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Jul 24, 2014
Media: Oil Sketch on Centurion Oil Primed Linen Panel
Size: 5x7 in
In the afternoon, after painting Battleship Butte in
the morning, I moved a few yards away turned 90 degrees towards the North and painted
the afternoon light as it bounced and reflected between the rock
formations. I couldn't find a name for
this butte on my maps, so I'm calling it the
Keep since it reminds me of many of those Norman castles I saw in England
standing on their mottes, or mounds,
especially from this direction. After
laying down an imprimatura of
Venetian Red, I drew in the design with a brush using Cobalt Blue; I might have
used Ultramarine to do this, but at this point I hadn't decided that Ultramarine
would be on the palette. I laid in the
sky with Cobalt Blue, mixing in a little Cerulean as I worked down towards the
horizon; the pink in the lower reachs of the sky is the imprimatura affecting the thinly painted blues layered over it. I am especially pleased with the complementary
contrasts of the earth red pigments and the mixed greens of the Sage & Rabbit
Brush. For the greens I mostly mixed
Cobalt and/or Cerulean Blues with Yellow Ochre; for some darker passages I added
a touch of Ultramarine. The red earth
was a base of Venetian Red mixed with Naples Yellow (hue) or Yellow Ochre and
Cremnitz White in the light values, and with Cobalt Blue in the darker passages;
Cadmium Red Pale and Vermilion are also mixed in or applied in discreet touches
where necessary to add a bit more heat and glow. The imprimatura
was Venetian Red; the palette consisted of Yellow Ochre, Venetian Red, Cobalt
& Cerulean Blues [with Ultramarine playing a lesser role], Naples Yellow (hue),
Cadmium Red Pale, Vermilion, and Cremnitz White; all by Winsor &
Newton. Naples Yellow (hue) is a
convenience colour, which I find useful.
I also have Genuine Naples Yellow by Vasari, but it is a brighter
pigment than the Naples Yellow (hue), and so I use that for different purposes.
In the afternoon, after painting Battleship Butte in
the morning, I moved a few yards away turned 90 degrees towards the North and painted
the afternoon light as it bounced and reflected between the rock
formations. I couldn't find a name for
this butte on my maps, so I'm calling it the
Keep since it reminds me of many of those Norman castles I saw in England
standing on their mottes, or mounds,
especially from this direction. After
laying down an imprimatura of
Venetian Red, I drew in the design with a brush using Cobalt Blue; I might have
used Ultramarine to do this, but at this point I hadn't decided that Ultramarine
would be on the palette. I laid in the
sky with Cobalt Blue, mixing in a little Cerulean as I worked down towards the
horizon; the pink in the lower reachs of the sky is the imprimatura affecting the thinly painted blues layered over it. I am especially pleased with the complementary
contrasts of the earth red pigments and the mixed greens of the Sage & Rabbit
Brush. For the greens I mostly mixed
Cobalt and/or Cerulean Blues with Yellow Ochre; for some darker passages I added
a touch of Ultramarine. The red earth
was a base of Venetian Red mixed with Naples Yellow (hue) or Yellow Ochre and
Cremnitz White in the light values, and with Cobalt Blue in the darker passages;
Cadmium Red Pale and Vermilion are also mixed in or applied in discreet touches
where necessary to add a bit more heat and glow. The imprimatura
was Venetian Red; the palette consisted of Yellow Ochre, Venetian Red, Cobalt
& Cerulean Blues [with Ultramarine playing a lesser role], Naples Yellow (hue),
Cadmium Red Pale, Vermilion, and Cremnitz White; all by Winsor &
Newton. Naples Yellow (hue) is a
convenience colour, which I find useful.
I also have Genuine Naples Yellow by Vasari, but it is a brighter
pigment than the Naples Yellow (hue), and so I use that for different purposes.
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Available Paintings by Steven Thor Johanneson
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