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Aug 15, 2014
Media: Oil Sketch on Centurion Oil Primed Linen Panel
with an additional Priming Coat of Rublev Lead White in Oil
Size: 5x7 in
At the end of both days that I worked on the previous
painting of Lost Lake, I was impressed by the evening light, and determined to capture
the mood in my next painting. So I went
back for a third day and set to work.
This view is about 70º to the right of that one. I began with an imprimatura of Venetian Red, and into this I blocked in the light
and shade with Ultramarine Blue, partially from memory, but also deciding on compositional
grounds where to organize these. In John
Carlson's book on landscape painting (which I have read is referred to by some
as the Bible for the landscape painter), he mentions painting with bristle
brushes for his larger works, and with sables for his smaller. I had not remembered that when I began these
small works in Oil, but I have been painting most of them with soft brushes
such as sables, or synthetic soft haired brushes, partly by choice, but also
because I wanted to brushes with short handles to fit into compact painting
gear. On this one, and also the previous
painting of Lost Lake, I used a #3 hog bristle brush throughout (made by Rowney
and purchased 30 or more years ago), except of course, for my signature. It is a first-class brush, and I was
surprised how I was able to get such narrow applications of pigment in the; Regular painters in Oil will
not be surprised, but remember I've been mainly a Watercolour painter
throughout my career. I had started with
the bristle in order to start with a larger brush than my soft short handled
ones and to see how far I could get before I would have to switch to the
synthetic or sable soft hairs, but in the end I stuck with the bristle all the
way to the end; it was also about 5/16" in width. I liked the character of the brush stroke as
well, and you can see this in the sky of both paintings, where a little bit of
the warmth of the imprimatura shows
through; the strokes are also more evident.
Pigments used Cerulean, Cobalt & Ultramarine Blues, Yellow Ochre,
Venetian Red, and Cremnitz White, with a very little Cadmium Yellow &
Cadmium Yellow Pale for the brighter greens.
At the end of both days that I worked on the previous
painting of Lost Lake, I was impressed by the evening light, and determined to capture
the mood in my next painting. So I went
back for a third day and set to work.
This view is about 70º to the right of that one. I began with an imprimatura of Venetian Red, and into this I blocked in the light
and shade with Ultramarine Blue, partially from memory, but also deciding on compositional
grounds where to organize these. In John
Carlson's book on landscape painting (which I have read is referred to by some
as the Bible for the landscape painter), he mentions painting with bristle
brushes for his larger works, and with sables for his smaller. I had not remembered that when I began these
small works in Oil, but I have been painting most of them with soft brushes
such as sables, or synthetic soft haired brushes, partly by choice, but also
because I wanted to brushes with short handles to fit into compact painting
gear. On this one, and also the previous
painting of Lost Lake, I used a #3 hog bristle brush throughout (made by Rowney
and purchased 30 or more years ago), except of course, for my signature. It is a first-class brush, and I was
surprised how I was able to get such narrow applications of pigment in the; Regular painters in Oil will
not be surprised, but remember I've been mainly a Watercolour painter
throughout my career. I had started with
the bristle in order to start with a larger brush than my soft short handled
ones and to see how far I could get before I would have to switch to the
synthetic or sable soft hairs, but in the end I stuck with the bristle all the
way to the end; it was also about 5/16" in width. I liked the character of the brush stroke as
well, and you can see this in the sky of both paintings, where a little bit of
the warmth of the imprimatura shows
through; the strokes are also more evident.
Pigments used 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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Available Paintings by Steven Thor Johanneson
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