Sea of Galilee

Since the sky is the source of light, it sets the tone for the entire painting. So we’ll begin painting there. Here are the recipes for the various color mixtures. #1 and #2: White + Cobalt Blue. #3: White + Pthalo Blue. #4: White + MUD (2 parts Ultramarine Blue + 1 part Alizarin Crimson). #5: White + MUD + Alizarin Crimson. #6: White + some of #5 + Cadmium Orange. #7: Mix #6 + White.

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Sunlight spills into the scene from the left, so the sky is lighter on that side. It becomes progressively darker as we move to the right. The numbers correspond to the mixtures used. The unpainted, white portions of the canvas in the sky determine the pattern of the clouds.

The shadows of the clouds are painted first with the darkest mix, #4. Then mixture #5 is used to lighten them on the left.

The lightest mixtures, #6 and #7, are used to make the warm, sunny accents on the lazy clouds.

Mount Arbel and the rest of the mountains are various combinations, in different proportions, of MUD + Pthalo Blue + Cadmium Orange + White and MUD + Ultramarine Blue + White.

The crook of the Shepherd’s staff extends above the top of the distant ridge. This technique of “Overlapping Elements”, helps to increase the feeling of depth in the painting.

Now, to the Sea of Galilee! To start, the water is blocked in with mixes of Ultramarine Blue + MUD + White (Darkest), Ultramarine Blue + MUD + Pthalo Blue + White, Ultramarine Blue + Phtalo Blue + White and Pthalo Blue + White (Lightest). The Darkest, more muted mix is used at the base of the mountains. Moving forward to the Lightest, most intense combination closest to the foreground. Then some of the mountain color is pulled into the water directly below the base to indicate its reflection.

A fine line of White + Ultramarine Blue is made along to edge of the water where the waves lap against the shoreline.

We’ll begin “Painting Forward” in our next session! Sure hope you’ll come join me in the studio and watch.

With Big, Appreciative Hugs,

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