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Aug 21, 2014
Media: Oil Sketch on Centurion Oil Primed Linen Panel
With additional coat of Rublev Lead Primer
Size: 5x7 in
The
breezes still remained clement, and so I went back down to the beach south of
the Face Rock Viewpoint, ensconced myself on a rock just above the morning's
high tide mark, and began to paint the view to the south towards the islands in
the near the Devil's Kitchen.They faded
in and out as the fog banks thickened and thinned, never quite overwhelming
them nor slackening either.Above was
high cloud and the Sun was present for a good portion of the painting
session.Close to, were several stacks
which were surrounded by water at the high tide and this state of the tide is
here depicted.Beyond the Devil's
Kitchen, were hills of the coast range but they were obscured shortly after
beginning to work and never reappeared, until towards the end of the session; I
decided it was too late to put them in.Painting on site is always a series of decisions, often on the fly and
throughout the session.These sorts of
decisions in one of my studio Watercolours would be worked out in the design
and drawing stage, and rarely deviated from.But then this is what sketching is all about; note taking in its purest
form.I went with the usual Venetian Red
imprimatura, although I took awhile
to decide to go with it rather than go straight in on the white ground
only.I could have gone either way.Cerulean Blue was mainly used in the sky and the
lighter sea-greens, with Cobalt Blue mixed with Venetian Red formed the basis
of the browns and greys; Cobalt Blue and Yellow Ochre was mixed for the deeper
sea-greens; Cremnitz White rounded out the palette.
The
breezes still remained clement, and so I went back down to the beach south of
the Face Rock Viewpoint, ensconced myself on a rock just above the morning's
high tide mark, and began to paint the view to the south towards the islands in
the near the Devil's Kitchen.They faded
in and out as the fog banks thickened and thinned, never quite overwhelming
them nor slackening either.Above was
high cloud and the Sun was present for a good portion of the painting
session.Close to, were several stacks
which were surrounded by water at the high tide and this state of the tide is
here depicted.Beyond the Devil's
Kitchen, were hills of the coast range but they were obscured shortly after
beginning to work and never reappeared, until towards the end of the session; I
decided it was too late to put them in.Painting on site is always a series of decisions, often on the fly and
throughout the session.These sorts of
decisions in one of my studio Watercolours would be worked out in the design
and drawing stage, and rarely deviated from.But then this is what sketching is all about; note taking in its purest
form.I went with the usual Venetian Red
imprimatura, although I took awhile
to decide to go with it rather than go straight in on the white ground
only.I could have gone either way.Cerulean Blue was mainly used in the sky and the
lighter sea-greens, with Cobalt Blue mixed with Venetian Red formed the basis
of the browns and greys; Cobalt Blue and Yellow Ochre was mixed for the deeper
sea-greens; Cremnitz White rounded out the palette.
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Available Paintings by Steven Thor Johanneson
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