Safe Harbor

August 24, 2016

SH2216 Step 14

Work continues on the closest island. The rocky shoreline is painted underneath the thick trees. A few brushstrokes of blue from the water are added on the boulders to give the impression they are wet.

SH2216 Step 15

Here is another one of the “RULES” that helps to give the appearance of depth in a painting. Muted, Duller Colors Go Back; Brighter, More Intense Colors Come Forward. Notice how the water in the distance is a faded blue, it was mixed from Ultramarine Blue + a touch of MUD (Ultramarine Blue + Alizarin Crimson) + White. In the middle portion of the water I’ve used mixes of Ultramarine Blue + White and Ultramarine Blue + Pthalo Blue + White. Nearest the terrace I’ll use combinations of Pthalo Blue + White and Pthalo Blue + a little Cadmium Orange + White.

SH2216 Step 16

Now for the little Marina! I begin with the buildings. The weathered grey structure is painted with combinations of Ultramarine Blue + Cadmium Orange + MUD + White. The red ones are made of mixes of Alizarin Crimson + MUD + White. The little white dots in the mountain are where the tips of the boat masts were in my sketch. I’ll use them for reference when I paint the boats. You can see this better by enlarging the image, just click on the picture.

SH2216 Step 17

As before, the reflections of the buildings are pulled straight down into the wet paint of the water below. Well….I decided to change the angle on the dock projecting out into the water, didn’t like the perspective. Since the boats will be in different positions now, I painted out my little reference points in the mountain!

SH2216 Step 18

The boats are next, I paint them fairly impressionistically. I don’t want too much detail or they will have a tendency to jump forward and not stay in the background.

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Masts and furled sails complete the boats safely nestled at the marina. We’ll begin working on the foreground elements in our next session. Hope you’ll come watch. Hugs,

Mikki Senkarik signature JPEG

http://www.senkarik.com

Islands, Islands and More Islands

August 23, 2016

SH2216 Step 8

My paint is mixed and I’m excited to get started today. We’ll begin with the sky because it sets the tone for the entire piece. The weather report says it’s going to be a bright, sunny day in Tofino! Here are our color recipes…..#1. White + Pthalo Blue. #2. Mixture #1 + more White + a little touch of Lemon Yellow. #3. White + Cobalt Blue.

SH2216 Step 9

Standing on my trusty step-stool I paint the top edge of the 24 inch x 30 inch gallery wrap canvas. The upper part of the sky is made of mix #3. Moving downward I feather in some of mixture #1. The lightest mix #2 is reserved for the sky nearest the horizon, just above the tops of the distant islands. Oh, speaking of islands, this is one of the Hawaiian shirts from my collection that Jack has gotten for me over the years. If you’d like to see the picture larger just click on the image.

SH2216 Step 10

I work in the total opposite direction from sketching the basic plan up on the canvas. Then I did the foreground first. Applying opaque color I “Paint Forward”. This means painting the sky to begin, then the mountains that are the farthest away. They are made bluer and lighter with a mix of Ultramarine Blue + White so they recede. The next layer is made a bit warmer, a combination of Ultramarine Blue + MUD (Ultramarine Blue + Alizarin Crimson) + White is used. Meares Island is warmed up more by adding mixes of Ultramarine Blue + Cadmium Orange + Pthalo Blue + White.

SH2216 Step 11

One way to give the feeling of depth in a painting is to use the rule: Cool Colors Go Back, Warm Colors Come Forward. You can already see how that is starting to work. The island directly in front of Meares Island is a cool green mixed with several combinations of Pthalo Blue + Cadmium Orange + White. A little MUD is added into some of the mixtures to darken them a little. However, as cool as these greens are they are warmer than the color used on Meares Island.

SH2216 Step 12

A few structures hug the shoreline. I’ve gone ahead and blocked in the water around the island so I can pull the reflections straight down as I’m painting the buildings. Also decided to put in a couple of sailboats just for good measure.

SH2216 Step 13

The closest island is made of richer greens. I’ve used various mixes of Utramarine Blue + Cadmium Orange + Cadmium Yellow Medium. A few brushstrokes of Pthalo Blue + White are dabbed here and there to bring coolness into the island forest. We can see another theory of making a painting have depth at work here: Darker Objects Advance, Lighter Ones Recede. 

Demo at Corsicana Art League

As Jack would say “That’s your little lesson for today!” Here he was giving a painting demonstration at the Corsicana Art League in 1991. Jack had the arm palette specially made for him years before to use when he did color studies for his portraits. He’d have the person he was going to paint sit in front of him, then would mix skin tones to be like those of his subject. He could hold the arm palette up, squint his eyes and mix his paint to match perfectly! Pretty nifty, don’t you think? HUGS,

Mikki Senkarik signature JPEG

http://www.senkarik.com

Off to Canada

August 22, 2016

Tofino 5

All right….how many of you have heard of Tofino? That’s where we’re headed today. This commission features the quaint, little fishing village located on Vancouver Island in British Columbia, approximately 300 miles north of Seattle.

SH2216 Step 1

I’m using the photo at the top as a guide for the background of my sketch. We’ll have a terrace in the foreground with lots of rich, jewel tone flowers. As you read through my blog please remember, you can click on any of the images to see them larger.

SH2216 Step 2

After penciling in the horizon line about 1/3 of the way down the canvas, I begin drawing the table and chairs with a brush dipped in a thin oil wash made of MUD (Ultramarine Blue + Alizarin Crimson) + Liquin. I start with these foreground elements because the placement of everything else in the composition is based on them. The reference photos for the chairs are on my laptop.

SH2216 Step 3

Now that the terrace and flowers are sketched up on the canvas I’ll move to the background mountains. The largest one is Meares Island.

SH2216 Step 4

I love all of the small islands in Browning Pass. The way they overlap will help give a feeling of depth to the painting. Next I come back to the foreground and draw in the trunks of the large fir trees at the edge of the terrace.

SH2216 Step 5

It wouldn’t be Tofino without BOATS! Lots of Sailboats, as well as fishing vessels, reside safely in the marina across from our terrace.

SH2216 Step 6

The wine bottle is washed in with Sap Green. Alizarin Crimson has been added to the lower portion to give the impression of wine still in the bottle. It is also used to indicate the wine in the glasses. I’m just covering the canvas at this stage, I’ll come back in a later session and paint the bottle and glasses.

SH2216 Step 7

The basic layout on the canvas is finished, it will serve as a road map to follow as I paint. Hope you’ll come watch! If you would like to receive an email every time I publish a new post you can subscribe to my blog. CLICK THIS LINK and scroll to the upper right side of the page. You will see a heading EMAIL SUBSCRIPTIONS. Just enter your email address and click the button “Sign me up!”  It’s easy. And if you enjoy my blog please CLICK the FaceBook LIKE Button. As we say in Texas, “Much Obliged!

2016-8-21 Cat tail fern 1

I’m sure you’ve heard of Fox Tail Ferns. Well…..we have a Cat Tail Fern! That’s Molly going after a lizard, I just happened to glance out the studio window as she dove under the fern and got a quick shot before she disappeared into the mass of fronds. The little lizard must have escaped, she came out looking very disappointed! Thanks for following along today. Hugs,

Mikki Senkarik signature JPEG

http://www.senkarik.com

Restful Retreat

August 20, 2016

SH2116 Step 55

The water streaming from the upper bowl of the fountain is dragged, straight down over the background that is now dry. I hold the brush lightly, letting it skip and bump over the rough paint underneath. This helps to give the impression of falling water.

SH2116 Step 56

Delicately fragrant Nasturtiums are blocked in Flowers First, Leaves Last. #1. The blossoms are mixtures of Alizarin Crimson + White, Alizarin Crimson + Cadmium Red Light, Cadmium Red Light + Cadmium Orange and Cadmium Orange + Cadmium Yellow Medium. #2. Round leaves made of various combinations of Pthalo Blue + Cadmium Yellow Medium are painted around the flower color. A few strokes of Pthalo Blue + White are added here and there to bring coolness into the depths of the foliage. You can click on the image to enlarge the picture to see this better.

SH2116 Step 57

It’s fun drawing in the stems and wiggly vines with a fine liner brush. Wiggly reminds me of Jack’s nicknames for our rescue kitties. There is a grocery store chain in the south called “Piggly Wiggly’s”. He called the girls Piggly and Wiggly. Molly is Piggly because she will eat a whole bag of cat food in one sitting. She’s constantly sneaking food out of Sissie’s dish if I don’t get it put up immediately after the little one, who just eats a couple of nibbles at a time, is finished eating. Sissie is Wiggly because her tail is always wiggling!

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Big Blue has dropped in for a visit. I use mixes of Cobalt Blue + White for his beautiful plumage. I notice he’s keeping a sharp eye on that white cat!

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Black markings complete the Blue Jay. Now it’s time to paint the Anasazi Pot. I’ve debated how to approach this for some time, I do miss Jack’s advice in situations like this. But I finally decided to begin with the base color as if the container is solid white. So the light and shadows on the round pot are established.

Anasazi Design

Here are a couple of samples that Jeana sent. I’ve decided to paint the one with the spirals, it will be a challenge.

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I draw diagonal lines with Ivory Black into the wet paint of the container as a guide. Then the spirals begin!

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My wrist is braced against my mahl stick to steady my hand as I continue. What is a mahl stick? CLICK HERE to find out.

SH2116 Step 63

The triangular designs are first outlined, I’ll come back and fill them in.

SH2116 Step 64

WHEW! The Anasazi Pot is done, time to plant the Prickly Pear Cactus. Watch out for those stickers, they can be painful. I’ve learned from experience to wear heavy gloves and hold the pads with a couple of layers of cardboard when planting the real thing!

SH2116 Restful Retreat 36x36Restful Retreat         30 inches x 36 inches

Cactus is happily nestled in it’s distinctive container and Yellow Yarrow has grown up at the base of the courtyard wall. Well, it’s time for the name. During the night “Restful Retreat” popped into my mind, I like that! Do you think Jack might have sent a little message from Heaven? Thanks for following along, I sincerely appreciate all of your warm comments and support! HUGS,

Mikki Senkarik signature JPEG

http://www.senkarik.com

An Intruder

August 18, 2016

SH2116 Step 49

Jeana has always wanted a white cat with blue eyes. She was thrilled when Chloe, her Siamese, had an all white, blue eyed kitten. But soon Nathan’s ears, nose and tail started to darken. So it seems the only way to get her white kitty is for me to paint her one. I begin by blocking in the basic feline shape with soft greys made of White + Ultramarine Blue + a little Cadmium Orange + MUD (Ultramarine Blue + Alizarin Crimson).

SH2116 Step 50

Next her blue eyes, pink nose and ears are finished. Then pure White highlights are thickly painted on her face, shoulder and left paw where the sun streams through the Hollyhocks.

SH2116 Step 51

The bright blossoms of the Hollies are blocked in with mixtures of Permanent Rose + Alizarin Crimson + White and Permanent Rose + White.

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Intense greens made of Pthalo Blue + Lemon Yellow are used for the foliage. Then highlights are added to the large crepe papery flowers. A little intruder has sneaked into the garden, but he can’t escape the kitty’s watchful eye! Can you spot our visitor? You might have to enlarge the image, just click on the picture.

SH2116 Step 53

The southwest style fountain is painted with mixtures of Viridian Green + Cadmium Orange + White. A little MUD is combined with the mixes for the darker shadow values. Blue, from the water below, reflects up onto the underside of the fountain bowls.

SH2116 Step 54

We have more planting to do in our next session. I have to get a new pair of gardening gloves, I discovered a hole in one of mine this morning!

Number 22But before we go let’s take a trip WAY BACK down memory lane. This is “Our Jack” in high school!

KILLER Jack in high school

And his nickname was “The Killer”. I’m pretty sure it had something to do with girls! BIG HUGS,

Mikki Senkarik signature JPEG

http://www.senkarik.com

 

 

 

Turquoise and Terra-Cotta

August 17, 2016

SH2116 Step 35

The door and window are painted with Rembrandt Pthalo Turquoise Blue, a deep rich color I’m unable to mix with our palette. Doesn’t it look nice with the lavender posts, corbels and beams?

SH2116 Step 36

There is a simple rule to follow when painting steps or stairs: The upright plane is always darker than the top of the step. This is because more light hits the flat surface than the vertical one of the riser.

SH2116 Step 37

Using some of the paint mixes left over from the house, the low courtyard wall surrounding it is now blocked in.

SH2116 Step 38

White is added to the door mixture to make the gate washed by the sun. The edges of the individual boards are highlighted using a fine liner brush.

SH2116 Step 39

Rusty Chamisa snuggles at the base of the wall under the container filled with cheery Coreopsis. If you’d like to see any of the images larger just click on the picture.

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Now the entire surface area of the irregular terra-cotta paver floor is painted, establishing the light and shadow pattern.

SH2116 Step 41

Perspective lines are next drawn into the wet paint.

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Then the horizontal crevices between the rough tiles are indicated with a fine liner brush dipped in a mix of MUD (Ultramarine Blue + Alizarin Crimson) + Liquin. Would you like to know more about our Double Primary Mixing System that Jack developed? Just CLICK HERE!

SH2116 Step 44

To paint the bottom edge of the gallery wrap canvas I usually place the painting on top of my taboret. BUT….Molly has taken it over as you can see in the background! So I grab Jack’s chair, place the top of the cardboard on the desk and rest the bottom on the seat back. All of our studio furniture is on wheels, I just roll my palette over and I can paint the underneath side of the piece. Our garbage bag is draped over an aluminum walker and clipped with utility clamps.

SH2116 Step 45

The bottom edge is fully covered with the shadow color.

SH2116 Step 46

Perspective lines continue over the edge of the canvas.

SH2116 Step 47

TA DA, the paver floor on the bottom surface is done. Flowers will flow over on the lower right side.

SH2116 Step 48

After seeing the picture of Jack and his street in one of the previous posts, some one asked if this piece is going to be called “Jack White Street”? No….but I do have a dilemma. Jack was the “Official Namer” in our family by default. I’d come up with titles such as “Red Door with Sunflowers” or “Blue Door with Pansies”. Of course he’d fall out of his chair with laughter. The last piece he named was my previous one, “The Risdall Quartet”. I guess I’m going to have to step it up now. We don’t want Jack tumbling out of Heaven because he’s laughing so hard do we? HUGS,

Mikki Senkarik signature JPEG

http://www.senkarik.com

Silver Lace and Four Leaf Clover

August 16, 2016

SH2116 Step 28

The color of the rounded adobe structure on the right is warmer and richer than that of the other buildings so this one will appear to come forward. One of my readers asked why I wear gloves….it’s because the paint thinner dries my hands out. The skin around my fingernails splits into painful cracks, the gloves have been a perfect solution. I have to admit though, it took awhile to get used to them!

SH2116 Step 29

I stand on a step stool to paint the top edge of the gallery wrap canvas. While up there I block in the white flowers of the Silver Lace Vine cascading over the roof with mixtures in various proportions of White + Dioxazine Purple, White + Ultramarine Blue and White + Pthalo Blue.

SH2116 Step 31

Working wet-into-wet the foliage color is painted around the blossoms, helping to give them shape. The leaf mixes are combinations of Pthalo Blue + Cadmium Orange + White.

SH2116 Step 32

The icing on the cake is to highlight the long slender blossoms dancing in the sunlight with Pure White.

SH2116 Step 33

The beams and posts are a lovely lavender made of Dioxazine Purple + White. A four leaf clover design is carved into the curved corbel. My wrist is braced against the mahl stick to steady my hand as I delineate the motif. The leaves are actually little hearts! You can click on the image to see it larger.

SH2116 Step 34

“Moving right along” as Kermit the frog would say. It was one of Jack’s favorite expressions, he loved that little Kermit! Please remember, always feel free to ask questions. One of the main reasons I write the blog is to help fellow artists! I’m still getting wonderful emails from all over the world with stories of how Jack generously helped others. We can continue his legacy by freely sharing our knowledge and experiences! With lots of Hugs,

Mikki Senkarik signature JPEG

http://www.senkarik.com

Jack White Street

August 15, 2016

SH2116 Step 22

Today I start with the courtyard wall and gate. The most distant edge of the upright wall is made bluer so it will recede. The front portion, closest to the viewer is painted with a warmer adobe color to make it advance forward.

SH2116 Step 23

The double gate is blocked in with a mix of Pthalo Blue + White. Wiggly willow twigs fill the opening in the panels. More White is added to the basic mixture to highlight the portion of the branches illuminated by the sun shining through.

SH2116 Step 24

Working around the side of the canvas I block in the Trumpet Vine cascading over the arch. Bet you’d like to know about the rainbow and sun face peeking around from behind my easel!

SH2116 Step 25

These are our diaries. When we traveled and moved all over the country everything we owned fit in or on top of our car, a Ford Explorer. So conserving space was paramount. We love windsocks, so Jack came up with the idea to write events in our lives on the streamers with a permanent Sharpie pen. All of our travels, moves, important happenings and cruises are recorded there. Whenever we want to know when we did what, all we have to do is rustle through the streamers. If you decide to do this use the thicker, fine point Sharpies, the ultra fine ones will fade over time. We found that out from experience, I had to go back and rewrite a bunch of stuff a few years ago!

SH2116 Step 26

OK, back to work. After painting the flowers and foliage the deep centers of the individual blossoms are indicated with a mix of Alizarin Crimson + Liquin. Now Mr. Chippers has a place to land. Maybe he’s checking out a good location to build a nest!

SH2116 Step 27

Coreopsis fills the terra-cotta container in the niche beside the gate. Do keep in mind, if you’d like to see any of the images larger just click on the picture.

San Antonio Jack White Street

About 6 months after Jack and I met we were talking with one of his friends, Dan Berry. When there was a break in the conversation Dan turned to me and asked, “Well……how many times has Jack taken you down to see ‘His Street’?”

I looked at Jack and exclaimed, “STREET! You never told me you had a street named after you!” I insisted he take me the very next day and I just had to snap a few pictures. This is in downtown San Antonio, near La Villita and the Courtyhouse. The funny thing is when I was doing Medical Illustrations I worked freelance for an attorney whose office was right around the corner. Even though I passed the intersection every time I met with him I’d never noticed Jack White Street! How’s that for being observant? Hugs,

Mikki Senkarik signature JPEG

http://www.senkarik.com

New Mexico Style

August 13, 2016

SH2116 Step 15

Southwestern architecture has some of the coolest details. Carved spiral portal posts support the porch roof of the background building. Mixes of Dioxazine Purple + Ultramarine Blue + White are used to paint the posts. I first block them in as if they were round, see the lower part of the post I’m working on. Then I come back to add the diagonal lines indicating the spirals. You can enlarge the image to see this better, just click on the picture.

SH2116 Step 16

Highlights and shadows are now added to give dimension to the rounded spirals.

SH2116 Step 17

After completing the portal posts, I painted the chili ristras with thick, textured brushstrokes to give the impression of individual peppers. Next I begin on the Salvia nestled at the base of the coyote fence.

SH2116 Step 18

When Jeana was a small girl, she and her mother would sit outside their front door on a bench in the late afternoon waiting for her dad to come home from work. She has fond memories of the daily ritual so asked me to include a bench in her piece. Her mom also loved owls; Jeana asked me to work one somewhere into the painting. I had originally planned to have an owl design on a tile by the gate in the foreground. Then I thought, “What better place than the back of the bench where she sat with her mom to put the motif?”

SH2116 Step 19

Purple Coneflowers grow in front of the porch. Following my usual sequence of Flowers First, Leaves Last the blossoms are roughed in with several shades of Magenta + White.

SH2116 Step 20

The green foliage has been painted around the large blooms, helping to shape them. Then the dark centers are delineated with MUD (Ultramarine Blue + Alizarin Crimson) + Liquin.

SH2116 Step 21

The structure at the top of the steps is complete, we’ll begin work on the foreground gate in the next session. Hope to see you then. Hugs,

Mikki Senkarik signature JPEG

http://www.senkarik.com

Blue Skies Ahead

August 11, 2016

SH2116 Step 9

Alright, let’s get to painting on that blue sky. My mixes are shown above. The recipes for them are: #1. White + a hint of Ultramarine Blue + a little Cadmium Orange. #2. White + Ptahlo Blue. #3. White + Cobalt Blue. #4. Two shades of White + Ultramarine Blue + a touch of MUD (Ultramarine Blue + Alizarin Crimson). Would you like to know more about our Double Primary Mixing System that Jack developed? Then just CLICK HERE!

SH2116 Step 10

The blue field of the sky is first painted with the darker mixture #3 toward the top of the canvas. Mix #2, which is lighter, is used in the lower portion of the sky. Then I come back with Mix #1 to make the soft hazy clouds hovering over the distant mountains.

SH2116 Step 11

The farthest mountain is made blue using mixtures #4 so it will fall back. The closest one is warmer. However the colors are still very cool because I want both to recede. This will be become more obvious as we add warmer, brighter hues in the foreground.

SH2116 Step 12

Now for Jeana’s little Cardinal. Originally washed in with Alizarin Crimson + Liquin, I’m now painting him opaquely. We have a pair of cardinals that visit our feeder regularly. Jack could see them from his computer desk. Many times I’d look up from painting and he’d be gazing out the window, engrossed in watching Mr. and Mrs. Chippers bouncing around the courtyard. I love hearing their little chip, chip, chip as they come down to eat. They pay for the birdseed by modeling for me!

SH2116 Step 13

Coyote fences are common in Santa Fe and Taos. They are made of rough cedar posts, tightly spaced to keep wild critters out of gardens and courtyards. Please remember as you read my blog, you can enlarge any of the images to see them larger.

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We’re done for today. Hope you’ll visit our studio again to see the progress as we continue!

Happy Jack Marina

Before I close I thought I’d include a true “Happy Jack” picture. For many years Jack and I traveled all over the United States, it wasn’t unusual for us to put 35,000 to 40,000 miles a year on our vehicle. You’d be amazed how many places have “Jack” in their names. Anytime we saw one we’d stop and take a photo of Jack with “his” sign! This was in the bayou country of Louisiana. Have a wonderful day. Hugs,

Mikki Senkarik signature JPEG

http://www.senkarik.com


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