit further along by tomorrow evening. I’ll post another photo if it is. Then I hafta frantically pack the car, forget something I need (because I always do) and head for the land of everything but trout to catch what I can. I’ll enjoy friends I miss, drink fabulous home brew, attend a high school graduation and give a budding scientist a big hug (and a safety lecture) before she heads off to Barrow, Alaska on a six week research trip.


Oh, and as I’ve been working since just after 5:00 this morning, I think I’m allowed climb into the hammock with my Sweetie when she gets home. I’ve earned such delight, yes?


All of the sudden it looks like summer out there!


Your Buddy Bill


Ps: For a better look at my latest drawings (and my messy work table), click READ FULL ARTICLE in the grey bar below!


Falls Cover copy 3 jpg


Our friend, Bob, has just finished a wonderful view of the Great Falls in Paterson, NJ!


I’m trying to find the adjective that feels just right for describing this painting, and I think it might be delicious. This is a perfectly edited image. If you’ve ever tried to leave out as much as you’ve left in a picture, or a paragraph or some other creative effort, you know how difficult it is! Bob has given us plenty to hold our attention. My gaze tumbles right into that gorge! Can you see why I’m lucky to have him as my painting buddy, and why I work so hard to keep up with this guy?


Our exhibition this autumn is going to look even better than I’ve imagined. I’m excited.


PS: to expand this image and see more detail, click READ FULL ARTICLE, immediately below



Well Hello!


I hope all is as well with you as it is with me. My big issue this sunday morning is whether or not I can stand the guilt of playing hooky and going fishing. I really need to continue wrestling with a troublesome picture that still refuses to behave or advance. With luck, I will have good news on that shortly, but right now I have other show & tell.


When last we saw this picture, it looked like this – minus the arrows:




They are there to indicate what bothered me. I really like the moody, impressionistic quality of this picture and how muscular my method has become. It’s hard to believe this is done with just India ink. What I didn’t like is how focused and uninterrupted the silhouette of the bluff is at the top and along its shoreline. It’s too stark. After leaving this picture alone for a few weeks like everyone said I should, I still felt I had to do something about it.


The actual scene gave me the answers. There really are trees very quietly breaking up that top edge (especially one juniper) and when the river is low, a scattering of stones poke their heads above the water. I didn’t put in as many stones as there really are – just enough to add a little counter texture along the river’s edge. Oh, and I also cautiously beefed up the texture in the vertical face of the bluff as well. Here is the drawing finished:



Mouth of the Great Falls Chasm – the Passaic River in Paterson, NJ.

Ink and surface alteration on paper. 18″ x 24″



If you click READ FULL ARTICLE in the grey bar below, you’ll find expanded images that allow you to really see how my small changes make a difference. It’s like adding just a bit more of a spice to a savory dish, which while already tasty, hasn’t quite blossomed yet. Now I feel this image has at last settled pleasingly into itself, and leave you with a completed picture I’m particularly proud of!



Your Buddy Bill



Good Evening All –


A few weeks ago, a fellow who had seen me hard at it for days, trying to make a couple of good pictures of the mouth of the Great Falls chasm (in Paterson, NJ), finally stopped to ask why I wasn’t doing the actual falls. He very helpfully pointed out that if I shifted just a little to the left, I would see them. I’m sure he thought I was a nuts when I tried to explain that I was painting the views no one else pays attention to.


One picture is proving an unexpected challenge. It’s an odd view, almost wholly taken up by a sheer rock face – the escarpment over which the falls tumble. Yes, if I just turned to the right we would see them, but I don’t wanna. If I simply turned more left, I could get all of the wonderful old power plant in view. Not gonna do that either. A little of it is in the picture, but other than that, this is all about rock and water – – – – and I can’t seem to get it done. I’ve crashed the last three attempts and finally (hopefully) might have a fourth try that could go somewhere. I’m beginning to realize this picture should be defined by texture rather than tone, but the graphic logic is getting screwy. For instance, how can it make sense that some big areas of shadow should maybe stay light, while I put darks (or textures) where they don’t belong? I’m perplexed.


I’d like to sort this out soon. Until I have a new picture to show you, I’m sticking with it. The photo shows you the mess I make when I have almost no clue what I’m doing!


You had better stand back!


Your Buddy Bill


studio view



 Forgotten Fly – ink and surface alteration on paper, 8″ x 11″



Good Saturday morning to all –


Here’s something a little different!


I took a break from working on my Paterson pictures this morning to finish a little illustration for an upcoming column I’ve just written for Fly Tyer Magazine (http://flytyer.com/). This is a portrait of a forgotten fishing fly, which in my youth was called O’Connor’s Rio Grande King. The man it was named after (also forgotten) was one of my first heroes, and I thought it was time to remind fly fishing friends of some things he knew that we ought to.


I’ll give you a heads up as soon as I know when this column will appear. In the meantime, I hope you’re getting set for whatever spring activity spring is finally allowing you to get back to!


Your Buddy Bill


PS: to expand this image and see more detail, click READ FULL ARTICLE, immediately below.


Okay you guys – whatzup with this cold snap? Where did it sneak in from, and will it just go away already? Hopefully soon?


I’m working in the studio on a new version of the picture I started (and badly overworked) in Paterson last Sunday. In fact, here I am going at it. Our buddy, Bob Demarest, took this photo.




It was a bit nippy even then, but still nice enough when the sun was shining. I’m NOT fat – it just looks like it because my shirt’s open and I’m leaning over. Sadly, my beard is that white now.


Shoot, do I look too much like Santa off on vacation trying to draw?


Your Buddy Bill




This is the second picture I’ve made of the mouth of the Great Falls Chasm in Paterson, NJ.



Hey All –


It’s beginning to feel weird to make a simple mark and leave it! The actual application of ink seems less important than how I manipulate it – or my paper before, during and after ink goes down. In this respect, this picture has teetered over some sort of tipping point. It’s so muscular and beefy in appearance, as if in areas it was done with fat, grainy paint instead of plain, old India ink.


I’m not certain this one is quite finished. However, my advisory board is emphatic: I’m to PUT THIS DRAWING AWAY, DON’T TOUCH IT, LET IT REST! 


Okay, alright, I got it. I’ll do it. Geez.


Your Buddy Bill


PS: to expand this image and see more detail, click READ FULL ARTICLE, immediately below.



Good Morning Everyone!


All is well? Hope so ’cause it is here. I have a couple of studio days ahead and am anxious to sling ink, but first I want to tell you that I can’t imagine a better art making buddy than Bob Demarest. Inquisitive, driven and with a ferocious work ethic, he is a joy in my life and a dear, dear friend. Through the privilege of being his sidekick, I’ve become a much better artist.


Our series of pictures portraying downtown Paterson, NJ and The Great Falls is the second project we’ve worked on together, and is far more challenging. As I dig deeper, I’m again a bit envious of Bob’s clearer vision. Somehow, he seems always able to cut to the chase. He sees something he likes and he paints it. It’s not as simple as that, I know; he runs into problems and confusion just like any artist would, but even so, he doesn’t fuss around and agonize over the whole deal as much as I do. He gets it done, and I gotta tell you, right now he’s painting at the top of his game!


Here are a few of the 20 plus paintings he has completed thus far. Our show together at the Paterson Museum during the 2015 holiday season is going to be a stunner!












And here is a bonus picture: this is a really lovely picture of Bob’s from our earlier project, a suite of paintings of Bear Swamp Creek.




PS: to expand these images and see more detail, click READ FULL ARTICLE, immediately below.



I’ve begun drawing outdoors again, in Paterson, NJ and and it has been slow going. Thus no blog entry in a week. So far, I’ve managed mostly failed attempts at a scene that isn’t as simple as I thought. I chose it thinking it was simple and a good place to start.


So okay, I’ll stick with it. Sometimes plain stubbornness gets me where I’m going.


Here, now finished, is the drawing I showed you in progress last time. There are some really good things happening – – – and some I’m not so sure of. I’m not going to tell you which is what though, because in truth, I’m not certain I know what’s what. Mark making is hard. Assessing the results is hard! I don’t think I know enough yet.


Cheers from New Jersey, where daffodils are blooming!


Your Buddy Bill




PS: To expand this image and see more detail, click READ FULL ARTICLE, immediately below.



This is the mouth of the chasm out of which the Passaic River flows in Downtown Paterson, NJ. The waterfall is out of sight to the right, and the power plant is just to the left. You’ll see drawings of them soon too.



Good Morning All –


I’ve been aching to make pictures in Paterson again, but this is a spring in which the long range forecast keeps promising lovely days that don’t happen. Phooey! I’m sure they’ll sort into better shape soon enough. This past monday I had my first taste of what that will be like; bright sun, and my fleece jacket hanging on a tree branch by early afternoon.


Drawing on the spot is a lot different than doing so in my studio. It’s an exercise in rapidly, continually editing sensory overload – there is so much in sight, such movement and interplay between textures and ever shifting light and shadow. In the studio, I can freeze a moment and take however long I need to tease a picture out of it. In real time, I must chase a day that moves faster than I can. Three or four hours wears me out but by then, with luck, the drawing I have looks vibrant, and as if it careened along. Fast, crude marks are at the same time sensitive, surprising and marvelously suggestive. I wouldn’t make them if I had time to think!


Man, I hope I get more days like that soon. Until then, I will leave you with last monday’s picture. I fussed with it more yesterday, and have other stuff I’m gonna try that could very easily kill it. But I have to try. If I succeed, it’ll be a better picture still. If I fail, I’ll go back when the sun is shining, stand in the same place and start again.


Your Buddy Bill


PS: To expand this image and see more detail, click READ FULL ARTICLE, immediately below.


Hey all!


My Sweetie has been back 3 days and is slowly getting over her jet-lag. Considering she was on the other side of the world and in the southern hemisphere, I think she’s doing great. I mean, compared to here, she was a day ahead and standing on her head for a whole month!


The day after she got back was freakishly wonderful, so much so that we actually set our hammock up and hung out for hours, while remnants of snow still clung to the shadows! There are a few photos at the end of this update, but first, we must catch up on how one of my drawings is coming along.


If you recall, in a questionable moment on Wednesday (and rather than finishing the drawing I needed to), I instead started a new one of the same road-killed owl! Now (yet again), I’m stumped by how to portray the confusion of feather markings on this little guy. I would love to do it minimally, but the whole point of camouflage patterning is to be highly suggestive of anything but the bird it’s hiding. It’s a brilliantly evolved mess, and suggestively painting a mess just looks messy! I’m not sure I’ll manage this.


Here is my drawing, as it looked last Wednesday:




And here it is now:




The bird’s looking suitably ratty, which is appropriate I suppose. I’m still going to fuss with the feathers more. First though, I gotta get a head in there, so our little friend doesn’t look like he’s wearing an old fashioned diving helmet!


And now the real reason for this post – here is my Love just after she climbed into the hammock on Thursday. Lovely sunshine – windy too, but hey, a couple concrete blocks kept the umbrella standing.




Reidun is much better at taking selfies than I am!




And she also has cool toes! When she starts painting those cute little nails, its as sure a sign that spring has arrived as the first two crocuses we saw on our morning walk!




All is well in Loganland. Hope the same is true for you!


Your Buddy Bill



PS: to expand these images and see more detail, click READ FULL ARTICLE, immediately below. That bird does look better bigger!


After finishing the drawing I posted two days ago (of a road-killed Long-earred Owl), I truly meant to jump right on the next one and complete it too. In that picture, the poor little guy just needs his face, tufted ears and a little more of the speckled/spotted/barred body patterning I have such problems with. My plan was to have him done by this evening, but as you probably know, making plans about making art is often chancy.


And besides, my Sweetie is coming home today! She’s been gone a loooooooooong month on business. This morning I was way too antsy to focus, so in a moment of impractical brilliance, I decided the best way forward was to start yet another drawing of the same bird! Ah, but this time it would be fast and fearlessly rendered. The logic in this was that it might loosen me up and perhaps give me moves to take back into the other drawing. Good plan. Sort of.


It did roll right along . . . until I got to the head again. By that point I was wearing out and also realized the bathroom still needed to be scrubbed. Without supervision, I can easily revert to the bachelor slob Reidun long ago thought she’d housebroken (please don’t tell her).


Here is the owl I should have been working on:




And this is the new one I started instead:




This evening the house is a show place, the faint aroma of cleaning solutions has the cats weirded out, Reidun’s plane has just landed and now there are two headless owls awaiting my next drawing session. It WON’T be tomorrow, or friday, or maybe even the weekend. I mean come on, my beautiful bride and I have very important things to catch up on. It could take a few days.


Your Buddy Bill


PS: to expand these images and see more detail, click READ FULL ARTICLE, immediately below.



 Road-killed, Long-earred Owl #4, ink, inked collage and surface alteration on paper. 18″ x 24″



Good Evening Dear Friends –


I’ve finished this one at last!


Begun almost a year ago, I worked on it off and on, with a lot more off than intended. Employing loose, expressive brushwork to portray camouflaged feather patterning may not have been my best decision, but I managed some pretty fluffy-looking stuff in the flanks and around the base of the tail. I also tried something else I’m a little unsure of: I really tightened up when I moved into the feet. I thought killer detail for the business end of this bird seemed quite fitting, but this evening I left the feet unfinished. In fact, except in the area centered around the feet and legs, much of the rest of the drawing has been left under realized. I kind of like it that way. . . or maybe I’m not really quite sure what I think! What I know is that I gotta keep rolling. I still have one more drawing of this little guy to get done, and only two days to do it!


With luck, there will be another owl here by week’s end – check back!


Your Buddy Bill


PS: to expand this image and see more detail, click READ FULL ARTICLE, immediately below.




Hello my friends!


I’m done at last with my picture of the last plunge in the Great Falls chasm! Wow. This was a bear to do for several reasons, the biggest of which is that there is a predominance of dark grays and their range is very narrow. The scene is also ripe with textures that are actually quite similar, yet water must be water and rock look like rock. The abstract composition is one of the things that attracted me to this image, but it too could have hindered rather than helped. All of this might have led to disaster, so I had to make adjustments. I overstated texture here and underplayed it there. I made the area around the waterfall more contrasty – rocks darker and water much lighter. Putting your darkest darks and your lightest lights next to each other where you want to catch and hold a viewer’s eye is an old, old trick. The last thing I fiddled with was the white, foamy river edge running all along the base of the rock wall. It’s there in reality too, though not so pronounced. The strong separation between the two main elements in my picture lends it far better organization. To portray what I know is true, sometimes I have to show it a bit differently!


The first time I tried this drawing, it flopped. The water was terrible, but the rock wall was quite nice. If you scroll down three posts, you’ll see an earlier stage of my new drawing (it was a much better start), and also my previous failure. There is a sneaky bit of photoshopping as well, that combines the best of both. One thing was clear: I wanted that fine lookin’ rock in my new drawing too – I just didn’t want to draw it all over again. Cut and paste was the answer, and now I confess that I’m a dirty rotten patcher . . oops, I mean collagist!


Yep, the rock wall was glued in, and now I think it’s time to share how I did it.


Cut and paste takes more planning than you might suppose. For one thing, trying to glue down a patch that’s too big ends up being too messy and too floppy. You can’t quickly and correctly position a big patch. It’s much smarter to cut one into several smaller pieces. If you touch your thumbs and forefingers together (as though indicating a circle), you’re looking at about as big as you want to go, at least without practice.


The trouble with more patches, of course, is that you’re creating more seams. Hiding them is not really that hard, if you know the tricks. The first one is to take advantage of the terrain within your image; find natural breaks or boundaries between colors, tones, textures and features, then use them to help disguise cut lines. The photo below shows my solution for the rock wall: the turquoise area was trimmed away as waste, while the rest was divided into 5 pieces, as shown. An additional problem I faced was having to shorten the rock wall by almost half an inch so it would fit in my new drawing. Not at all hard as it turned out; when gluing, I simply overlapped the bottom two sections (marked with yellow X’s) with top three.




And here you can see my drawing propped up in the background, with the first three patches glued in place (they form the dark band of texture to the right of the waterfall).  On my work table is what’s left of my old drawing, with the rest of the rock wall roughly cut out.




Up next is the same rock wall, which I’ve just finished cutting in two. Now is a really good time to further discuss how to camouflage edges. For starters, you need to know that we all instinctively look for things that don’t belong in what we see. We do it all the time. On thing that doesn’t fit in any view of nature is a straight line. Even if you glued a black square on top of a black background, your eyes would still lock onto it’s edges. Our vision is that sensitive.


Take a good look at the patch I’m holding. When I cut it and the lower section apart, I not only followed breaks in texture wherever I could, But I also went out of my way to make my cut line as irregular as possible.




Now the bottom section has been glued down and there’s only one more to go. Are you ready to learn the biggest secret to making edges invisible? Yeah? Keep going!




Sandpaper is our miracle tool! In the next photo, you can see how I’ve sanded the back of our last patch, first (and carefully) with 60 grit paper to reduce its overall thickness. Only sand in one direction, from the middle of the patch outwards past the edges! Are you wondering what the areas circled in pencil are all about? They indicate where I don’t want to sand – remember, I scrape and cut into the surface of my drawings a lot. So this patch is already thin in spots – I don’t want to sand through!


Oh, I almost forgot – you will need a dust mask!


Once I’ve done the rough work (thinning and gradually tapering from the middle to the edges), it’s time to switch to 150 grit paper. A few swipes over the whole surface smoothes it well enough, and then it’s on to a delicate finish. With further, cautious sanding, the edges become as thin as tissue. Notice as well how feathered/ragged they now are – the only straight edge (top left) is where our patch will align with the top of the drawing when laid down.


Are you  thinking this seems like a whole lot of work? Think again. It took perhaps 10 minutes to sand this patch, and I’ll spend about that much more gluing and rubbing it down. Add a few minutes for basic cutting time and fussing, and we’re looking at maybe half an hour. Multiply that by five patches and then tell me we could have repainted the whole rock face in just two and a half hours!




When I hold our patch up to the light, you can really see how thin and ragged the edge now is. Forget about it’s being invisible to the eye once glued down. You won’t even be able to feel a lot of that edge!




Finally we’re ready to glue, but what kind should we use? PVA (Polvinyl Acetate) glue, commonly called white glue, is tried and true. It’s none yellowing, permanently flexible and inert. You can eat it. Come on, didn’t you try some Elmer’s Glue when you were a kid? I don’t know whether using kiddie glue is okay for my drawings though, so I’ve opted for genuine archival, rather expensive glue instead. I wish I could just use Elmers. Maybe I’ll research that!


Let’s get to it! Gluing is not something I can photograph, because I won’t have time. The method is simple though, as is the set up. Lay the patch, face down on a sheet of clean paper. You’ll also need two small pieces of cardboard to use as glue spreaders (cereal box cardboard works fine), a kraft or Exacto knife, and a couple more clean sheets of paper that are a bit bigger than the patch. Printer paper works perfectly.


Squeeze glue out onto the patch in a squiggly line that distributes it all over, and use more than you think necessary. Then spread it quickly, thinly and evenly, again moving from the center out past the edges. A patch absorbs a lot of glue; you’ll have to keep re-spreading until the whole surface stays even and wet.


NOW things gotta move! You have moments. Quickly slide a knife under the patch, lift and peel it up. Next, Lay an edge or tip of the patch in position on your drawing and hold that down gently while pivoting or adjusting until the rest of the patch lines up correctly. Get it down now – and do it evenly, without trapping air pockets. Whew! Breath. Then lay a sheet of the printer paper over the patch to protect it, so you can press and rub hard to really get it seated. I often use a burnishing tool too (called a bone folder – google it).


Almost always, an edge or two won’t stick. Pick around the patch with your kraft knife to see whether any lift up. Don’t worry if it happens. Do you remember our glue spreaders? I cut another, but this time from a scrape of the same type of drawing paper I’ve just glued down. Next, I squeeze a dollop of glue on yet another scrape, after which, I use my new spreader rather like a paint brush, scrapping its tip/edge through the glue to pick a little up on one side. Then slip my spreader under the lifted edge of the patch to smear the glue on it’s underside. Press the edge back down, rub and relax. Pat yourself on the back. Go pet the cat.


Last hint: glue must dry before you can continue drawing on or around patched areas. Ideally, it should do so over night, but I’m impatient, so I often use a hair drier to cook things and get them to the point where I can at least do light work almost immediately.




Now just take a look at that marvelous rock face! I still had to do just a little touching up to finish camouflaging all the patch edges, but it was a matter of minutes. At that point, I realized how much potential this drawing really had. I was pretty darned scared of screwing up while I was finishing the water, but I didn’t.


I’m going to paint something completely different next, maybe a derelict baseball stadium!




PS: to expand these images and see more detail, click READ FULL ARTICLE, immediately below.




Good Morning!


Work is progressing on my new falls view, and I hope to post an update by the end of this coming weekend.


Meanwhile, I thought you might like to see the whole chasm, in the lower water of mid-summer. As impressive as the falls are when the water is high and really roaring, I like being able to see all of the rock and wall structure more. It’s very shadowy in there for much of the day and spooky dramatic. This was taken near lunchtime, when the high sun reaches all the way down in there.


If you scroll down two posts, you’ll see that my drawing focuses on the last plunge the river makes before rolling on.


More to come –


Your Buddy Bill ——————–


Screen shot 2015-03-17 at 1.04.03 PM


NO SNOW LEFT! I’m surprised the river isn’t higher – the big melt has flushed through quite quickly.


Do you see what I mean about it being dark in that chasm? I’m scared of the drawing I’m working on (the one in the next post)!




My hands are full with this one, and it’s a battle! First I do a passage that looks so lovely it gives me the tingles. Just look at some of that water. Wowee zowee! Then, thinking I’m hot, I jump right onto the next part . . . and everything goes so, sooooo wrong. Blotches, sanding, scrubbing and even patching – which to keep my creative dignity, I will refer to as collage, if ever I finish this beast. Yet even the worst of the mess (again, some of the water) really isn’t that bad, if I let go of what I was trying to do. It’s very confusing.


Big worries lie ahead. I’m uncomfortable with how dark this drawing is getting. All of the water and rock is beginning to look the same to me, and that can’t be good! Yet, I’m being true to the view. It is that dark and overly textural in there. In reality, I think it’s the water’s movement that provides visual relief and definition in this scene. You watch it, rather than paying much attention to what it’s running through. Yet my water can’t move. It has look like it’s doing it though, and I think the walls must have some sort of solid looking brushwork and underlying vertical grain.


Below is my earlier, failed attempt. The water is a total disaster, but the rock wall is nice. I’m better with rock than water.




And here we have my new drawing again, with the rock wall from the old one photoshopped in. It works better than I imagined. I guess I’ll be painting that wall for real tomorrow!




PS: to expand these images and see more detail, click READ FULL ARTICLE, immediately below.