Oh, how I loved our visit to Pt. Lobos in Northern California! The coast is amazing – cliffs, trees, sea, waves, birds, and trails to wander with a surprise around every corner.
I tried to capture the sense of mist rising from a lake in the early morning. Dry brush seemed to be the best solution, but I think I sort of missed it (hahahaha). I used a square, flat brush, moving up and down and sideways. The thing is, it wasn’t really foggy and blurred, but rather defined in the image.
Feels good to be painting again!
I’ve been in a foggy mood lately – could it be matching my aggravation with the coronavirus and all the social restrictions it is placing on us? I have been rather out of it for the past several days, so today I decided that, no matter what I felt I had to do, a painting with a cheerful theme would be the day’s beginning! Nothing like a beautiful day at the seaside with a good wind and a brilliant sun to cast away those doldrums.
Summer, fog, early morning rising mist. One color blends into another, overlapping, blurring together. How to express this?
Gouache does not readily lend itself to the color movement as does watercolor. In watercolor, you can discharge one color into another, and the wicking action of water and paper do the work for you. Here, I thought a lot about how to blend and merge colors to create that soft effect of fog. In the end, for this painting, I decided to use a narrow, flat brush with stiff bristles and scumble all the colors together.
Rather a brighter painting than I anticipated, but I think it does express the rising fog and early morning sky fairly well.
7×10 Arches hot press paper.
Another study of an Oregon coastline. Morning fog with a bit of sun breaking through.
I must admit, I am really pleased with how this painting turned out. It seems that returning to the scene (of the crime?) is helpful, as well as working in different media. I did this same scene in watercolor a bit ago, and I plan to do it in pastels as well.
Done on Arches 7×10 inch hot press 140# watercolor paper. Hot pressed paper seems to be the best choice for gouache. Time to order some more!
Continuing my water and fog series, and my simplification attempts as well. Here, another deserted coastline, with a few birds.
What is it about a lonely beach? It’s spooky, it’s sad, it’s exciting, and quiet. If the sun is trying to break through, the warmth begins to disperse the fog. Hopeful. Sun. If it is heavy weather, the sky lowers and threatens. Cold. Damp. Dangerous.
Fluid paper, limited palette of ultramarine, sap and Hooker’s greens, burnt umber and raw sienna, and a bit of alizarin. Probably other colors, too – hard to remember where the brush wandered.
If you think that the SoCal coast can be foggy, Oregon is by far more foggy at times! It’s an incredibly beautiful coastline with wide, nearly empty beaches. Out to sea are the sea stacks, some large, some small. In clear weather they are stunning, in the fog, spooky and eerie.
Today, a limited palette and paying particular attention to laying down water and thin colors. Washes are the dominant technique used here. My little picky brush strokes had to give way to broad ones for the beach and damp sand. It actually worked fairly well. Water, water, everywhere!
More work this morning with thin washes and working wet-in-wet. Not as pleasing as yesterday’s work, but a good experience nonetheless. A limited palette, some work with glazes, and use of dry brush. Painted on Fluid paper, which was a new experience – rather different in handling than Arches, but similar to the Fabriano I used yesterday. DOF isn’t there – I think the water further in the distance should be lighter . . . something to think about.
California is not all joyful sunshine and playing on the beaches. Fog is a large part of the coastal environment. It is known as “May grey” and “June gloom.” This morning I woke up to it . . . . inspiration for a foggy lake in the frozen (or not so frozen) north.
I’m still focused on water. Today I wanted fog and water and hoped to use very wet paint thinned to mostly water. I also wanted to work with wet-in-wet in the attempt to catch the softening of edges, increasingly more blurred and colorless, to denote distance. A dull, muted foreground with intense color to add to depth of field. I think it all worked out pretty good.
Fabirano 25% cotton paper, 9×12, neutral tint, sap green, Hooker’s green, phthalo green, Payne’s grey, quinacridone gold, yellow ochre, ultramarine blue, burnt sienna.