It’s really neat working on two pieces at the same time. The long, reaching arms of the Bougainvillea cross over the gap to the canvas on the right. The flowers, or bracts, of the vine have been blocked in with mixes in various proportions of Permanent Rose + White. The darker mixtures are used for the shadows, the lighter ones are reserved for the highlights.
After details are completed on the Bougainvillea I direct my attention to the Wisteria. Working in my usual sequence of Flowers First, Leaves Last the blossoms are made of Dioxazine Purple + White. Then the foliage is painted around the purple, helping to shape the long, dangling flowers.
My brush dances across the canvas as I highlight the individual petals of the Wisteria.
A quick shower just came through. I pull some of the door color into the fresh paint of the floor to give the impression of reflections, shimmering in the damp pavers.
The crevices separating the tiles are drawn freehand into the wet paint of the floor with a fine-liner brush. You can see this better by enlarging the picture, just click on the image.
If you don’t have a mahl stick you can use this method to support your hand when painting intricate areas on your art. Since I’m right handed I brace my left hand against the easel. Resting my right wrist on the left steadies my hand in order to delineate the details of the sunface tile.
The Hollyhocks are mixes of Alizarin Crimson + Magenta + White, Dioxazine Purple + Magenta + White and Magenta + White. The masses of flowers are blocked in first, then the leaves are painted around the brighter color.
Tall stalks covered with seed pods and bright yellow stamens finish out the Hollyhocks. The Yellow door appears even more intense because the purples in the Hollyhocks are its complimentary color; across from it on the color wheel. Hope you’ll come back for our next session. Bring some gardening gloves, you can help me plant the rest of the flowers. Hugs,