At the End of the World

Today and yesterday were really rather discombobulating. Does getting older mean you are more set in your ways and less able to adapt to changes in the daily routine? Either that or my allergies just make me a bit crazy – this morning I had one of my sneezing fits where I sneeze about 30 times in a row. That is exhausting to the point I need a nap.

And nap I did. But then I decided to do something creative, and back to watercolor (my real first love in painting) and work on something idyllic, wet and watery, full of rocks, and put it in my sketchbook so I won’t take myself too seriously.

Click on the image to enlarge!

The Strathmore Vision paper works really well with little re-working of any part of the painting. I decided to see how the sketchbook would do with the same approach, as well as the more personal challenge of being more direct in color application.

With watercolor, many artists work with very wet paper, and while I like that, I prefer to have wet paper – as for the sky and the sea – but I also like to have layers. If you paint into wet color, your next incursion must be more pigment and less water than you are moving into, otherwise you get what are called blooms or cauliflowers. You can also paint onto dry paint and these won’t occur, and you can use thinner or thicker paint – less or more pigment combined with water. My sketchbook has good paper – far better than the Vision paper – so I could do all these things, and did.

First, wet the sky area, then drop in stripes of blues. Next, wet in the water, from horizon to the inlet area, all in about the same shades of blue, but darker than the sky. Let that dry. While that is going on, I painted in the greens on the right, blending colors into each other for gradations of green. The rocks, too, were painted with varying colors, working to leave bits of unpainted paper for a bit of pop and to indicate areas with more sun that shadow. Slowly I put in details, such as the waves or ripples in the lower right of the inlet, cracks in the rock, and so on. Large colors and masses first, finalized with contrast and detail.

I am pleased with this painting. I accomplished my task of direct painting with some modification – not a lot – later as I moved into detail. I drew in the general shapes with a pencil. The foreground rocks on the left and bottom were a challenge, but I think I have enough detail to make them interesting but not distracting. The same with the land mass on the right. Overall it took about 2 hours to do complete this watercolor.

Watercolor sketchbook, watercolor, about 7 x 18.

1. The Cove Below

Siena Blue did a series of 30 gouache studies – and she/he did a beautiful job! Inspired, I have decided to do a series of gouache paintings over the next several days, but I am not setting myself a goal as to how many. Gouache can be returned to easily enough as the paint re-wets quite well. As I have not worked in gouache lately and my life is going to be rather crazy over the next few weeks, it seems like the perfect medium for playtime.

So, a view looking over the edge of a cliff (I assume) taken somewhere on Capri – thus states the Pixabay description. As it is now summer, a rocky coastline, and a moored sailboat on a turquoise sea is quite a pleasant thought!

When I first began exploring gouache I found the work of Lena Rivo, observed her YouTube videos and took her short course. Both really helped me get a sense of how gouache works – it’s not watercolor nor oil or acrylic – and has an odd opacity that takes some getting used to – the colors are unique in many ways as there is a lot of white filler in the colors. Good quality gouache paints are opaque and cover well. All of my colors here are the same Lena Rivo uses, made by Holbein.

Gouache, about 8×10.

Big Sur, Looking South

Big Sur along the California coast is an incredibly beautiful bit of the state – at once wildly beautiful, in many ways easily accessible along Hwy 1, but delicate, too, as it is easily destroyed by heavy rains creating mudslides. Parts of it are rugged with mountains rising up and coming down into the Pacific Ocean. Hwy 1 skirts along, and it is always best to be the passenger so you can enjoy the wonderful views.

From where I live, you drive north, past Santa Barbara and then veer off on the 101 in an area marked on the map as Las Cruces. You could continue up the 101 up to San Luis Obispo, cutting west toward Morro Bay and then along the coast. Before you get deep into Big Sur, the mountains are toward the east, and there is a coastal plain. Slowly the landscape changes as the flatter areas disappear and the mountains move ever closer.

The entire drive is a delight. Coastal fog may drift in and out, and no matter where you look, the beauty is breathtaking. I have tried to catch this in the distance and along the horizon. The Canson XL paper is nice to paint on, and I used Gamblin Galkyd gel to speed up the drying time, but it sat in the garage this past week so I could ignore it and look at life away from the studio. Getting some time away from a painting is always a good thing as eyes are fresh upon the return. I was pleased with what I saw, and so scanned it, and present it to you for your viewing.

Painted on 11×14 Canson XL Acrylic / Oil Paper, about 10×10.

Along the Coast

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.