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Some of you may remember carving a linoleum block at sometime in your past. Beginners usually focus on shapes of different colors to create a print.  The challenge is to get variations in value and to achieve visual texture among the elements in a landscape. Tree bark, leaves, grass and pine needles have their own distinct texture. If you are trying to achieve different tones of the same color, how do you use your carving tools to  create shades, since you are rolling a flat color of ink across the surface of the linoleum? This print, entitled “Woodland Stream”, illustrates several of the carving techniques I use to create texture and space. By holding the cutter at a 90 degree angle and twisting it, I make the red leaves in this print. I use short vertical lines for the grass. The water in this print, which I call my “Japanese woodblock” water, is carved by using long curving lines that follow the edges of the land,  alternating white and blue. Notice the lines become wider toward the foreground.  The key to making these long lines is to heat the linoleum with an iron for a few seconds. I draw the lines with a Sharpie before I cut. I also turn the block at different angles as I carve, so my free hand is in back of the blade.  If you love this print, let me know. I have sold most of the prints in this edition of 28. I only have two left. It will sell out soon! In recent Instagram reels, I have created videos demonstrating carving techniques I have developed over the years. Here are the links: https://www.instagram.com/reel/DWRbR7ZjMUG/?utm_source=ig_web_copy_link&igsh=NTc4MTIwNjQ2YQ== There will be more videos like these coming soon. If you live near Gloversville, NY, be sure to check out my exhibit at the Micropolis Gallery   on Main Street. The show opened March 12th and runs through the end of April.   If you would like to try creating your own three color linoleum block print, contact Kate Hartley at  H’ART Gallery and Studio  to sign up for my four hour hands-on workshop on April 17th.   Please  Subscribe  to my newsletter to see all my blogs, and get updates on my shows.  To see my finished Linoleum Block Prints, featuring landscapes of upstate New York, dogs and their people,  and moonlight prints, visit my online store at  www.DCastleBabcockArt.com .

Customers come into my booth at an art festival and a familiar scene catches their eye. It’s a view of a popular lake or mountain, but it’s not THEIR PLACE.  It is impossible for me to make a print of every view of every lake and mountain in the Adirondacks. There’s a ton of them!  In this situation, I offer to do a commission of  their location, based on a customer’s photo.  The customer then sends me photos and I do a sketch based on their instructions. Sometimes I need to take several views of the location and combine them to fit all the criteria. I email the customer a drawing of what I think they want. They can then give me input regarding edits, and I modify the drawing as needed. When the customer approves the drawing, I request a deposit and begin work.  Here’s a sketch I did for a commission. It is actually a composite of several photos. The customer wanted the boat and deck with Blue Mountain in the background. Here are the photos I worked from: It took me a few hours and a couple attempts, but I was able to create the sketch and get the customer’s approval.  Here is the finished linoleum block print. I am always happy to take special requests for linocuts. In my next blog,  I will discuss working from a customer’s photos to create a linoleum block print of their favorite place.  If you live near Gloversville, NY, be sure to check out my exhibit at the Micropolis Gallery   on Main Street. The show opened March 12th and runs through the end of April.   If you would like to try creating your own three color linoleum block print, contact Kate Hartley at  H’ART Gallery and Studio  to sign up for my four hour hands-on workshop on April 17th.   Please  Subscribe  to my newsletter to see all my blogs, and get updates on my shows.  To see my finished Linoleum Block Prints, featuring landscapes of upstate New York, dogs and their people,  and moonlight prints, visit my online store at  www.DCastleBabcockArt.com .

I always have a backlog of ideas for my next linoleum block print, and my customers do influence what comes next. In some cases I have a specific request from a customer, or in this case, from a gallery. The Arts Center of Lake Placid is hosting a special exhibition entitled “The Art of Flight,”  which will open in May. I was thrilled to be assigned the Loon as the subject matter for my submission.  I have done several Loon prints over the years and they are always very popular. The black and white pattern of the Loon’s feathers lends itself to block printing, because it is so graphic in nature. I have already begun work on the block, which depicts a family of Loons swimming on a misty morning.  Here is the first color on the paper. I printed the black first because that is the primary foreground color and the Loons are the most detailed part of the image. I have now cut out the body of the Loons and I’m about to print the second color. The photo on the left is the block with the white areas carved. On the right, I have carved away what is going to stay black. Next, I will print the second color. I need to deliver the finished print to the Art Center on May 14th, which seems like far, far away. I estimate I have already put in approximately ten hours of labor in planning, carving, and printing. A four color reduction process print takes weeks, not days to execute from start to finish.  If you live near Gloversville, NY, be sure to check out my exhibit at the Micropolis Gallery   on Main Street. The show opened March 12th and runs through the end of April.    Be sure to  Subscribe  to my newsletter to see all my blogs, and get updates on my shows.  To see my finished Linoleum Block Prints, featuring landscapes of upstate New York, dogs and their people,  and moonlight prints, visit my online store at  www.DCastleBabcockArt.com .

Art has a gentle way of slowing us down, inviting us to look a little closer and feel a quiet story unfold. Many people begin exploring handcrafted pieces to bring warmth into their homes, and somewhere along that journey, they discover the charm of traditional printmaking. Within this space, the appeal of linoleum block prints for sale often emerges naturally, offering a textured beauty that feels both timeless and refreshing. Before we explore more, let’s ease into the world behind these prints and what makes them so memorable. The Texture That Tells a Story Every carved surface holds a hint of the artist’s hand—small curves, softened edges, and lines that move with intention. This subtle texture becomes part of the artwork itself. When ink settles into each groove, it creates patterns that feel alive, carrying a gentle sense of movement. Individuals who collect handmade prints often describe them as treasures that feel personal, like a window into a quiet artistic moment. These pieces become conversation starters, placed thoughtfully on shelves, mantels, or walls where they add a comforting, creative presence. Why Handmade Prints Feel So Meaningful There’s something uniquely soothing about art crafted from physical materials. Linoleum sheets carved with care encourage a slower process, one that inspires patience and focus. Each finished print carries the artist’s touch—no two impressions are exactly the same. Collectors find comfort in this gentle irregularity, appreciating how it adds character to a room. Displaying artwork like this becomes more than decoration; it becomes a way of sharing a peaceful form of expression with anyone who enters the space. A Simple Choice That Brings Warmth to Any Space As people look for pieces that feel thoughtful rather than mass-produced, handmade prints naturally rise to the surface. Their clean lines and soft textures blend beautifully with modern, rustic, or traditional interiors. Whether displayed alone or arranged as part of a small gallery wall, each print offers a sense of harmony. This makes them a pleasant choice for homes, studios, or workspaces seeking calm and creativity. Somewhere along this artistic journey, many also come across linoleum block-printed notecards , which bring the same charm in a smaller, more personal format. The Personal Touch of Handcrafted Notecards Hand-printed notecards feel like small artistic gifts in themselves. The carved designs translate beautifully onto paper, turning each note into a keepsake. Sending these cards can brighten someone’s day, offering a warm and thoughtful gesture that feels more intimate than digital messages. People often keep them tucked away in journals, display them on bulletin boards, or frame them as miniature works of art. Their simplicity allows them to fit any occasion while still feeling special. Bringing Art Into Everyday Moments Art doesn’t have to live only on walls. It can be part of daily rituals—writing a note, arranging a vignette, or adding something handmade to a quiet corner of the home. Prints and notecards alike offer small reminders to slow down and appreciate the beauty of details. These pieces create gentle emotional connections, the kind that linger long after someone first encounters them. As collectors often say, the charm comes not only from the artwork itself but from the emotions it inspires. A Closing Thought Before You Explore More Handcrafted art has a way of inviting us closer, drawing us into its soft textures and thoughtful lines. As you continue discovering pieces that feel meaningful, prints like these could become part of your own expressive space. Their warmth has a tender way of enriching both everyday life and special moments. We invite you to take a thoughtful look at the collection and choose designs that speak to you. If you’re ready to bring gentle artistic charm into your home, explore the available pieces and see which ones inspire you. We believe you’ll discover prints that resonate with your personal style and bring a peaceful sense of creativity into your space. FAQs Are handmade linoleum prints durable? Yes, when cared for properly, these prints maintain their clarity and charm for many years due to the quality inks and papers used. Can linoleum prints complement modern home décor? Absolutely. Their clean lines and calming textures blend beautifully with a wide range of interior styles. What makes linoleum notecards unique? Each card carries its own subtle variation, turning a simple message into a warm and memorable gesture.

Thankfully, I have more ideas than I have time to execute. I have never experienced a creator’s block; I can always come up with ideas for my linoleum block prints. That’s what keeps me working. When I get to the point where I am no longer motivated to create or my body gives out, I will know it’s time to retire. God willing, I have years ahead of me to work.  So how do I decide what’s next? You, my customers and followers, help me make that decision.  You may have noticed I do series along themes, such as my moonlight prints.  I started doing moonlight prints decades ago (YIKES!). I love working with deep blue and purple tones of night scenes. My patrons love these prints as well. I find my prints are more successful if I have  personally experienced the scene I am creating. I spend many nights and early mornings walking my dog in the dark and admiring the night sky. These walks are the inspiration for my moonlight linocuts.  I have created more than a dozen images, in various sizes and color schemes, based on moonlight themes.  Marketing experts say, find your niche and stick with it. I have found that to be true, although it is good to expand my horizons from time-to-time. About five years ago, I began incorporating other materials into my prints. I have used popsicle sticks and tree branches attached  to my block prints to create shadow boxes. Some of these projects were very successful, others not so much. I learn from my experiments and mistakes and it makes me a better artist. In my next blog, I’ll talk about a print I am making specifically for a show this spring.    Be sure to  Subscribe  to my newsletter to see all my blogs, and get updates on my shows.  To see my finished Linoleum Block Prints, featuring landscapes of upstate New York, dogs and their people,  and moonlight prints, visit my online store at  www.DCastleBabcockArt.com .

This is the final step of the reduction print!  I hope you can guess the next step in the process.  I have finished printing the light blue for the snow, which is my third color.  I will cut out the parts of my design that should remain light blue. I always refer to my initial drawing to check my work.    As you can see, the only thing left raised on the linoleum block is the evergreen tree.  I chose to use a slight dark-to-light rainbow roll on the tree because the star is directly above it.  I just have to ink that area.  If you missed my blog explaining the rainbow roll technique, click here . These photos show the block after I completed the final carving step. The finished print is on the right. Brayers come in a variety of lengths. The most common are 2”, 3 ½” , 4” and 6”. There are larger brayers available through specialty printmaking supply companies.  The size I choose depends on the size of the block and the area I need to ink. Because I  did a rainbow roll, I used a 4” brayer rather than a 2” brayer.  Be sure to order a soft rubber brayer if you are purchasing equipment.  Most of the block is cut away at this point and I cannot make more prints from this block. People ask if I keep my blocks after the print is completed. I have one or two blocks I have kept for teaching purposes, but most times I toss the block in the trash. Disposing of the block, especially when I have a large, detailed linocut, gives me great joy and a sense of accomplishment. If you missed my explanations of cutting, inking and registration, be sure to read my previous  blogs  on reduction linoleum block printing. I have detailed descriptions along with photos that will help you understand the process.  Please use the contact form at the bottom of the page to let me know what you think of this process.  Want to learn more? If you are near North Creek, NY, I will be conducting a four-hour hands on workshop on April 17th at H’ART Studio and Gallery. I will guide you through the entire reduction process. Each student will create a small edition of three color reduction linoleum block prints.  To sign up, contact Kate Hartley . Check out my Instagram account to see reels about my process at  https://www.instagram.com/dcastlebabcockart/  . Follow me to see new reels as I post them.   Be sure to  Subscribe  to my newsletter to see all my blogs, and get updates on my shows .  To see my finished Linoleum Block Prints, featuring landscapes of upstate New York, dogs,  and Moonlight Prints,visit my online store at  www.DCastleBabcockArt.com .

At this point in my blog, I hope I have shed some light on the reduction linoleum block printing process.  Since I have just finished black, my second color, I will cut out the parts of my design that should remain black. I always refer to my initial drawing to check my work.    In this case, I am cutting out the dogs. I chose to print black second because I knew it would be easier to cut out the dogs rather than cut out the background around them. The dogs also have some white highlights on them from the starlight. The more I print over the detail areas, the greater the chance that I will misregister slightly and lose the detail.  As I go through the reduction printmaking process, the carving becomes easier. That’s because I have made a lot of tough decisions, and if I have planned carefully, these last couple steps are more mechanical than intellectual.  These photos show the print with the first color on it and the block with the blue areas cut out.  In my next step I will print black, because I want the dogs to be black.  My third color is a lighter blue with a slight rainbow roll. I didn’t bother to ink the top of the tree, even though it is raised, because the tree will be green. As you can see, most of the block is cut away at this point and I cannot make more prints from this block.  If you missed my explanations of cutting, inking and registration, be sure to read my previous  blogs  on this process. I have detailed descriptions along with photos that will help you understand the process.  If you are near North Creek, NY, I will be conducting a four-hour hands on workshop on April 17th at H’ART Studio and Gallery. I will guide you through the entire reduction process. Each student will create a small edition of three color reduction linoleum block prints.  To sign up, contact Kate Hartley . Check out my Instagram account to see reels about my process at  https://www.instagram.com/dcastlebabcockart/  . Follow me to see new reels as I post them.   In my next installment you will be see finished print, so be sure to    Subscribe  to my newsletter.  To see my finished Linoleum Block Prints, featuring landscapes of upstate New York, dogs,  and Moonlight Prints,visit my online store at  www.DCastleBabcockArt.com .

How do you get the different colors? This is a question I frequently hear when I go to an Art festival. People reading this may have done a single color Linoleum block print; in this blog, I will discuss how I get multiple colors from one block and registration.  Since I printed the blue rainbow roll last time, I now refer to my planning drawing to see which parts of my design should be that color. In this case, the sky and the shadows beneath the dogs will stay blue, so that is what I am cutting out.  These photos show the print with the first color on it and the block with the blue areas cut out.  In my next step I will print black, because I want the dogs to be black.  As I print the second color, I need to line up the block with the black ink on it with the blue ink on the paper. This is called registration. I lay the paper face up on the table and carefully match two corners of the block to the edges of the print.  I didn’t roll ink on the top part of the block because the top of the block is totally cut away.  I chose to print black before I print the green Christmas tree because the dogs are in the foreground and it will be easier to cut the dogs out rather than cutting the tree in the background. I made  a short video on registration that I will post on my Instagram account.  Check out my Instagram account to see reels about my process at  https://www.instagram.com/dcastlebabcockart/  . Follow me to see new reels as I post them.  Want to learn more?  Subscribe  to my newsletter to see the rest of the reduction process linoleum block printing. To see my finished Linoleum Block Prints, featuring landscapes of upstate New York, dogs,  and Moonlight Prints,visit my online store at  www.DCastleBabcockArt.com .

This blog will focus on printing the first color or a four color reduction linoleum block print and what comes next.  As I said previously, when printing a reduction linoleum block, I must print all the paper at the same time. Because I continually carve away from the same block, I cannot go back and print more after the print is completed.  I always print a few more than I think I want.  “Stuff happens” throughout the process; even after decades of experience, I end up mixing a color that I need to modify, misregistering colors (more on that later),  or I need to cut away more after I proof, or test, a print. When you go to an art show, you may see the term artist’s proof at the bottom left-hand corner of a print. That means this print is somehow different from the rest of the edition, even though it comes from the same block. Some of my proofs I can sell as a one off, others end up in the trash.  Last time I described color mixing and a little bit about printing. Below are photographs of the block with the first color of ink on it and the paper with the first color of ink on it. The ink is oil-based, so the ink on the block is very shiny.  Once I am done printing all the paper with the first color I refer to my original drawing. My next step is to cut away only the parts of the linoleum block that I want to stay blue. In short, I print a color, then I cut away what I want to stay that color.  This is a subtractive process, which is not intuitive. We are used to additive processes, like acrylic painting. If you have done Batik, watercolor, or decorated Ukrainian Easter eggs, you have had to think backwards. It is imperative that I keep my drawing and use it as my “road map” to see where I am going next.  How do I decide which color to print first? I look at my drawing and figure out what makes the design easiest to carve. Generally I work from foreground to background or start with the part that has the most intricate carving. For example, if I have a black tree with lots of little branches , I print black and carve it out first. It is much harder to cut out the background around those little branches.  If you read textbooks on printmaking, it may say start with the lightest color first. I find that the oil-based inks are very opaque and cover light over dark pretty well. Water-based inks tend to be more translucent.  In either case, make sure the ink on the paper is thoroughly dry before you print the next color. Water-based ink will dry in an hour or so. Oil-based inks may take days. You have carving to do between printings, so that usually gives the ink time to dry. Check out my Instagram account to see videos about my process at  https://www.instagram.com/dcastlebabcockart/ Want to learn more?  Subscribe  to my newsletter to see the rest of the reduction process linoleum block printing. To see my finished Linoleum Block Prints, featuring landscapes of upstate New York and Moonlight Prints,visit my online store at  www.DCastleBabcockArt.com .

We step into the quiet authority of moonlight landscapes with confidence, knowing these scenes hold timeless emotional power within contemporary art. Our appreciation for nocturnal imagery is rooted in its ability to slow the viewer, invite reflection, and create an intimate connection between nature and imagination.  In today’s limited edition printing, moonlight landscapes are not nostalgic echoes of the past but refined expressions of modern craftsmanship and intentional design. Moonlight landscape prints continue to resonate because they balance serenity with depth. The moon becomes both a light source and a symbolic presence, guiding the eye while allowing shadows to speak.  Contemporary artists embrace this contrast, using carefully controlled palettes and traditional print techniques to create works that feel personal, collectible, and enduring. The Enduring Appeal of Moonlight Landscapes in Modern Art Moonlight has always carried emotional weight in visual storytelling. In contemporary printmaking, it offers a refined visual language that feels calm yet powerful. Artists today intentionally simplify forms while amplifying mood, allowing the viewer to experience atmosphere rather than detail overload. Limited-edition moonlight printing   stands apart from mass-produced artwork because each piece embodies deliberate restraint. The quiet glow of the moon reflected on water or nestled behind mountains creates a meditative pause. These works appeal to collectors seeking art that complements modern interiors while retaining organic warmth. Linoleum Block Printing as a Contemporary Medium Linoleum block printing has found renewed relevance in contemporary art due to its tactile authenticity. This method requires linoleum carving separate blocks for each color, demanding precision and patience. The result is an image with subtle texture and visible craftsmanship that cannot be replicated digitally. In moonlight landscape prints, linoleum block techniques enhance the natural rhythm of trees, water, and mountains. Each carved line contributes to movement and depth. The process itself aligns beautifully with the contemplative nature of nocturnal scenes, reinforcing the sense of intention behind every print. Pines in Moonlight IX as a Study in Balance and Mood This four-color linoleum block print captures a full moon reflecting across a tranquil lake, framed by pine trees and distant mountains. Rendered in layered shades of blue and green, the composition feels both immersive and restrained. The limited color palette strengthens emotional clarity while allowing light and shadow to guide the viewer’s focus. At 4 by 7 inches, the artwork delivers intimacy without sacrificing presence. The option to purchase the piece unmatted, matted, or framed offers collectors who value customization flexibility. Its limited edition status further enhances its appeal, making it a thoughtful acquisition for those who value rarity alongside artistic integrity. Limited Edition Prints and the Value of Scarcity Limited edition prints occupy a unique space in contemporary art collecting. They offer accessibility without compromising exclusivity. Knowing that only a small number of impressions exist creates a sense of connection between the collector and the artist. Moonlight landscape prints benefit greatly from this model. Their emotional subtlety becomes more meaningful when paired with scarcity. Each remaining print feels like a quiet opportunity rather than a mass-produced product, reinforcing its value as both artwork and investment. Styling Moonlight Landscape Prints in Modern Spaces Moonlight printing  integrates seamlessly into a variety of interior styles. Their subdued tones complement minimalist, modern, and nature-inspired spaces. When framed thoughtfully, these works provide visual calm in living rooms, bedrooms, or private studios. Smaller format prints like this one encourage closer viewing. They invite the viewer to step forward, engage, and linger. This interaction transforms the artwork from decoration into experience, aligning perfectly with contemporary preferences for intentional design. Why Moonlight Prints Continue to Define Contemporary Taste We recognize that contemporary collectors are drawn to art that feels authentic, emotionally grounded, and thoughtfully produced. Moonlight printing   meets these expectations by blending traditional craftsmanship with modern sensibility. Our continued interest in these works reflects a broader cultural desire for calm, balance, and meaning within visual spaces. As limited edition offerings become increasingly valued, moonlight prints stand as quiet statements of taste. They remind us that subtlety often carries the strongest voice. Discover the calm presence of moonlight landscapes through limited edition prints that honor craftsmanship and emotion. Explore thoughtfully created works that bring depth, balance, and quiet confidence into your space. Frequently Asked Questions What makes moonlight landscape prints popular in contemporary art? They combine emotional depth with visual simplicity, offering a calming yet impactful presence that suits modern interiors. Why choose a linoleum block print over digital reproductions? Linoleum block prints showcase hand-carved textures and layered color application, resulting in tactile, authentic artwork. How does the limited edition status affect the value of a print? Limited editions enhance collectibility by ensuring rarity, which often increases both personal and long-term value. What size spaces are best suited for smaller moonlight prints? Smaller prints work well in intimate settings such as reading areas, bedrooms, hallways, or gallery-style arrangements where close viewing is encouraged.

In my previous blogs, I described preparing the block and linoleum carving techniques. I am finally ready to start printing!  In this installment, I will describe the block printing process which includes color mixing and a technique I use often called a rainbow roll.  When printing a reduction linoleum block, I must print all the paper at the same time. Because I continually carve away from the same block, I cannot go back and print more after the print is completed. This is a little scary, because I am never sure how many will actually sell. After forty plus years in the business, I take my best guess, based on past experience.  Always print a few more than you think you want. A couple will end up in the trash for various reasons. Color mixing is an important part of printmaking. I use a palette knife to mix my colors and a large piece of plexiglas. I use oil-based block printing ink. Do not use Acrylic paint. It dries too fast. Speedball and other companies make water-based inks. Water based inks are obviously easier to clean, but they do not produce the  same finish and may not cover as well when layering colors.    This photo shows two shades of blue ink mixed side-by-side.  The photo above shows the rainbow roll and the brayer. Brayer is the correct name for the tool that rolls the ink. Below I have a short video demonstrating how I rolled the ink in two directions to have the ink darker on the sides and lighter in the middle.  Rolling the ink onto the block is an art in itself. I listen for a sandpaper sound as I roll ink out on the Plexiglas. Too much ink will fill in my carving lines;  too little will produce a light print. When I use the rainbow roll technique I must  make sure I roll the ink across the block in the proper direction.  I re-ink the block every time I make a new print. I try to keep the inking consistent throughout the entire edition, or series of prints, but each linocut is a unique work of art. I press the ink onto the paper using a bamboo barren, used by Japanese woodblock printers. The paper I print on is Japanese Mulberry paper. The barren is pictured below. I turn the block and paper so the paper is face up. I rub the paper, making sure I cover the entire surface area. I also have a short video demonstrating the techniques I have discussed  on my Instagram account, https://www.instagram.com/dcastlebabcockart/ Want to learn more?  Subscribe  to my newsletter to see the rest of the reduction process linoleum block printing.  To see my finished Linoleum Block Prints, featuring landscapes of upstate New York and Moonlight Prints,visit my online store at  www.DCastleBabcockArt.com .

Cutting Technique: Before I show you how to print, I want to give you some important information regarding Linoleum cutters. The Speedball cutters that I use come in five sizes. I photographed a number 2 cutter and a number 5 cutter, shown below. I seldom use the number 1 cutter because the line it carves is so small it will be lost when printing a multiple color Linoleum Block print. The block shows just the white parts of the image carved away. This is the paper showing through. Below that, I made a short video demonstrating carving technique. How to hold the cutter and use proper carving technique SAFETY FIRST! Your primary goal is to finish with the same number of fingers you started with. Notice in the video my free hand is behind the blade. I often need to turn the linoleum so I can keep my hand out of harm's way. I use an iron to heat the linoleum; it gives me more control as I carve. I set the iron on a low setting and place it directly on the surface for 3-5 seconds. The linoleum should be warm but not hot to the touch. Softened linoleum will keep you safe and lessen the chances that you will slip and make a mistake. If you do err, remember Bob Ross said, "There are no mistakes, only happy accidents." Over time you will learn how to modify your design if you run into problems. That is part of the creative process. I also demonstrated how to hold the linoleum cutter. Do not hold it like a pencil. Angle the blade down at a 30-45 degree angle. You should be able to feel the carving lines when you run your hand over the block. When in doubt, make the lines a little larger and deeper than you think they need to be. It's okay if you cut all the way to the burlap back. Once I cut out the white areas, I am ready to print the first color. Learn how to ink the block and press the paper in my next installment. Don't miss the next installment! Sign up for my newsletter by clicking here . Just go to the bottom of the page and fill in your email. You'll also get information on my shows, workshops, and new work. Visit my online shop, dcastlebabcockart.com