The Jewel

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.

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.

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.

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

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Rapid River

Another little rule comes into play when painting water: Muted colors go back, Intense colors come forward. The blue in the distant part of the river, Ultramarine Blue + White, is duller than that used for the foreground pool. There a mix of Pthalo Blue + a touch of Cadmium Orange + White, which is more intense, makes it come forward. Also the addition of the Cadmium Orange in the mixture makes it warmer.

After highlighting the distant rapids and waterfall I begin blocking in the rocks in the river. When painting waterfalls the top edge is the brightest, while the upright plane of the descending water is darker.

The reflections of the rocks are made by pulling the color of the boulders straight down into the wet paint of the pool in the foreground.

The cedar and sage brush at the base of the mountain are now painted.

Horizontal brush strokes are dragged across the reflections in the foreground pool to give the feeling of moving water. Remember, if you would like to enlarge any of the pictures just click on the image. Next we’ll start constructing the building. Hugs, Mikki Senkarik

Website: www.senkarik.com

Adobe Walls and Trumpet Vine

Work on the front of the canvas begins by blocking in the adobe building. My paint mixes of various combinations of Ultramarine Blue + Cadmium Orange + White are laid out on the palette. MUD (Ultramarine Blue + Alizarin Crimson) is added to make the darker shadow mixtures. To learn more about our Double Primary Palette Mixing System CLICK HERE.

The light areas of the wall are now painted. To enlarge any of these pictures just click on the image.

The large, brightly colored mass of the Trumpet Vine is blocked in with combinations of Cadmium Red Deep, Cadmium Red Light and Cadmium Orange.

The green leaves are worked in and around the Red-Orange flowers, helping to give them shape. I also paint the Vigas protruding out from the adobe wall. When they are finished I’ll let a few leaves and blossoms drape down over them.

Highlights are added to the blossoms, leaves and trucks, finishing out the Trumpet Vine. Thanks for following along today, hope you’ll come back soon. 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!