In order to make the open gate be the “Light at the End of the Tunnel” the flowers lining the alley have to be dark. The terra-cotta pots are painted first. This area needs to be muted. I want it to be there, but not drawing attention, so your eye will travel past the fresh blooms to the sunlit landscape. When the containers are complete the flowers are blocked in.
The foliage of the Mums and Gladiolas finish out the colorful racks. The door is a mixture of Pthalo Blue + White with a little MUD (Ultramarine Blue + Alizarin Crimson) added. To learn more about our Double Primary Palette just click HERE.
The terra-cotta pot to the right of the door with the cellophane wrapped Lilies is a treat. Frankly it painted itself, I just grabbed the brush and hung on. The pink flowers are a mix of Alizarin Crimson + White while the greens are left over from the Wisteria. Some of the blues and lavender from the sky are used for the clear cellophane. A special color is brought into play for the awning, Viridian Green. A touch of Pthalo Blue and White is added to the Green, Ultramarine Blue is then thrown in for the darker shadows. The slanted surface of the awning is the lightest because the sunlight hits it directly. The upright of the scalloped edge is a little darker. Even though the upright plane is still in the light it receives less sun than the slanted surface.
Now for the sign. The light and shadow on the white board of the sign are blocked in first. I pull out my trusty mahl stick to brace my hand for the lettering. A thin mix of Alizarin Crimson + Liquin is used to draw the individual characters into the wet paint. You can see the horizontal guide lines I drew to help keep the lettering straight. The lines will be taken out when the sign is finished.
WHEW! I’ve been holding my breath doing all that lettering. It was fun inventing the design for the Lollie’s Flowers sign. This is totally made up, Lollie is a pretty Papillion pooch owned by one of our gallery partners in Santa Fe! Hugs, Mikki Senkarik