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little there from other established artists, he noted. Heus acknowledged being particularly influenced by Japanese woodcuts. “They’re so in tune with their environment. There’s no room for ego. For a time, I was consciously pushing that style into my work. But you can’t do that. The only way to get style is to draw a lot," he repeated.
So Heus drew. . .and drew. . .and drew. And while he may not have considered himself an artist, others did. His work was accepted at the Virginia Museum and galleries in Washington, D.C. and New England. He set aside temporary studio space in the corner of the old Orlean barn he and his wife Robin are renovating into a home and became an almostfull-time artist.
Scenes captured in memory of the Adirondacks and Long Island's Great South Bay, vistas of Rappahannock’s mountains and fields were etched with nitric acid onto metal plates and then printed. Reviving a favorite medium of Italian and Dutch artists of the 1700s, Heus drew with conti crayons, chalk-like sticks of almost pure pigment that are scraped, the dust mixed with water and then used as paints.
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