water

Egg tempera oil emulsion sketch that is a painting, in a red bole pigment, and manufactured pigments also.
Alla Prima – along the coast, across the harbor from Vt. Desert Island. finished sketch in an egg-oil-emulsion. An encaustic painting was then made using this as a reference.
an encaustic painting in many vibrant colors, with a rose colored boulder at the edge of the ocean bay
Painted by S. Sniffen in a workshop with T. Spadafora (from original painting by S. Sniffen) – Encaustic – Island Ocean View, and the great rose rock.

Detail of Glass, Water, Strawberries, hinge
Academic: Detail of Glass, Water, Strawberries, hinge

University of Pennsylvania school of art and design student work  with a focus around water, 1992 – 1994, and 2015 – 2016.

An ink sketch with watercolor of the water running over the dam at the narrow of the dam where it may; lower right, another small ink and watercolor sketch, of the dam pond, banks with trees, and clouds. Note/quick sketch on visiting heron. Note on fishing. Upper left, notes on color notation.
Ink and watercolor sketch, summer 2016.
sketch and clouds, the lines of the clouds into lines in the lake; there is a distant mountains, and distant shore
sketch in charcoal, summer 2016, for a notebook, part personal work, partially made for a studio with RW, Dept. of Landscape Architecture, UPenn
from the top of Rattlesnake Mountain, a sketch in ink, a color notation on the left, islands in a lake with clouds over and an eagle flying by.
pencil,watercolor sketch, ink color notation on the right, the eagle flew by myself and my two dogs while drawing, before the man with his group of children arrived. Some clouds in the sky, but there was sun.
Water fountain with Girl and camera. It is circular, divided in the middle by a plinth (of stone most likely, though left blank), that can be walked on, separated from the outer edge by a narrow water-chute at one end, calmer water at a higher elevation on one half, and less calm water at a lower elevation on the other half
a fountain design, fall of 1993, for a studio with Professor Hanna. The girl is from a magazine image – a photocopy transfer
Drawing; academic: Water Fountain half shallow, half deep, with a walkway which at one end can be stepped over.
Ink, gesso, and photocopy transfer on very heavy 100% cotton rag on paper. An image of layers over time, looking at a transect of the river bank through time, down to the edge of the water - within the layers, there once was a pier, - the river's edge was once further back from the current edge.
Academic (for C. Gleason). Gesso, pen, and pencils. Land below the Walnut Street Bridge – a studio – Investigating the historical layers of a river bank and edge, where once was a pier.
Pedestrian bridge off the Walnut Street Bridge, leading towards a place where the river can flow into the shore further, in a very shallow area, with plants that would naturally like such an environment.
Pedestrian (and non-motorized personal mobility vehicles) bridge off the Walnut Street Bridge, leading towards a place where the river can flow into the shore further, in a very shallow area, with plants that would naturally like such an environment.
evergreens on a north facing slope
sketch for a summer ecology studio with A. Johnson, UPenn, and another professor, YU – drawing professors for the summer studio also JC and KH.
Ink and watercolor on heavy cotton rag paper.Philadelphia Art Museum - (Translation, Grounding), Gardens and Bridge To the River
Philadelphia Art Museum – (Translation, Grounding), Gardens with water features and a Bridge To the River

Rainbow sketches – earth and water to sky with water over water, arcing back down to earth and water

a digital sketch called channel sketch combining photographic collage with a watercolor.
Made for a photography class with J. Anderson: channel sketch – digital sketch, combinatory.

rainbows on lake – nonacademic sketches

swimmers on a raft and a rainbow

Note: the rainbow paintings/sketches are intended as splendid rainbows – magnificent color from Earth to the sky and back, with no other reference implied, however, if a reader of a painting sees in it an association that brings them happiness, even if unintended by a painter, that would perhaps add to a painting’s interest.