(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.)
“Above the Morning Mist”
(Oregon Coast Range)
Oil Sketch on Panelli Tellati Linen Panel
6" x 8"
Again early morning mist in the valleys, but not as marvelous as here depicted, which is based on the second morning here at this campsite, last week (6th July). During breakfast I kept noticing the local wildlife, and at one point I said to myself, Everybody’s coming out today, when I realized just that; this happened three mornings during the couple of weeks I camped here. Some days you notice this bird and that bird, this chipmunk and that rabbit, and so on, but not all of these creatures every day, but then, as today, it seems that all the different species you have seen all appear over a short period of time, and you wonder where they and what were they doing on those days that only a few made their appearance. This serves as a reminder that spending time in one place is well worthwhile, for you become familiar with the plants and animals and even the insects on your patch … and they become familiar with you.
Wednesday (13th July) and the next day were spent leisurely working away on this work, using my sketchbook drawing as a reference, as well as the actual landscape, and trees before me, and also referring occasionally to the photos of the misty morning I had taken the week before. All this was necessary since I had constructed the landscape from the reality, by selecting and moving the various trees around to form the composition. Although I was painting in the Plein Aire I don’t consider this a Plein Aire work, more of a studio painting happened to be painted in the Plein Aire. The same palette was used for this painting as for the last painting.
Imprimatura: Vasari Terra Rosa.
Drawing/Block-in: Terra Rosa and Ultramarine Blue Deep.
The Pigments used were: Rublev Blue Ridge Yellow Ochre, Italian Burnt Sienna, Cyprus Raw Umber Deep, Cyprus Warm Burnt Umber; Winsor & Newton Cobalt, Cerulean & Ultramarine Deep Blues, Cadmium Yellow Pale (not a lot) Permanent Rose (just a tad for the couple of Foxgloves) & Cremnitz White; M. Graham Hansa Yellow Pale.