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Aug 16, 2015
Media: Oil on Centurian Oil Primed Linen Panel
with additional Coat of Williamsburg Lead Ground
Size: 5x7 in
Weather-wise I could have well stayed up in the Coast
Range, as when I finally arrived in Bandon, six days after my intention to be
there, I could see the usual Summer winds were up. If you were following these postings from
their inception last Summer, you might remember that on this central &
southern Oregon Coast the winds in Summer are usually strong, from the north (and
therefore cold), and fairly incessant.
Thus they were upon my arrival late in the day after I had left my charming
forest road campsite high in the Oregon Coast Range, and toddled into
Bandon. The next day, however, they had
dissipated, but a dull overcast had set in.
This would normally not have prevented my painting on the shore, but
once down on the beach, and while looking for a spot to paint, I noticed that
the sands had shifted from what they had been last Summer ... deeper and
therefore the low tide was further out past sea-stacks that I had never been
able to walk around on past visits to Bandon.
Considering the bland lighting of the overcast, and this new
configuration of the sands, I decided to concentrate taking photographs and making
pencil sketches in my pocket sketchbook.
The Oil Painting was done from one of my drawings in that sketchbook. While rapidly jotting down the pencil sketch,
I had in mind that I would use it as the basis for a dramatic storm with crashing
waves. The drawing is one I consider as
informational note taking, as are many of the drawings in my pocket sketchbook. The sketchbook is one where I had cut and
folded the paper into sections and then had a professional bookbinder in
Cornwall, England bind it together; I had about twenty of various sizes bound
at the same time, eleven years ago. Not
cheap but now I have sketchbooks bound with the various papers (some handmade),
that I most enjoy working on. The day
after the drawing was done I worked up the Oil Sketch from my Pencil Sketch, as
the cloud cover continued and the wind came up again ... the Sun did come out
later ... still breezy. Imprimatura: Venetian
Red.Block-in:
French Ultramarine. The Pigments
used were: Rublev Blue Ridge Yellow
Ochre, Italian Burnt Sienna, with Winsor & Newton Cobalt & French
Ultramarine Blues, Venetian Red, and Cremnitz & Titanium Whites. For more, visit www.StevenThorJohanneson.blogspot.com.
Weather-wise I could have well stayed up in the Coast
Range, as when I finally arrived in Bandon, six days after my intention to be
there, I could see the usual Summer winds were up. If you were following these postings from
their inception last Summer, you might remember that on this central &
southern Oregon Coast the winds in Summer are usually strong, from the north (and
therefore cold), and fairly incessant.
Thus they were upon my arrival late in the day after I had left my charming
forest road campsite high in the Oregon Coast Range, and toddled into
Bandon. The next day, however, they had
dissipated, but a dull overcast had set in.
This would normally not have prevented my painting on the shore, but
once down on the beach, and while looking for a spot to paint, I noticed that
the sands had shifted from what they had been last Summer ... deeper and
therefore the low tide was further out past sea-stacks that I had never been
able to walk around on past visits to Bandon.
Considering the bland lighting of the overcast, and this new
configuration of the sands, I decided to concentrate taking photographs and making
pencil sketches in my pocket sketchbook.
The Oil Painting was done from one of my drawings in that sketchbook. While rapidly jotting down the pencil sketch,
I had in mind that I would use it as the basis for a dramatic storm with crashing
waves. The drawing is one I consider as
informational note taking, as are many of the drawings in my pocket sketchbook. The sketchbook is one where I had cut and
folded the paper into sections and then had a professional bookbinder in
Cornwall, England bind it together; I had about twenty of various sizes bound
at the same time, eleven years ago. Not
cheap but now I have sketchbooks bound with the various papers (some handmade),
that I most enjoy working on. The day
after the drawing was done I worked up the Oil Sketch from my Pencil Sketch, as
the cloud cover continued and the wind came up again ... the Sun did come out
later ... still breezy. Imprimatura: Venetian
Red.Block-in:
French Ultramarine. The Pigments
used were: Rublev Blue Ridge Yellow
Ochre, Italian Burnt Sienna, with Winsor & Newton Cobalt & French
Ultramarine Blues, Venetian Red, and Cremnitz & Titanium Whites. For more, visit www.StevenThorJohanneson.blogspot.com.
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Available Paintings by Steven Thor Johanneson
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