Posts Tagged ‘Painting Rules’

Immersed in Spring

July 28, 2013

OLYMPUS DIGITAL CAMERASG4913 Immersed in Spring step 1Beautiful Spring! The earth wakes up and flowers come alive. Our front patio overflows with Red Corn Poppies, Bluebonnets, Laura Bush Petunias, Mexican Bush Sage, Salvia Greggi and fragrant Mountain Laurel. A quick sketch is made to compose my idea. I decided to move some California Poppies from another area to the foreground of this piece. You may click on any of the images to view them larger.

SG4913 Immersed in Spring step 3

The basic plan is drawn up on the canvas in a thin oil wash. I extend the rock wall to fill the entire left corner because the adobe color will make a nice neutral backdrop for the brilliant chair and flowers. Then I begin painting the Mountain Laurel, Flowers First, Leaves Last.

SG4913 Immersed in Spring step 4

I’ve decided not to include the Red Salvia Greggi, instead filling the background with the purples of the Mountain Laurel and Mexican Bush Sage. These cool colors will drop back behind the chair and the warmer, more intense flowers in the foreground.

SG4913 Immersed in Spring step 5

The Petunias are blocked in with mixes of Magenta + Permanent Rose + White and Permanent Rose + White. Working near the edges I continue the design onto the sides.

SG4913 Immersed in Spring step 6

The flowers of the Red Corn Poppies are added, then California Poppies bring a bright blast of warmth to the foreground.

SG4913 Immersed in Spring 14x14Immersed in Spring     14″ x 14″    Original Oil Painting

I love sitting in this little courtyard totally Immersed in Spring, enveloped by the fragrance of the Petunias and Mountain Laurels.

SG4913 Immersed in Spring 14x14 Sides 1SG4913 Immersed in Spring 14x14 Sides 2Immersed in Spring is another one of my paintings for our annual Collector Event at the Santa Fe Art Collector Gallery, 217 Galisteo Street. We’ll be there August 30 and 31. Hope you can come. If you would like to RSVP for the Collector Gala at 4PM on Saturday or want to receive a catalog of the show paintings just email us at Senkarik@senkarik.com. We’ll send the catalog out about a week before the show, I still have a lot of pieces to paint 🙂

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. And if you enjoy my blog please CLICK the FaceBook LIKE Button. As we say in Texas, “Much Obliged!

HUGS, Mikki Senkarik signature JPEG

Distant Village

June 29, 2013

SF3213 step 4

The sky is completed first, then I paint forward on the Azure Mediterranean Ocean. I follow a simple rule in painting the water: Muted Colors go back, Intense Colors come forward. To make the color of the water in the distance muted I use mixes of Ultramarine Blue + MUD (Ultramarine Blue + Alizarin Crimson) + White. In the middle distance a mix of Ultramarine Blue + Pthalo Blue + White is used. Closest to the front of the painting the water becomes more intense, or brighter, with mixtures of Pthalo Blue + White.

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The under wash of the vines is dry so I can paint around them without dirtying the color of the water. I let a ray of sunshine splash across the surface of the ocean, illuminating the hills and the tiny fishing village of Cassis in the distance. Remember, you can click on any of the pictures to see them larger 🙂

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The fields of vineyards in the background are painted with cool blue/greens. I let the light hit the most distant vines. After the solid mass of color is blocked in I draw the rows into the wet paint.

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The vines on the front hillside are painted with cooler greens in the far back, getting warmer as they come closer. I paint them loosely, allowing some of the under wash to show through. The warmest greens made of Ultramarine Blue + Cadmium Yellow Medium are reserved for the vines on the right since they are closest to the viewer. The grapes are also made cooler in the distance with mixes of Dioxazine Purple + Ultramarine Blue + White. The ones in the immediate foreground are pure Dioxazine Purple + White.

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Dangling bunches of grapes are added on the right and the posts supporting the vines are completed. Tomorrow we’ll plant the field of Red Poppies!

JW Taos 24-250 16x20

AND….Don’t forget. The auction for the hand embellished and signed Limited Original of Jack’s Oil Painting “Taos” ends tomorrow night (Sunday) at 8 PM Texas Time. That’s the Central Time Zone. CLICK HERE to go to the auction. Happy Bidding! Hugs, Mikki Senkarik

Gecko and Cobblestones

June 25, 2013

JW Taos 24-250 16x20

Before we begin painting I want to let you know about an EXCLUSIVE OPPORTUNITY to own a Jack White. On our eBay auction we are offering this Hand Embellished Limited Original on Canvas of Jack’s beautiful oil painting “Taos”. To view the image larger just click on  the picture. Hurry, the auction ends Sunday, June 30 and the bidding starts at only a penny. That’s right, 1 Cent! CLICK HERE to go to the auction.

JW Taos with reverse signature

The Limited Original is unframed with plenty of canvas for stretching. Not only is the piece titled and numbered with the edition at the top border, it bears Jack’s unique reverse signature. This was how he had to sign his trademark gold leaf “Echruseos” because they were done on the back of glass. The signature appeared in the correct direction on the front of the gold leaf. When the Limited Original is stretched in a traditional manner the labeling will be upright on the back of the piece. To go to the eBay auction for this piece CLICK HERE.

SF2813 Flooded With Light step 11

Now let’s get to work. I brace against a mahl stick hooked over the top of my easel to steady my hand as I paint the Gecko tile design.

SF2813 Flooded With Light step 12

The window in the foreground is a mix of Ultramarine Blue + a touch of Dioxazine Purple + White. The light will spill into the painting from behind the dark building on the left. Terra cotta containers are painted with mixes of MUD + Cadmium Orange + Cadmium Red Light + White.

SF2813 Flooded With Light step 13

For the floor I begin working on the upper level of the porch and paint forward. The upright planes of the steps are made darker, the top surfaces are lighter because the sun hits them more directly.

SF2813 Flooded With Light step 14

The sunlit portion of the cobblestones are made cooler toward the back and become warmer as we paint forward.

SF2813 Flooded With Light step 15

Next the shadow across the front is blocked in. Notice the back of the shadow area is cooler so it falls back. I lay the paint in with rough, textured strokes to give the impression of irregular cobbles.

SF2813 Flooded With Light step 16

The cracks and crevices between the cobblestones are loosely indicated with touches of MUD. I don’t want to outline each and every rock. I let my brush dance along the edges of the rough brushstrokes to give the impression of the cobbles. There is more detail in the foreground with less and less as the floor recedes.

SF2813 Flooded With Light step 17

Cobblestones….DONE. Hope you’ll come back for our next session. I’ll be planting. Why don’t you bring some gardening gloves and come help? Hugs, Mikki Senkarik

Website: www.senkarik.com

Tiling the Courtyard

June 17, 2013

SF2913 Step 17

The upper level of the courtyard is blocked in first. The back part is in shadow, I paint the tile nearest the wall cooler so it will recede. The sun streams across the front portion of the floor, the warmth makes it come forward. The basic tile mixtures are made from varying proportions of Cadmium Orange + MUD (Ultramarine Blue + Alizarin Crimson) + White. I use blues leftover from the water to add coolness into the floor.

SF2913 Step 18

The upright planes of the steps are made darker because they receive less light from above than the flat, top surfaces. The upper step is touched by the sun, the other two remain in shadow. Then the lower courtyard, completely in shadow, is painted with warmer mixes made by adding a little Cadmium Red Light to the paint used on the upper level. I make a few brushstrokes of Ultramarine Blue + White near the back of this level so it recedes.

SF2913 Step 19

Perspective lines are drawn into the wet paint of the floor. I do this freehand with a fine liner brush. Using the mahl stick would limit the movement of my hand, making it difficult to pull a straight line.

SF2913 Step 20

The next step is to delineate the horizontal lines separating the individual tiles.

SF2913 Step 21

The edges of the tiles are now highlighted and the floor is finished. Can’t you just feel the toasty heat of the sun warmed tiles under your bare feet? Tomorrow we’ll do some more planting, hope you’ll come give me a helping hand. Hugs, Mikki Senkarik

Website: www.senkarik.com

Ancient Stone

June 15, 2013

SF2913 Step 9

Here’s a closer view of my setup. The glass palette rests on a white board placed on top of a culinary cart with wheels. The two shelves give me plenty of room to organize my paint. You can see the basic colors lined up on the shelf directly below the mixing surface, handy to grab when I need more. The toilet tissue is used to wipe my brush. I do this every two or three strokes and immediately throw the paper away so my hands don’t get dirty. A clean brush makes for crisp colors on your canvas. The mixes for the stone walls are laid out on my palette.  #1. Ultramarine Blue + White. #2. Cadmium Orange + Ultramarine Blue + White. #3, #4, #5 and #7 are mixed from different proportions of Ultramarine Blue + Cadmium Orange + MUD + White. #6. MUD (Ultramarine Blue + Alizarin Crimson) + White. GO COWBOYS!

SF2913 Step 10

I love my easel, it allows me to lower and raise the painting so I don’t have to reach too high which would strain my shoulder. If you would like to know more about the easels we use CLICK HERE. The piece is put down to the lowest level to paint the top portion. Brushstrokes of the various dark mixtures of stone color are made randomly in the shadow area of the wall. Then I come back and loosely indicate the crevices of the ancient stonework.

SF2913 Step 11

I’m following another simple rule here: Cool Colors Go Back, Warm Colors Come Forward. The back edge of the receding plane of the archway is painted more blue, or cooler, than the front part so it will go back.

SF2913 Step 13

Now we’ll let a few rays of sun brighten up the wall over the door.

SF2913 Step 14

The shadow of the red door is painted with a mix of Magenta and Cadmium Red Deep. The portion glowing in the sun is pure Cadmium Red Light.

SF2913 Step 15

The building is constructed, now we can begin planting! The flowers of the Trumpet Vine are blocked in with Alizarin Crimson + White, Cadmium Red Light + Alizarin Crimson, Cadmium Orange + Alizarin Crimson and pure Cadmium Orange. The paint is all smooshed together, I want the area to be covered with a jumble of color.

SF2913 Step 16

The foliage is painted around the flower color, then I come back in and add the highlights on the blossoms touched by the sun. Can you see how the cool blues of the water in the distance fall in back of the warmth of the red door and Trumpet Vine in the foreground courtyard? That little rule about cool colors going back and warm ones coming forward does work to give the feeling of depth in a painting. That’s all for today. Hope you’ll come back and visit our studio tomorrow. Hugs, Mikki Senkarik

The Jewel

June 14, 2013

SF2913 Step 5

Since the sky is the source of light I begin painting there. Cobalt Blue + White is used for the upper portion of the sky which is darker. Near the horizon the sky becomes lighter and yellower, here I use a mix of Cobalt Blue + a tiny bit of Pthalo Blue + White. Clouds hover near the distant shoreline, the base color is Ultramarine Blue + Cadmium Orange + MUD + White. MUD is a deep purple made of equal parts of Ultramarine Blue and Alizarin Crimson. If you would like to learn more about our Double Primary Mixing System and why we came up with the name MUD CLICK HERE.

SF2913 Step 6

The finishing touch on the sky is to add the highlights on the fluffy summer clouds. By painting them wet into wet I can soften the edges, making them drop back. I follow a simple rule for painting the water, Muted Colors Recede, Intense Colors Advance. The most distant water is made duller with mixes of Ultramarine Blue + MUD + White. Coming forward I use Ultramarine Blue + White, then Ultramarine Blue + Pthalo Blue + White, shown above.

SF2913 Step 7

The water in the foreground is brighter, or more intense, than that in the background. It was made with a mix of Pthalo Blue + a tiny bit of Lemon Yellow + White. I let the sunshine illuminate the distant point, the foreground bluffs will be in shadow so it will glow.

SF2913 Step 8

La Jolla means “The Jewel”, it’s one of Jack’s and my favorite places. Painting this wonderfully beautiful cove for our collector brings back many warm memories. Have a great evening. Hugs, Mikki Senkarik

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. And if you enjoy my blog please CLICK the FaceBook LIKE Button. As we say in Texas, “Much Obliged!

Let’s Start Painting

June 3, 2013

SE2513 Expression of Beauty Step 12

I begin with the roof. Several mixes of Ultramarine Blue + Cadmium Orange + White are used to block in the rough cedar shake shingles. A few randomly placed strokes of Ultramarine Blue + White give them a weathered look. As you’re reading through my blog please remember if you would like to enlarge any of the pictures just click on the image.

SE2513 Expression of Beauty Step 13

Dark lines separating the individual shakes are made of MUD (Ultramarine Blue + Alizarin Crimson) + Liquin. A lighter version of the shingle color is used for the highlight. Next the shadow on the adobe wall under the eaves is painted. After delineating its truck the Bougainvillea is blocked in with mixtures of various proportions of Magenta + White.

SE2513 Expression of Beauty Step 14

The foliage is painted in and around the Magenta, forming the bracts of the Bougainvillea. Following this sequence, Flowers First, Leaves Last helps to keep the blossom color crisp and clean. If the greens were done first, my brush would pick up some of it as the flowers were painted, making their bright color muddy.

SE2513 Expression of Beauty Step 15

The finishing step on the “Bougie” is to add highlights on the leaves and bracts glimmering in the sunshine.

SE2513 Expression of Beauty Step 16

The adobe wall is now covered with mixtures of Cadmium Orange + MUD + a touch of Pthalo Blue + White. More MUD is added into the mix to make the darker hues. If you would like a detailed explanation of our Double Primary Color Mixing System CLICK HERE. We enjoyed having you visit our studio today, hope you’ll come back soon. Hugs, Mikki Senkarik

River’s Radiance

May 29, 2013

First of all, Jack’s newest article has just been published at Fine Art Studio Online. CLICK HERE to read Smokejumpers.

SE2413 step 34

For the Daylilies I reverse my usual sequence of Flowers First, Leaves Last. It would be pretty difficult to paint the long, slender foliage around the blossoms so the leaves are blocked in first. Please remember, you can click on any of the pictures to see them larger.

SE2413 step 35

I gently “Lay” the thick brushstrokes of the orange blossoms on top of the leaves and adobe wall. I’m careful not to pick up any of the underlying paint on my brush so the flower color remains clean.

SE2413 step 36

Deep centers finish out the dancing Daylilies. I’ve signed the piece while the green of the leaves is still wet with the same fine liner brush used for the lines in the floor. It’s much easier to pull the thin strokes of my signature through the wet paint. If I waited until it was dry the bumpy texture would make it difficult to drag a smooth line.Senkarik-signature JPEGRed is used to sign my paintings because we use the same color for my Signature logo.

SE2413 step 37

Ultramarine Blue + White, Pthalo Blue + White and Dioxazine Purple + White are used to block in the Daisies. The multicolored mass provides the shadows for the White flowers.

SE2413 step 38

Greens made of various proportions of Ultramarine Blue + Cadmium Yellow Medium are worked around the flower color.

SE2413 River's Radiance 24x30River’s Radiance    24″ x 30″   Original Oil Painting

Bright White highlights on the petals touched by the sun give form to the rounded clumps of Daisies, the final touch is to add the cheery centers. River’s Radiance is done, ready to head for its new home. I’d like to thank all of you for your wonderful comments. Have a great day and hope you’ll come back to visit our studio soon. I’ll be starting on another commission next. Hugs, Mikki Senkarik

Let’s Start Planting

May 28, 2013

SE2413 step 26

The yellow-orange flowers of the Trumpet Vine cascading over the adobe wall are blocked in first. Mixes of Cadmium Orange + Alizarin Crimson, Cadmium Orange and Cadmium Orange + Cadmium Yellow Medium are used.

SE2413 step 27

The leaves are worked in and around the mass of yellow-orange to help shape the blossoms. I usually follow this sequence: Flowers First, Leaves Last. By painting the flowers first their color remains crisp and clean. If I did the leaves to begin with and then painted the blooms my brush would pick up some of the green, muddying the yellow-orange.

SE2413 step 28

The Hollyhocks are started with mixes of various proportions of Permanent Rose + White.

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After the leaves are painted I come back and add the highlights on the large Hollyhock blossoms.

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Dark centers, tall stems with seed pods and yellow stamens complete these stately residents of the southwest.

SE2413 step 31

The Chamisa peeking over the courtyard wall is now blocked in following the same sequence.

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The dark mass of the foliage is painted with mixtures of Pthalo Blue + Cadmium Orange + White. The tiny stems are drawn into the wet paint with a fine liner brush dipped in a lighter mix of the foliage color.

SE2413 step 33

We’re finished gardening for today. But don’t put your gloves up yet, we’ve got more planting to do tomorrow. Have a great day. Hugs, Mikki Senkarik

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. And if you enjoy my blog please CLICK the FaceBook LIKE Button. As we say in Texas, “Much Obliged!

Adobe Walls

May 26, 2013

2013-5-25 Don, Mikki, Jack and Pete

We had some visitors to our studio yesterday. Don, on the left, is an artist we’re helping and a good friend of Pete who is on the right. Pete, Wendi and their daughter Kai have several of my paintings. In fact when Kai got her first painting she was my youngest Team Senkarik member. Wish she and her mom could have come. What a fun afternoon and evening it was!

SE2413 step 17

But it’s back to work today…..Let’s do some construction on the adobe building. The light and shadow patterns are painted first. The inside plane of the wall forming the gate is darkest. I add some strokes of blue to the edge closest to the door, this makes the wall recede.

SE2413 step 19

The gate is painted with light and dark mixes of Pthalo Blue + White. After the gate is covered and the shadow of the chili ristra blocked in I come back to highlight the edges of the individual boards. I brace my arm against a mahl stick to steady my hand. What is a mahl stick? CLICK HERE to find out.

SE2413 step 20

An antique iron latch completes the gate. To enlarge the image just click on the picture.

SE2413 step 21

The upper level of the courtyard floor is blocked in first, followed by the steps. The top surface of each step is lighter because the sun hits it more directly than the upright plane, which is darker. This theory holds true for both the sunlit portion of the step and that in the shadow of the low wall lining the walkway.

SE2413 step 22

Next the shadow of the floor on the lower level is painted. Then a splash of sunlight is dragged across the surface of the wet paint.

SE2413 step 23

The perspective lines of the tiles are drawn freehand into the wet paint of the floor with a fine liner brush dipped into a mix of MUD (Ultramarine Blue + Alizarin Crimson) + Liquin.

SE2413 step 25

Horizontal lines separating the individual pavers are now added. The finishing step on the floor is to highlight the edges of the tiles touched by the ray of sunshine. This helps to give them dimension and increase the feeling of light pouring into the painting. Have a wonderful day and thank you for following my blog. Hugs, Mikki Senkarik

Website: www.senkarik.com