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Aug 29, 2014
Media: Oil Sketch on Centurion Oil Primed Linen Panel
With additional coat of Rublev Lead Primer
Size: 5x7 in
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The day following I was on Orford Beach early and
found a spot near the Orford Rocks, with a couple of the distant Redfish Rocks
in view, with some of the Orford Rocks close to, and with early morning shadows
from the forested cliffs behind me slanting across the foreground. I thought I was protected from the wind, and
so I was from the full force of it, but gusts managed to whip over me with
regularity, and even kindly sprinkled a little dusting of fine san on the
painting, like black sugar sprinkles on Christmas cookies! So again I'll have to wait a couple of days
before I can brush them off of the sky, when the painting is touch dry. There were not as many as those on the one at
Bandon Beach, and those successfully were removed. When I began the painting the sea was
blue-green and green, but not quite as strong as the painting of Cape Blanco of
two days previous, and so I decided to proceed directly onto the white lead
ground of the linen panel. I blocked in
the composition with Ultramarine, locking in the shadow patterns to retain the
early morning feel of the view. Starting
with the sky I worked my way from the distance to the foreground, but leaving
the closer Orford Rocks until I had covered the foreground beach with its
shadows. Then I went back into the Sea
and worked on the waves and reflections in the wet sand. I reworked the shadowed foreground to better
its transition into the sea. The palette
I used was Yellow Ochre, Venetian Red, Cerulean< Cobalt and Ultramarine
Blues, a minimum of Viridian, and Cremnitz White, with a touch or two of
Titanium White for the brightest foam of the waves.
The day following I was on Orford Beach early and
found a spot near the Orford Rocks, with a couple of the distant Redfish Rocks
in view, with some of the Orford Rocks close to, and with early morning shadows
from the forested cliffs behind me slanting across the foreground. I thought I was protected from the wind, and
so I was from the full force of it, but gusts managed to whip over me with
regularity, and even kindly sprinkled a little dusting of fine san on the
painting, like black sugar sprinkles on Christmas cookies! So again I'll have to wait a couple of days
before I can brush them off of the sky, when the painting is touch dry. There were not as many as those on the one at
Bandon Beach, and those successfully were removed. When I began the painting the sea was
blue-green and green, but not quite as strong as the painting of Cape Blanco of
two days previous, and so I decided to proceed directly onto the white lead
ground of the linen panel. I blocked in
the composition with Ultramarine, locking in the shadow patterns to retain the
early morning feel of the view. Starting
with the sky I worked my way from the distance to the foreground, but leaving
the closer Orford Rocks until I had covered the foreground beach with its
shadows. Then I went back into the Sea
and worked on the waves and reflections in the wet sand. I reworked the shadowed foreground to better
its transition into the sea. The palette
I used was Yellow Ochre, Venetian Red, Cerulean< Cobalt and Ultramarine
Blues, a minimum of Viridian, and Cremnitz White, with a touch or two of
Titanium White for the brightest foam of the waves.
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Available Paintings by Steven Thor Johanneson
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