Red Corn Poppy is complete. Let’s move on to the Red and White one in the upper right.
The lower portions of the petals near the base of the flower are white. I’ve painted the shadow areas with several shades of White + Dioxazine Purple, White + Ultramarine Blue and White + Pthalo Blue. Pure White is reserved for the brightest highlights.
I have to be very careful painting the transition where the flower breaks out into the frame. I want to make sure the junction lines up! This is difficult to explain, but it will be more clear at the end when I show the finished painting without any tape on the frame. Please remember as you read through my blog, you may click on any of the images to view them larger.
Two done. Next up, the pretty Poppy between them!
Mixtures left over from the white parts of the Poppy on the far right are used here. It’s fun capturing the sunlight dancing across the delicate petals.
The stamens around the center of the flower are mixes of Cadmium Red Light + Alizarin Crimson, Cadmium Red Light + Cadmium Orange and Cadmium Orange + Cadmium Yellow Medium.
Permanent Rose + White is pulled onto the edges of the petals, working from the outside inward.
The final step for this session is to rim the central, upright petals with Permanent Rose! I appreciate you visiting my blog, thanks also for everyone’s wonderful comments! With BIG HUGS,
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Working on another Poppy painting! This one is for my Annual TEAM SENKARIK Collector Event in Santa Fe on August 30 and 31st.
Both of these images of Red Corn Poppies were taken in the garden at our previous home.
I chose this image because I especially like the position and shape of the petals of the Flanders Poppy on the right.
I’ve sketched the flowers up on the canvas in pencil. Some of the flowers break out into my Signature Frame so I tape around the petals to mask it off. When the painting is finished I’ll remove the tape, revealing the clean white frame.
The background is painted with several shades of Pthalo Blue + Cadmium Orange + White. Sunlight pours into the painting from the upper left. I make the background darker behind the flowers in that corner so the highlights on them will really glow!
Poppy stems are painted into the background while it’s still wet. My wrist is braced against the mahl stick to steady my hand as I delineate the fine hairs. You may click on this, or any of the other images to view enlargements.
I’ll begin painting the Poppies in our next session. I do hope you’ll come follow along, I’ll have a VIDEO! If you would like to receive an email every time I publish a new post please feel free to 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.
Please keep in mind, to move through the blog when you get the posts just CLICK on the small titles at the top of the page. The right one for the next post or the title on the left side for the previous session. And if you enjoy my blog please CLICK the FaceBook LIKE Button. As Jack would say, “Much Obliged!”
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Here’s the sketch and the painted version of my Provence Villa. It’s amazing how such a simple sketch is overflowing with warm memories of that wonderful day in Southern France with Jack and Pixie! You may click on this, or any of the other images to see them larger.
VIDEO DEMONSTRATION: Blocking in the Sunflowers
VIDEO DEMONSTRATION: Painting the Leaves
VIDEO DEMONSTRATION: Adding the Centers
The bright blossoms of the Poppies are blocked in with mixes of Cadmium Red Deep + Alizarin Crimson, Cadmium Red Deep and Cadmium Red Light. Using the flat edge of the Bright (Square) Brush I carefully “Lay” the reds on top of the underlying greens of the leaves so I won’t dirty the flower color. If you’d like to know more about the brushes I useCLICK HERE.
The foliage of the Poppies is painted with combinations of Pthalo Blue + Cadmium Orange + White. Then MUD (2 parts Ultramarine Blue + 1 part Alizarin Crimson) + Liquin is used to make the dark centers in the flowers.
The long graceful stems of the Poppies are drawn with my fine liner brush.
The White Daisies are first blocked in with White + Dioxazine Purple, White + Ultramarine Blue and White + Pthalo Blue. Sunlight illuminates the flowers dancing above the leaves on the right side of the clump, the petals on those Daisies are highlighted with Pure White.
Some of the Reds, Oranges and Yellows leftover from the Poppies and Sunflowers are used for the centers of the Daisies.
In the depths of the Sunflower leaves, next to the Red Poppies, I’ve added a couple of Hearts as a surprise. These are for Waltraud and her husband, who is now in Heaven!
Sunflowers’ Song
AND we’re done! I’m ready to go sit on the balcony of the villa and listen to the soft melody of the “Sunflowers’ Song” as their cheery heads dance in the gentle sea breeze! I appreciate you following along; thank you for all of your kind and encouraging comments. With Colorful Smiles,
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The awing, shading the balcony, casts a shadow across the round tower.
VIDEO DEMONSTRATION: Painting the Palms
It seems only appropriate that we have a French Door opening to the balcony! It’s made of Cobalt Blue + White. You may click on the image to view an enlargement of this, as well as the other pictures.
The entire surface of the awning is covered in white to begin, establishing the light and shadow pattern. Then stripes are carefully drawn into the wet paint with a mixture of Magenta + Liquin.
A lighter shade of Cobalt Blue + White is used for the portion of the shutters illuminated by the bright sunshine.
WHEW! Still more to go on the villa, we’ll continue in our next session. Hope you’ll come watch. I’ll have more VIDEOS! Hugs,
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Painting begins with the sky. My color mixtures are shown above. #1. White + Cobalt Blue, #2. White + Pthalo Blue, #3. White + Phtalo Blue + a tiny touch of Lemon Yellow.
Sunlight pours into the painting from the upper right so the far left portion of the sky is painted with the darkest mix, #3. Mixture #2 is used for the middle portion and #3 for the lightest area on the right that is washed by sunshine. You may click on this, or any of the other images to see enlargements.
The most distant mountain is made bluer with a mix of Ultramarine Blue + a little MUD (2 parts Ultramarine Blue + 1 part Alizarin Crimson) + White so it will recede. Coming forward the next range has more of the MUD in that same mixture. Also cooler combinations of MUD + a touch of Pthalo Blue + Cadmium Orange + White are used. The closest bluffs are painted with mixes in different proportions of MUD + Pthalo Blue + Cadmium Orange + White. These mixes have more Cadmium Orange so they are warmer, making them appear to come forward.
The part of the ocean farthest from the viewer is made with a mixture of Ultramarine Blue + MUD + White. The closest portion is Pthalo Blue + White which is more intense than the duller mix used in the background. This helps to give the feeling of depth in the painting. Intense, bright colors come forward; duller colors go back.
A shot of light splashes across the water in front of the mountains. It will be visible through the Poplar Trees at the back of the Lavender Field. This also will give depth to the painting.
Waves dance against the distant rocks at the base of the mountains. A mix of White + a bit of Ultramarine Blue is used to indicate the surf. I don’t use Pure White here because it would be too bright, making it jump forward. I’ll reserve Pure White for the Daisies in the foreground.
The Poplar Trees are combinations in different proportions of Pthalo Blue + Cadmium Yellow Medium + a small amount of Lemon Yellow.
VIDEO DEMONSTRATION: Painting the Lavender Fields
We’re done for this session! Thank you for all of your wonderful comments, your encouragement and support mean the world to me. With Colorful Hugs,
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I’m beginning a new commission today, a painting of Provence for a collector in Germany! Waltraud is an accomplished artist who is coming to visit her sister in the States. We’ve been corresponding for quite some time and she asked if I would do a painting for her of the piece shown above, “Sunflower Serenade”. She wants to carry the art back to Germany on the plane with her. Her sweet brother-in-law was so kind to research with the airline exactly how large we could make the painting. He discovered 16 inches by 20 inches was the biggest that would fit in their overhead compartments. So here goes…..
Looking at the original piece I remembered the sketch of a Villa in Provence I’d made while Jack and I were on a wonderful Mediterranean cruise in 2004. Pixie Glore, an artist Jack had been helping online, met us at the ship and drove us through the countryside of Southern France. Please remember, as you read through my blog, you may click on any of the images to view them larger.
Pixie took us to some very picturesque places including Cassis, a quaint fishing village nestled on the coast. I was happy as a clam, sketching fast and furiously as we drove. I must say, Jack and Pixie were super patient with me as I wanted to stop about every 5 seconds for photo ops! Fortunately, with all of us being artists it really wasn’t a problem.
Anyway, back to the villa. I thought it would work beautifully in Waltraud’s painting, all I had to do was put the image in photoshop and flip it!
The canvas is attached to cardboard which will make it easy to handle the wet art. To see how this is done, CLICK HERE. Pictures of the reference painting and flipped out villa are taped to my easel. I begin sketching the distant landscape with a brush dipped in a thin oil wash of MUD (2 parts Ultramarine Blue + 1 part Alizarin Crimson) + Liquin. Another change I’ve decided to make is to add the ocean in the distance. Seems very appropriate since this villa was very close to the coast and Cassis. Plus, I’m certain Waltraud will enjoy seeing the ocean during those LONG winter months in Germany.
VIDEO DEMONSTRATION: Sketching the Villa
Bracing my wrist against the mahl stick steadies my hand as I draw the stripes on the awnings!
Blue Shutters and Door are sketched in with a thin oil wash of Ultramarine Blue + Liquin. For this I place my left hand against the canvas, resting my right wrist on it for stability.
After the Villa is completed, Sunflowers, Poppies and White Daisies are roughly indicated and labeled in the foreground. We’ll start applying Opaque Oil Color in our next session. COME WATCH! If you would like to receive an email every time I publish a new post please feel free to 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.
Please keep in mind, to move through the blog when you get the posts just CLICK on the small titles at the top of the page. The right one for the next post or the title on the left side for the previous session. And if you enjoy my blog please CLICK the FaceBook LIKE Button. As Jack would say, “Much Obliged!”
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Next I’ll be working on the Nasturtiums draping down the rugged rock wall. Jack and I visited the Isabella Gardner Museum in Boston many, many years ago, probably about 1994! Anyway, we were overwhelmed by the Nasturtiums spilling from the balconies, sometimes for several stories. I’ve never forgotten them and decided this courtyard definitely needed the Isabella Gardner touch!
First the blossoms are blocked in with mixes of Cadmium Orange + Alizarin Crimson, Cadmium Red Light and Cadmium Orange.
Leaves are painted with combinations in different proportions of Pthalo Blue + Cadmium Yellow Medium.
Stems and long tendrils are drawn with the same fine liner brush used for the lines separating the tiles. To see this more clearly you may click on the image to enlarge it.
At this point I thought the painting was finished. However, studying the piece in my mirror I realized the ray of sunshine splashing across the top of the wall in the lower left is distracting. The light takes the viewer’s attention AWAY from the star of the show, the beautiful portal.
Elegant Retreat 48 inches by 38 inches
SO….it’s easy enough to repaint the tiles, putting them in shadow. NOW, the brilliant light in the background invites the viewer to walk up the graceful steps of this “ELEGANT RETREAT” to that gorgeous blue door! Thank you for following along and I really appreciate all of your wonderful comments. With Colorful Smiles,
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VIDEO DEMONSTRATION: Painting the Rugged Stone Wall
VIDEO DEMONSTRATION: Painting the Tiles on Top of the Wall
Our wall is complete. The rough, irregular rock topped by smooth, terra cotta tile makes a nice contrast and brings extra interest to the composition. You may click on this, or any of the other images to view them larger.
Now for the Canna Lilies. The foliage is blocked in FIRST with several mixtures of Pthalo Blue + Cadmium Yellow Medium + a bit of Lemon Yellow. White is added into the lightest mix for the highlights on the large, broad leaves.
I’m working totally opposite from my usual blocking in sequence of FLOWERS FIRST, LEAVES LAST! This is because the blossoms are not in masses; they dance at the end of the tall stalks. Combinations of Cadmium Red Light + Permanent Rose + White are used for the flowers. The thick stokes of paint are gently “Laid” on top of the greens. I’m very careful to wipe any of the underlying leaf color off my brush so I don’t dirty the beautiful Coral blossoms.
That’s all for now, we’ll be doing more planting in our next session. There will be a VIDEO showing how I paint the White Petunias nestled at the base of the Cannas! Come watch and see the finished painting!
Jack celebrates his 3rd birthday in Heaven today. Knowing he is happy, healthy and able to paint again brings a smile to my heart! Every time I enjoy a beautiful sunrise or sunset I believe God has given all the artists in Heaven huge brushes to paint the sky, so those of us below will be reminded of His Love. Can’t you just envision Jack up there with Monet, Turner, Van Gogh and Sargent, happily splashing brilliant colors across the heavens? Please say a little prayer Thanking God for letting all of us have the joy of knowing this wonderfully generous man! HAPPY BIRTHDAY JACK! We miss you and will see you again one day when our race here on earth is finished! With Big Hugs,
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Let’s plant some Hydrangeas in the square terra cotta containers below the Giant Birds. The large, fluffy blossoms are blocked in with mixtures of Ultramarine Blue + White, Dioxazine Purple + Ultramarine Blue + White and Dioxazine Purple + White.
The foliage is made of several mixes of Pthalo Blue + Cadmium Lemon + Cadmium Yellow Medium + White. The paint is worked around the masses of Blues and Purples, giving shape to the flowers.
The entire upper level of the courtyard is covered with combinations of MUD (2 parts Ultramarine Blue + 1 part Alizarin Crimson) + Cadmium Orange + White. I establish the light and shadow pattern as well as make the distant part of the floor ‘cooler’ by adding brushstrokes of Ultramarine Blue + White. The cool blue makes the back of the floor recede. Since the pavers are going to be in a curved pattern a line is drawn along the base of the wall, giving me a guide to follow. To see this better you may enlarge the image by clicking on the picture.
This is the complicated part, drawing those curved lines into the wet paint of the floor while keeping the perspective correct! A fine liner brush dipped in a thin mix of MUD + Liquin is used.
WHEW! Glad the curved lines are done. The horizontal lines are much easier to do!
The lower tier of stairs is painted following the same rule as the upper one. The Risers, or upright sides, are made darker than the flat surface on the top of the steps. This is because the sunlight hits the top of the steps more directly, even in the shadows.
The pavers at the bottom of the stairs are now completed. The pattern on this level is straight, MUCH EASIER to lay those tiles!
The curved wall embracing the Canna Lilies is painted with different shades of MUD + Cadmium Orange + a touch of Pthalo Blue + some Cadmium Yellow Medium + White. A little of the Ultramarine Blue + White mix remaining from the floor is used to add coolness in the wall. Especially in the area behind and between the leaves of the tall Cannas.
Done for today! Make sure to come back for our next session, I’ll have a video showing how I paint the stone wall in the lower left corner. I appreciate all of your kind comments. Have a great day and HAPPY PAINTING!
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ALL SENKARIK IMAGES ARE PROTECTED UNDER INTERNATIONAL COPYRIGHT LAW
Mikki Senkarik 