Porta Dos Cavaleiros, Viseu

Stabilo pen point 88/45

Crazy Ideas Sketchbook page 53

Nazareth Moravian Church

Watercolor, 8x10" (20x25cm)

My apologies

I just realized I was not getting notified of pending comments and therefore a number of comments in the past year were not posted until today. That will not happen in the future. Thank you so much  for posting comments and thank you for your understanding.

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Peço muitas desculpas por não me ter apercebido que eu não recebia notificações de comentários submetidos. Só hoje pude corrigir. Muito obrigado pelos comentários e pela compreensão.

Hometown, From Afar

Stabilo pen, point 88/65, Crazy Ideas Sketchbook page 52

A Farm, Forks Township Pennsylvania

Watercolor, 23x31cm Fabriano paper, rough

Glover Road, Forks Township

Forte de Santa Catarina, Figueira da Foz

Hopefully, I will finish this sketchbook sometime before I need to get my first cane.

Talvez eu consiga acabar este caderno de desenhos antes de precisar da minha primeira bengala.

Stabilo pen, point 88/22, Crazy Ideas Sketchbook, page 51

Farol do Forte da Barra, Aveiro

Watercolor, 23x31cm, Fabriano paper, rough

Coimbra, Couraça de Lisboa

Watercolor, 23x31cm, W&N paper (old), rough

Aguiar da Beira

Stabilo pen, point 88/45

Crazy Ideas Sketchbook, page 50

Richmond Road

Watercolor 9x12" (23x31cm), W&N paper (old), rough

Youngs Hill Road

Watercolor, 9x12" on W&N (old) paper, rough

Monsaraz Castle Tower - Torre de Menagem

               Stabilo point 88/65 pen, 0.4mm, Crazy Ideas sketchbook, page 49

Castelo do Rei Vamba

Trying a new pen, Stabilo point 88/45 fine 0.4 and not disappointed. I especially like the color, and the thickness is just right for the paper size of 8x10” (20x25cm). The drawing itself looks ok to me, but I need to improve the tree and vegetation textures.

Experimentei uma caneta nova, Stabilo point 88 fine 0.4, e não fiquei desapontado. Gostei especialmente da cor, e a espessura parece muito bem para o tamanho do papel (20x25cm). O desenho não me parece mal, mas preciso de melhorar as texturas de árvores e vegetação.

A Farm, Phillipsburg, New Jersey

I have been dragging my feet with pencil drawings even though I love this medium. I especially like the “broad-stroke” method which uses thick lines made with the pencil sharpened to a chisel point.

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Tem havido pouca atividade minha na área de desenhos a lápis ainda que eu goste imenso deste meio artistico. Gosto especialmente do método “broad-stroke” (traço-largo) que usa linhas espessas com o lápis aguçado em forma de cunha.

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Phillipsburg, New Jersey

Pencil, 9x12” (23x31cm) on smooth Stonehenge paper

When in doubt, paint a barn

Snyders Road Farm, Phillipsburg New Jersey

Watercolor 9x12" (23x31cm), W&N paper, rough

Tondela

Always trying to loosen up, always with mixed results.

Sempre a tentar simplificar, sempre com resultados mistos.

Watercolor 23x31cm, W&N paper, rough

Lewes Inner Harbor, Delaware

Watercolor 8x10", Arches paper, rough

Monsaraz Corner

Some day I will stop painting things of Monsaraz. Today is obviously not that day

Um dia eu vou parar de pintar coisas de Monsaraz. Óbviamente que hoje não é esse dia.

 Watercolor 20x25cm, Arches paper, rough

Tondela

I have been dragging my feet with ink drawings. And I need to some day finish my Crazy Ideas sketchbook.

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Tem havido muita preguiça com desenhos a tinta da China. E eu preciso de algum dia completar todas as páginas do meu caderno de desenhos.

Igreja de Tondela – Tondela Church, 6x8” ( 15x20cm)

Monsaraz III

Watercolor 12x16” (31x41cm) on W&N paper, CP

I almost never paint the same scene more than once, but this is my third try of this view of Monsaraz, a beautifully preserved medieval village in Portugal. That’s because the other two no longer belong to me, and I want my own version, which I tried to make a little looser. In any case, I always seem to end up with more detail than my good intentions.

Quase nunca pinto a mesma cena mais que uma vez, mas esta é a terceira tentativa desta vista de Monsaraz. Isso é porque os dois trabalhos anteriores já não me pertencem e eu queria a minha própria versão, que procurei fazer um pouco mais solta, com menos detalhes. De qualquer maneira, parece que sempre acabo com mais detalhes do que as minhas boas intenções.

Castelo de Juromenha

Watercolor, 12x16" (31x41cm) W&N paper cp

Portas de Monsaraz - Gates of Monsaraz

Monsaraz, like some other villages in the Alentejo Province of Portugal, is a place apart, a time machine that assaults the senses at every corner. Looking at my photos from a year ago,  I heavily cropped this scene from a wide view of a side street and used it as a reference for the painting.

Watercolor 23x31cm, Winsor & Newton paper, rough

Velho Solar - Old Manor -Oliveira do Conde, Portugal

Watercolor 9x12" (23x31cm), Winsor & Newton paper, rough

Hamptons Mill, Long Island, New York

Being a commission, this involved a little more attention and effort and than a regular off-the-cuff painting. This of course does not guarantee better results but in this case, I am happy with the outcome.

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Old Mill, The Hamptons, New York

Watercolor 9x12” (23x31cm) on W&N paper, rough

The Henry House and Summer Kitchen

The Henry House and Summer Kitchen

John Joseph Henry and his wife Rebecca grew wealthy from their longrifle manufacturing business and they built this house near the Bushkill Creek in Nazareth Pennsylvania in 1832. After being occupied by five generations of the Henry family, it is now an historical site along with the Pennsylvania Longrifle Museum.

Watercolor 9x12” (23x31cm), W&N paper rough

Window View (Beira Alta, Portugal)

Watercolor, 38x56cm, Arches 300lb paper, cp

Newburg Road - Lower Nazareth, PA

Watercolor 23x31cm, W&N paper, rough

The Pine Field

Watercolor 9x12" (23x31cm) on W&N paper, rough

Bogert's Covered Bridge, Allentown Pennsylvania

Watercolor 9x12" (23x31cm) on W&N paper, rough

Train Depot - Raritan, New Jersey

It was in Raritan that I found my first grown-up job back in the 20th century

Watercolor,12x16" (30x40cm)

Casa de Infância - Childhood Home, Portugal

As minhas mais preciosas memórias da infãncia residem nesta velha casa de pedra. Felizmente que tem sido preservada com muito gosto e veneração pela sua história. Nos anos setenta, todos os sábados chegava de Viseu a Beijós no autocarro (a “camioneta”) e subia dois ou três quilómetros a pé até chegar a este lugar e deparar com esta vista que me enchia a alma de alegria pura.

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My most precious childhood memories reside in this old stone house in Portugal. I am thankful that it has been preserved and maintained with good taste and reverence for its history. In the seventies, while I was in high school, every Saturday I would walk a couple of miles through the woods from the bus stop and arrive here to this first glimpse of the house, and every time I would be reminded of the feeling of pure joy.

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Watercolor 15x22” (38x56cm) Arches 300lb paper, rough

Carol's Bait Shop

Near Beltzville Lake, Pennsylvania

Watercolor 8x10", Arches paper, rough

Tondela - Nossa Senhora da Esperança

Watercolor 8x10" (20x25cm), Arches paper, rough

Thunder Bay

Watercolor 25x35cm, Strathmore paper, cp

I don’t use Strathmore paper very often but I when I do, I usually like the slightly different effects I get. I think it acts a little closer to hot-press paper even though it is technically cold-press.

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Eu não uso papel Strathmore muitas vezes, mas quando uso, gosto dos efeitos um pouco diferentes que obtenho. Mesmo sendo de grão fino (cold-press), os efeitos são um pouco mais parecidos com papel liso (hot-press).

Broad-Stroke

Pencil drawing 9x12", on Stonehenge Aqua hotpress paper

I love broad-stroke pencil drawings but I don’t practice often enough. This is done with pencils sharpened to a broad chisel cut. This is the first feeble attempt in years. It only looks easy when I am looking at the masterworks from Ted Kautzky, Ernest Watson, Frank Rines and Carl Purcell. When I look at my own drawings, it looks difficult.

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Eu gosto muito de desenhos a lápis “broad-stroke” ou seja, feitos com a ponta do lápis aguçada em forma de cunha. Mas não tenho praticado muito últimamente. Parece muito fácil quando olho para as obras-primas de Ted Kautzky, Ernest Watson, Frank Rines e Carl Purcell. Mas quando olho para os meus desenhos, parece bem difícil.

Farm House, Pennsylvania

Watercolor 9x12" (23x31cm) on Winsor & Newton paper, rough

Castle of Juromenha

Micron 005 and 01 sepia pens, Crazy Ideas sketchbbok, page 46

Lower Nazareth

Watercolor 23x31cm, Fabriano paper, rough

A scene south of Nazareth Pennsylvania, with Trinity Evangelical Lutheran Church in the background.

Castle of Noudar, Alentejo Portugal

Watercolor 12x16" (30x40cm), Winsor&Newton paper cp

Wall of the Morning Glories

Watercolor 20x25cm, Arches paper rough

The church of my childhood, Beira Alta, Portugal

Watercolor 30x40cm, Winsor&Newton paper cp

Muscari Season at Lock Ridge Park

Alburtis, Pennsylvania

Watercolor 8x10" (20x25cm), Arches paper, rough

Snyders Church Road

Watercolor 8x10" Arches paper, rough

Bogert's Covered Bridge, Allentown PA

Watercolor, 12x18" (30x45cm), Fabriano paper CP

Walls of Mourão

Watercolor 10x14" (25x35cm), Arches paper, rough

My dear old hometown, Beira Alta, Portugal

                                   Watercolor 12x 18" (30x45cm) on Fabriano paper cp

Hills of Nazareth, Pennsylvania

Watercolor 8x10" (18x25cm), Arches paper, rough

A farm view from Bushkill Center Road

Winter Lingers On

The incessant rain is keeping me home against my will. On the bright side, I can always paint yet another barn.

Watercolor 25x35cm, Arches paper, rough

Abandoned monastery – Maceira do Dão, Portugal

                   Watercolor 25x35cm, Arches paper, rough

Out To Pasture

Watercolor 10x14", Arches paper, rough

Richmond Road, SE of Bangor PA