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Aug 12, 2014
Media: Oil Sketch on Centurion Oil Primed Linen Panel
with an additional Priming Coat of Rublev Lead White in Oil
Size: 5x7 in
Not for Sale
Lost
Lake ACEC is idyllic in a wilderness, not a pastoral, sort of way. The whole
time I was working there were about a half a dozen Cedar Waxwings flitting from
tree trunk to tree trunk, catching insects, sometimes almost hovering like
hummingbirds in their attempts to capture them; I was unaware of this habit
since those that I had seen in Oklahoma over the Winter before last, mainly fed
on berries, it seemed.A pair of
Kingfishers also did their Kingfisher things, and a noisy Wren scolded me on
occasion; the odd Turkey Vulture rode the wind overhead, reminding me that the
coastal "breezes" were still there, and why I was here.Other wildlife including Dragonflies and
Damselflies went about their business. I
am always amazed at what appears when you are quietly painting away in the
woods; it felt like Eden. I set up my painting gear and proceeded to lay down a
Venetian Red imprimatura, and then a
block-in of the major shapes of the composition with Ultramarine Blue mixed
with a touch of Venetian Red.Over this
I applied a colour layer on the simple shapes of the block-in, so that there
was now a simply modeled colour composition, with little detail.The next afternoon I refined and corrected these
shapes, and added details, bringing the painting to a satisfactory conclusion.I use the term detail advisedly since there
is no detail compared to many of my Watercolours, and being ware that for many
Plein Aire painters, it will be too detailed; it is the direction I am striving
for, as you will be aware having read "The Journey" tab.The rest of the colours used were Cerulean,
Cobalt & Ultramarine Blues, Yellow Ochre, Venetian Red, and Cremnitz White,
with a very little Cadmium Yellow & Cadmium Yellow Pale for the brighter
greens.
Lost
Lake ACEC is idyllic in a wilderness, not a pastoral, sort of way. The whole
time I was working there were about a half a dozen Cedar Waxwings flitting from
tree trunk to tree trunk, catching insects, sometimes almost hovering like
hummingbirds in their attempts to capture them; I was unaware of this habit
since those that I had seen in Oklahoma over the Winter before last, mainly fed
on berries, it seemed.A pair of
Kingfishers also did their Kingfisher things, and a noisy Wren scolded me on
occasion; the odd Turkey Vulture rode the wind overhead, reminding me that the
coastal "breezes" were still there, and why I was here.Other wildlife including Dragonflies and
Damselflies went about their business. I
am always amazed at what appears when you are quietly painting away in the
woods; it felt like Eden. I set up my painting gear and proceeded to lay down a
Venetian Red imprimatura, and then a
block-in of the major shapes of the composition with Ultramarine Blue mixed
with a touch of Venetian Red.Over this
I applied a colour layer on the simple shapes of the block-in, so that there
was now a simply modeled colour composition, with little detail.The next afternoon I refined and corrected these
shapes, and added details, bringing the painting to a satisfactory conclusion.I use the term detail advisedly since there
is no detail compared to many of my Watercolours, and being ware that for many
Plein Aire painters, it will be too detailed; it is the direction I am striving
for, as you will be aware having read "The Journey" tab.The rest of the colours used were Cerulean,
Cobalt & Ultramarine Blues, Yellow Ochre, Venetian Red, and Cremnitz White,
with a very little Cadmium Yellow & Cadmium Yellow Pale for the brighter
greens.
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