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Breakers Below Yaquina Head (watercolor 5 x 7) $25.00
I did this little painting at the gallery last Wednesday. It is another view of rocks below Yaquina Head Lighthouse in Newport, Oregon.
I painted it loosely without using mask reserving the white paper in the clouds, waves and foreground by painting around them. I added the spray on the rocks with opaque chinese white. I used phthalo blue, cobalt blue, raw sienna, burnt sienna, and a hint of quinacridone deep red rose.
This painting is currently on display at Art in the Valley, Corvallis, Oregon. You may still purchase it by mail on inquiry through the contact page of this blog.
Making Waves (watercolor 5 x 7) SOLD
On our last trip to Newport, my husband and I found a tiny little state park, not even big enough for a highway sign from 101 let alone our road atlas. It is a wave watchers paradise. Wet fireworks. We spent a happy hour there with out noticing either the time or how damp we were getting. This little part of the rocky headland didn’t produce such spectacular spray, but we were fascinated by the whirl pools the breakers kept forming against the rocks.
I began by masking the whites. Then I painted in the rocks in burnt sienna, phthalo blue, cobalt blue and a little raw sienna. The water is phthalo blue, burnt sienna, and raw sienna.
Sliver Stream (watercolor 5 x7) SOLD
Like yesterday’s paintings, I did this little watercolor at the gallery last Wednesday. Postcard sized paintings work really well for gallery shifts. Space at the gallery for painting is limited and I want to be able to drop whatever I am doing to greet and talk to patrons. At this scale there’s hardly ever a bad moment to stop painting.
These little paintings make good sketches for working out larger work too. It’s so much easier to experiment with composition when the paper I’m risking is only 5 x 7.
The subject is Agate Beach in Newport at sunset. If the stream has a name, I don’t know it. And it wouldn’t surprise me to discover it seasonal runoff. It’s course over the sand varies every time I visit. But it’s always wide and shallow. This Spring the it’s mouth was over fifty feet wide and perhaps two or three inches deep. I liked the silver reflections in the late evening and early mornings.
The palette is burnt sienna, new gamgee (yellow), quinacridone deep red rose, cobalt blue and phthalo blue. I painted the sunset colors in tandem working first in the sky and then in the reflections and back again to the sky as I added new colors. I began with the yellows, then worked along through the oranges, reds, and purples. The purple is phthalo blue and quinacridone.
Twixt Wind and Water II (12 x 16) $225
Twixt Wind and Water
We spent last weekend on the beach. I took enough photographs to have seacape material for some time to come. While I was there I reworked Twixt Wind and Water. Here is the result. As you can see, I gave the painting considerably more sea-room to the left, so that she has something more to look into.
I began her hair with an under-painting of colbalt blue. Then I used layers of yellow ochre, burnt sienna, and cobalt blue to complete it. Quidacrone deep red rose provides the accent color in the hair band.
Her jacket is cobalt blue and prussian blue mixed on the palate.
The sea began as phthalo blue and burnt sienna with reserved whites. Then I changed my mind about much of the wave action and began experimenting with white gouache. To cover strong colors, gouache must be laid on fairly heavily. And even though I don’t use ultra white paper, gouache white is still bluer that the paper. Also, as I discovered gouache will washback into transparent watercolor and vice versa. Work a little gouache onto the paper and nothing painted there will ever be entirely transparent again.
The effect is interesting, but I think next time I’ll stick to transparent watercolors, unyielding to change though they may be. I like the translucency better.
Or purchase a print from Fine Art America.com
A Gift For the Sea (5 x 7) SOLD
This is another postcard sized painting I did while demonstrating at the fair. This particular one is yet another view of the two boys I had so much fun watching. They were trying to return a log to the sea. As the tide was coming in, it kept spitting it out. They were having a marvelous time.
The palette was my usual ocean foursome: cobalt blue, phthalo blue, raw sienna, and burnt sienna. The Northwest beaches here rarely show the ocean in bright colors. It’s a earth tone world on the Oregon beaches.
I reserved the figures and the whites with liquid mask before painting the ocean and beach. Notice that the crested waves in the foreground are greener than the waves in the background. When a wave crests you can see into the water from the side and here isn’t much sky reflected into it. Consequently it tends to look green rather than blue, like the edge of a glass pane. I used cobalt blue for the background waves and the greener phthalo blue mixed with a little raw sienna for the crested waves. I like the effect.
After the paint dried, I lifted the mask and added the figures. I was very careful to preserve the whites on the front of their swim trunks. The light was strong that afternoon and I wanted to keep it in the painting.
I added the reflections as I added the figures. I didn’t reserve space for them with mask, because painting them over the beach and water colors mimics the way they really look.