Sennen Cove, Cornwall, oil sketch


Sennen Cove, Cornwall, sketch in oil paint, Vivien Blackburn

I really like sketching directly in oil paints, it allows alterations and changes, layering, scratching through ..... so adjustable :>)

This is an oil sketch in my sketchbook. I rather like working on paper - I know it isn't archivally sound but it's a sketch - and Toulouse Lautrec and Degas did it - so it'll do for me! I can close the page when I've finished and get a slight print on the facing page but the pages don't stick and it doesn't harm the painting at all - I can then work on the next page and the next .......

I use Griffin Alkyd quick drying oil paints for this and they are dry by the next day. Done with a palette knife for ease and speed.

This is a view of a section of the bay shown in the previous watercolour but this time on a sunny day with vividly blue sea - I do love the way it changes colour.

Comments

Gesa said…
Thanks for saying a bit about how you do the oil sketches on paper - I remember you mentioning them before; I did go to the sea today: just the Ayrshire coast but very good nonetheless; just used marker pen on white (large: A4) paper; I had briefly contemplated some colour to take with me; but decided against - this makes me think of oil pastels next time I go, though. Or indeed oil paints.
8:19 pm
vivien said…
oh I'd try the oil paints - you don't need too much and I just take some Liquin to thin them if needed and some baby oil to clean me and the brushes up :>) plus rags for smudging and cleaning.

Some things I'd be happy just drawing but the sea ....... I want COLOUR!
10:39 pm
lmp said…
Wow, that is great. I would love to thumb through you sketchbook - even have some of them framed. Really cool.
2:33 pm
Lindsay said…
I too love your oil sketch. Thanks for all the technical information you include too. You are so expressive with only a pallet knife!
4:24 pm
vivien said…
thank you both :>)


a knife can be quite expressive - as long as the paint isn't trowelled on with it! I don't like that
10:38 pm
Post a Comment

Popular posts from this blog

Hedges silhouetted agains the snow, winter light: watercolour and Derwent tinted charcoal pencils in Stillmand and Birn Beta Hardback sketchbook

Image
 Detail  I have always liked the calligraphic tangle of the hedges when they are sihouetted against the sky.   Recent snowfall meant even more opportunities with amazing light and the landscape simplified and hidden by the snow, throwing hedges into relief. Above is a detail of a double page sketch in the lovely Stillman and Birn Beta A4 hardback sketchbook.  This paper is so forgiving and the watercolour works beautifully with it.  It allowed me to work through wet washes with charcoal pencil - something that tears many papers, leaving holes.  Some of the hedge is paint, some tinted charcoal. First snow, more on the way, winter light: silhouetted hedges in watercolour and Derwent tinted charcoal in a Stillman and Birn A4 beta hardback sketchbook The earlier warm golden glow of the low sun is covered by clouds, threatening more snow to come.   The spiky calligraphic marks of the hedge and the underlying form of the bank, w...
Read more

The Eye, Urban/Rural exhibition

Image
Vivien Blackburn's work in the Urban/Rural show We've just hung a group show at the The Eye Project, Urban/Rural show.  If you want to come and see it it's on for a month - well worth seeing, 11 lovely artists and some fabulous work. Those large canvasses are 40 inches square. There are rural landscapes, flowerscapes, intriguing textile work including a large knitted building, abstracts .... something for everyone. It's in the gallery below the cafe in the Adult Education Centre at the top of Wellington street, Leicester, opposite Fenwicks.  Meet the Arttists day is Saturday 1st April 10-2.  Come and have a chat with us?
Read more

looking at non traditional composition and quiet vs busy areas in paintings

Image
Paul Klee I thought I'd look at non-traditional composition - where the rule of thirds isn't the key but the painting relies on different compositional methods. in response to an excellent series of posts on the various ways of looking at composition by Katherine (link at end). These alternative considerations or breaking of rules - but making it work - appeal to me more than too heavy a reliance on the rule of thirds. The painting above, by Paul Klee is a 'field' painting' - the composition is overall, the eye travels around enjoying the glowing colour that he creates by juxtaposing complementary colours, subtle greyed greens enhancing the oranges/reds/pinks. Most of the image is composed of the various greens, greeny browns and khakis, with accents of the warm colours. When working this way it's important that the balance is unequal and that the accent colours are placed carefully to keep the eye moving in the way the artist wants. A couple of the brighter...
Read more