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Jul 24, 2014
Media: Oil Sketch on Centurion Oil Primed Linen Panel
Size: 5x7 in
Passing through Bluff,
UT I proceeded down to Mexican Hat, topped up with petrol, and backtracked
seven miles to the start of the Valley of the Gods loop. Desert showers came past with the lowering
Sun casting an eerie light, and about 10 miles into the Valley I chose my campsite. A waxing gibbous Moon rose above the red
cliffs, so different from the High Rockies only a couple days before; and no
artificial lights to be seen! Before
dawn I arose and readied myself for the painting above; no sign of the showers
that had greeted me the night before.
The faintest butte & chimney are in Monument Valley, in Arizona,
scene of many a western film. I wanted
to capture the foreground still in the cool shadow with the butte bathed in the
early morning light. Ochres were the
base, but this subject allowed Cadmium Red and Vermilion to make an entrance as
well. The greens or the most part were
mixed greens, but I added a bit of Chromium Oxide Green to the palette as well.
The imprimatura
was Venetian Red, and the pigments used in the main painting were: Yellow
Ochre, Venetian Red, Vermilion, Cadmium Red Pale, Naples Yellow (hue), Chromium
Oxide Green, Cobalt & Cerulean Blues, Cremnitz & Titanium Whites.
Passing through Bluff,
UT I proceeded down to Mexican Hat, topped up with petrol, and backtracked
seven miles to the start of the Valley of the Gods loop. Desert showers came past with the lowering
Sun casting an eerie light, and about 10 miles into the Valley I chose my campsite. A waxing gibbous Moon rose above the red
cliffs, so different from the High Rockies only a couple days before; and no
artificial lights to be seen! Before
dawn I arose and readied myself for the painting above; no sign of the showers
that had greeted me the night before.
The faintest butte & chimney are in Monument Valley, in Arizona,
scene of many a western film. I wanted
to capture the foreground still in the cool shadow with the butte bathed in the
early morning light. Ochres were the
base, but this subject allowed Cadmium Red and Vermilion to make an entrance as
well. The greens or the most part were
mixed greens, but I added a bit of Chromium Oxide Green to the palette as well.
The imprimatura
was Venetian Red, and the pigments used in the main painting were: Yellow
Ochre, Venetian Red, Vermilion, Cadmium Red Pale, Naples Yellow (hue), Chromium
Oxide Green, Cobalt & Cerulean Blues, Cremnitz & Titanium Whites.
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Available Paintings by Steven Thor Johanneson
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