You will no doubt have been greatly relieved to have heard the sound of my silence these past three weeks; rearming, refitting (my painting supplies) and general maintenance of equipment, as well as constructing a shelf in the back of my truck to safely transport my suitcase solar array, has taken more time than anticipated, and I have a bit more yet to do before I can get back on the trail. That being said, I am posting an Oil Sketch which was painted on my way back up the Oregon Coast, a couple days after I left Brookings and the Redwoods country. (I just discovered that this did not get published on the 26th October as planned, so here it is now on Halloween ... spookie!!!)
"Morning & Rising Tide"
(Face Rock from Cathedal Rock, Bandon, Oregon Coast)
Oil Sketch on Centurion Oil Primed Linen Panel
With additional coat of Williamsburg Lead Primer
5" x 7"
(Take Note: for those of you who have signed up to be notified by email of new postings to this blog, you have been receiving not just a notification, but an actual copy of the new blog posting as the email. As this does not show the images of the paintings in the best possible light, you should click on the title of the latest blog posting at the top of the post, and not the title of the painting itself; this will open up the actual blog itself, and you may then enjoy the paintings at their best.)
(Take further note that the photos of the past few paintings have been taken with my tablet and thus may not be up to the standard seen when the originals are scanned ... can't wait to get my laptop back!)
To find this view of Face Rock, at Bandon, you must enter the caves beneath Cathedral Rock, and clamber through to the far side. This is not always possible as pools periodically form and block the way; this time I was fortunate. Even once successfully through, the rising tide has to be watched so as not to become trapped. The tide was on the turn when I began to paint, and it became an an exercise in concentration to complete the sketch in time to beat the tide ... it was close. The face looks up and to the right towards the waning gibbous Moon. And thus this entry is short and to the point, much as when doing the sketch.
Imprimatura: Venetian Red, with the block-in with Ultramarine. The rest of the pigments were Blue Ridge Yellow Ochre & Italian Burnt Sienna (from Rublev), Ultramarine, Cobalt & Cerulean Blues, Venetian Red and Cremnitz White (all by W&N).