(mouse-over to magnify / click to expand)
Aug 19, 2014
Media: Oil Sketch on Centurion Oil Primed Linen Panel
With additional coat of Rublev Lead Primer
Size: 5x7 in
Not for Sale
The wind was gusty enough that fine sand sifted down
from the cliff top throughout my painting session, and by the time I had
finished it seemed as though I had been painting with sand. Two days later when the work was touch dry I
was able to brush off most of the sand from the sky and sea, and left a bit on
the cliff and beach in the foreground to add texture. The more stubborn flecks I disposed of with
the judicious use of the tip of a scalpel blade ... a very useful tool. Perhaps I should have left more on as
souvenirs. Again I chose to lay down an imprimatura of Venetian Red, which was
perfect in adding a warmth glowing through the cooler pigments brushed over it
when depicting the rising bank of fog. I
used a bristle brush throughout, capitalizing upon its ability to add
interesting texture to the painted surface.
In my Watercolour work I sometimes add interest to areas of a painting
by building up thin layers with dry-brushed strokes and crosshatching using
older brushes and splaying their hairs sort of like a leaf rake in shape; I'm
getting a similar effect with the bristle brush lightly applying he paint at a
shallow angle to the surface. The rest
of the pigments used were Cerulean & Cobalt Blues, a little bit of
Ultramarine Blue, Yellow Ochre, Venetian Red, and Cremnitz & Titanium
Whites. Cerulean is used mainly in the
sky & sea, with perhaps a little Cobalt Blue added, however Cobalt Blue is
mainly used to make the lovely greys when combined with Venetian Red. When a deeper toned grey is required, then
Ultramarine replaces the Cobalt Blue in the mixture. To be honest Ultramarine could replace Cobalt
Blue throughout, but I like the softer greys produced with the Cobalt, as well
as the quieter greens it produces. A
couple of minute touches of Cadmium Yellow Pale, hinted at the yellow flowers
in the grasses on the top of the right hand island.
The wind was gusty enough that fine sand sifted down
from the cliff top throughout my painting session, and by the time I had
finished it seemed as though I had been painting with sand. Two days later when the work was touch dry I
was able to brush off most of the sand from the sky and sea, and left a bit on
the cliff and beach in the foreground to add texture. The more stubborn flecks I disposed of with
the judicious use of the tip of a scalpel blade ... a very useful tool. Perhaps I should have left more on as
souvenirs. Again I chose to lay down an imprimatura of Venetian Red, which was
perfect in adding a warmth glowing through the cooler pigments brushed over it
when depicting the rising bank of fog. I
used a bristle brush throughout, capitalizing upon its ability to add
interesting texture to the painted surface.
In my Watercolour work I sometimes add interest to areas of a painting
by building up thin layers with dry-brushed strokes and crosshatching using
older brushes and splaying their hairs sort of like a leaf rake in shape; I'm
getting a similar effect with the bristle brush lightly applying he paint at a
shallow angle to the surface. The rest
of the pigments used were Cerulean & Cobalt Blues, a little bit of
Ultramarine Blue, Yellow Ochre, Venetian Red, and Cremnitz & Titanium
Whites. Cerulean is used mainly in the
sky & sea, with perhaps a little Cobalt Blue added, however Cobalt Blue is
mainly used to make the lovely greys when combined with Venetian Red. When a deeper toned grey is required, then
Ultramarine replaces the Cobalt Blue in the mixture. To be honest Ultramarine could replace Cobalt
Blue throughout, but I like the softer greys produced with the Cobalt, as well
as the quieter greens it produces. A
couple of minute touches of Cadmium Yellow Pale, hinted at the yellow flowers
in the grasses on the top of the right hand island.
|