This article is devoted to the consideration of the stylistic features of demonstration of artistry and an descriptivity in the cycle of traveling sketches "Love – Kamchatka" by V. M. Peskov on the example of the lexical presentation by the journalist of color, sound and smell peculiar to the reality represented in the sketches. In these cases it is about a saturation of separate parts of the sketch-text with color lexicon or lexicon transmitting sounds of the world around. This lexicon shows considerable repertoire both quantitatively (statistically), and qualitatively (semantic) that allows to consider it in the structure of both thematic and lexical-semantic groups. The color lexicon is mainly found in the form of nuances and a color mixture, but not in the form of "true" color from a spectral set, and also gets metaphored. The lexicon of sound designation is similar various: only statistically the mention of sounds of the nature (live and lifeless) and civilization sounds (the person and the technician) totals more than 50 various sounds; there also are the examples of a metaphors with military, technical and household basis. In both cases we can see also the lexicon of "zero" designation connected according to colorlessness and soundlessness. In general in the Kamchatka sketches the relative balance of the rate of the use of color and sound designations is observed, however in separate texts one group of lexicon can dominate over the another one. The smell lexicon is quantitatively small in number, quite often it is defined by that the smell is mentioned, and then it goes in the memory of the reader throughout the text (a smell of slash fire around the throwing-up volcano), or it is meant a priori, in compliance with dissemble stylistics (the campfire smells like a smoke). In the same time the semantic potential of the smell lexicon is very various and allows to allocate six contextually caused functional subgroups connected in pairs with people, animals and volcanoes. The reporting basis, which is ordinary seen as mainly dynamic, giving to the text rhythm and connected with the general pragmatical perspective of a traveling sketch, in some fragments of texts by V. M. Peskov nevertheless has stylistic inclination of slowing down the reading and emphasis of the reader’s attention of the immersion in the narration substance, on the stimulation of reader's imagination.