{"id":433,"date":"2026-08-07T08:55:00","date_gmt":"2026-08-07T08:55:00","guid":{"rendered":"https:\/\/mfrancismccarthy.art\/?p=433"},"modified":"2026-08-07T08:55:00","modified_gmt":"2026-08-07T08:55:00","slug":"the-landscape-painters-guide-to-mastering-greens-in-landscape-art-easel-talk-54","status":"publish","type":"post","link":"https:\/\/mfrancismccarthy.art\/?p=433","title":{"rendered":"The Landscape Painter&#8217;s Guide to Mastering Greens in Landscape Art \u2013 Easel Talk #54"},"content":{"rendered":"\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<div class=\"video-container\"><iframe loading=\"lazy\" title=\"The Landscape Painter&amp;apos;s Guide to Mastering Greens in Landscape Art - Easel Talk #54\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/si8AEO-2zuc?feature=oembed&#038;wmode=opaque\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<\/div><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\">Transcript and Key Insights<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">A primary challenge in creating an attractive landscape painting lies in the proper handling of the myriad greens present in the natural world. For many beginning painters, this represents a significant hurdle; nearly two-thirds of the colors perceived in a typical landscape are variations of green. The human eye possesses an incredible ability to perceive striations and ranges of hues within this single category, spanning from reddish-purple tones up through yellow, electric, and poisonous greens. All of these variations exist simultaneously in the landscape.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">To master greens, one must move beyond simple copying of photographs or instinctive application of tube colors. This guide outlines a comprehensive strategy for approaching greens with confidence, utilizing specific mixing techniques, color theory principles, and structural workflows.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Reference Photography: Why Your Eyes Win<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">When working from photographic references, particularly in plein air painting, a distinct advantage exists over photographic reproduction. While cameras capture images well, they possess a severe limitation regarding green hues compared to human perception. Photographs tend to record a far more limited range of greens than the eye can discern. A standard landscape photograph might present only five or six distinct shades of green, whereas the natural scene contains hundreds.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Relying solely on a photograph is dangerous; it restricts the artist&#8217;s palette to a narrow band of hues that fails to represent reality. The photograph&#8217;s limitation must be compensated for by the artist&#8217;s expanded perception. When struggling with color identification we must actively utilize imagination to &#8220;explode&#8221; the limited range seen in the photo back into the full spectrum experienced by the eye.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The strategy is clear: do not copy the photograph exactly. Use it only as a starting point or inspiration. BTW your biological ability to perceive color can expand over time, allowing you to see and render even more color nuances that a camera misses. The goal is to bridge the gap between the limited photographic record and the rich reality of the landscape.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">The Foundation Strategy: Mixing &#8220;Mike&#8217;s Green&#8221;<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">The cornerstone of managing greens effectively is establishing a custom base mixture on your palette rather than relying on single-pigment tube colors. Most standard greens sold in tubes, sap green, phthalo green, Windsor green, or Viridian, are insufficient for naturalistic landscapes; they often possess an inherent artificiality that does not convey the complexity of nature.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">The Recipe for &#8220;Mike&#8217;s Green&#8221;<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">This custom base color is extremely flexible and yields a natural-looking green straight from the mix. It serves as the foundational hue from which all other green variations are created.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Ingredients:<\/strong><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li><strong>Cadmium Yellow Hue (PY 73)<\/strong> aka <strong>Acryl<\/strong><strong>ide<\/strong><strong> Yellow <\/strong>or<strong> (Hansa Yellow <\/strong><strong>PY74<\/strong><strong>)<\/strong>: These provide the necessary base yellow undertone.<\/li>\n\n\n\n<li><strong>Ivory Black<\/strong>: This provides depth and rich color without introducing a blue bias.<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Method:<\/strong>&nbsp;Mix the Cadmium Hue\/Acrylide Yellow with the Ivory Black, aiming for a ratio that sits right up the middle, neither too dark nor too light. The result is &#8220;Mike&#8217;s Green,&#8221; a versatile base found consistently on my palette.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Modulating &#8220;Mike&#8217;s Green&#8221;:<\/strong>&nbsp;Because this base is so neutral and balanced, it can be tinted easily to achieve specific effects:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li><strong>Lighter <\/strong><strong>Tones:<\/strong> Add a small amount of Cadmium Yellow to push the hue toward the yellow-green spectrum.<\/li>\n\n\n\n<li><strong>Warmer Tones:<\/strong> Introduce Cadmium Orange or Burnt Sienna to create earthier, more organic greens.<\/li>\n\n\n\n<li><strong>Chalkiness:<\/strong> For areas requiring a chalky, dusty quality common in landscapes, add Yellow Ochre.<\/li>\n<\/ul>\n\n\n\n<h3 class=\"wp-block-heading\">Permanent Green Light: The &#8220;Green Maker&#8221;<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">A second essential green is Permanent Green Light. While it appears intense, almost like poison, it is actually a mixture of the Hansa Yellow tone with Phthalo Green, giving it extreme vibrancy. This specific hue I often refer to as the &#8220;Green Maker.&#8221;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Usage Strategy:<\/strong>&nbsp;Permanent Green Light can generally be reserved for grassy areas to distinguish them from tree foliage. It creates that fresh look characteristic of new grass growth. While similar results can be achieved by mixing Phthalo and Cadmium Yellow, PGL offers a unique advantage on your palette; it does not dry overly quickly, allowing the painter to pull exciting, vibrant greens into the mix when needed.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">An Alternative Approach: Raw Umber<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Another method for generating nice green tones involves using Raw Umber mixed with a yellow. This approach yields many different shades of green for specific landscape areas that it becomes a vital tool in the artist&#8217;s kit.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">The Blue-Yellow Fallacy<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">A critical rule to adhere to: almost never make green by simply mixing yellow and blue directly. While common in limited palette scenarios, this approach is avoided by me because the custom &#8220;Mike&#8217;s Green&#8221; base creates a far more natural result than mixing from pure blue. Direct yellow-blue mixes often lack a necessary earthiness and can appear flat or artificial.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">The Second Green Mastery Secret: Red is Your Best Friend<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">After establishing a base green, the second most critical element in achieving natural greens is the use of reds. Strong reds, earthy reds, and subtle reds are essential; pinkish reds are best reserved for flowers or skies.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Reds are the complementary color to green. When mixed with green, they produce brownish tones. The strategic application of red allows for immense modification of greens in the landscape. A specific color known as &#8220;Winton Cad Red Hue&#8221; serves this purpose exceptionally well.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Advantages of Cadmium Red Hue:<\/strong><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li><strong>Purity:<\/strong> It is more pure than alternatives like Burnt Sienna.<\/li>\n\n\n\n<li><strong>Undertone Control:<\/strong> Unlike Burnt Sienna, which has its own distinct undertones that can muddy the green in unpredictable ways, Cadmium Red Hue often offers a cleaner modification.<\/li>\n\n\n\n<li><strong>Range Extension:<\/strong> It extends the range of nice greens while maintaining cleanliness in the mixture.<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Application Techniques:<\/strong><\/p>\n\n\n\n<ol class=\"wp-block-list\">\n<li><strong>Direct Mixing:<\/strong> Mix red into your base green mixture to adjust the color temperature or create specific tones.<\/li>\n\n\n\n<li><strong>Alternating Tones:<\/strong> When pre-mixing, create a &#8220;greenish&#8221; tone and then a separate &#8220;reddish-green&#8221; tone with similar values. Alternating these in the painting prevents monotony and encourages visual interest, reminding the artist not to apply flat fields of green.<\/li>\n<\/ol>\n\n\n\n<h3 class=\"wp-block-heading\">The Underpainting Strategy<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Reds also enter the equation through the underpainting process. Starting with a deep, earth-rich soil tone, perhaps tinted slightly ochre, allows for a beautiful contrast against the greens in your painting.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Historically, artists like Birge Harrison advocated for a bright, intense red foundation as part of Tonalism. While my approach favors a subtler, more subdued underpainting tone, both methods work provided the initial layer is distinctly reddish. This underlying warmth supports the overlying greens via complementary color theory, ensuring that even if the top layers appear green, they possess an internal richness derived from the red base.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Mike&#8217;s Gray: Working with Neutrals and Blacks<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">To modify greens in a cool way often in shadow areas a neutral gray is indispensable. &#8220;Mike&#8217;s Gray&#8221; consists of Titanium White mixed with Ivory Black.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Composition:<\/strong><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Aim for a 50\/60% split between the white and the black.<\/li>\n\n\n\n<li>Note: Some brands of titanium white contain zinc (e.g., Georgian, Winsor &amp; Newton). This is acceptable on boards but problematic on canvas, where it can cause cracking due to differential expansion rates and the brittle nature of zinc white.<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Usage:<\/strong>&nbsp;This gray mixture is essential for cooling down greens in shadow areas. By bringing in gray tones into the green mixtures, the color loses intensity while retaining value. For instance, small patches of green created with Mike&#8217;s Gray work exceptionally well in shadow areas, providing depth without introducing harsh blues or violets that might distort the form.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Another technique involves creating a nice green using Raw Umber and bringing in a touch of yellow. This offers yet another pathway to specific area requirements. Remember, however, that &#8220;brown&#8221; piles on the palette are frequently read as green by the viewer due to simultaneous contrast.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Avoiding the Poisonous Green Trap<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">A common pitfall for amateur painters is falling into the &#8220;poisonous green trap.&#8221; This occurs when artists grab Phthalo green, mix it with yellow, and sometimes Ultramarine Blue, then apply this mixture directly onto the canvas The result looks fake, sickly, and unnatural.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This error was made early in my career while painting in plein air during spring time. In an attempt to replicate a scene of fresh green life emerging from dormant trees, I mixed yellow with blue. The resulting work contained large expanses of &#8220;poison green&#8221; that looked ugly and artificial. This mistake serves as a cautionary tale: do not let this be your approach.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>The Solution:<\/strong><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li><strong>Change Things Up:<\/strong> Do not paint bright, sickly greens or big expanses or use them directly from the tube.<\/li>\n\n\n\n<li><strong>Ignore Literal Reference:<\/strong> Even if a reference shows a cool tree with green leaves and a lawn underneath, do not paint the lawn as a single field of green. Amateurs fail because they miss many greens as well as lacking the vocabulary to differentiate them in their work.<\/li>\n\n\n\n<li><strong>Mixing <\/strong><strong>a Base Green <\/strong><strong>is Key:<\/strong> The solution lies in mixing custom tones like &#8220;Mike&#8217;s Green&#8221; rather than relying on pre-mixed tube colors.<\/li>\n<\/ul>\n\n\n\n<h2 class=\"wp-block-heading\">Seasonal Variations in Greens<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Every element of the landscape is affected by seasonal conditions. Objects that are green can be strongly affected by spring versus fall.<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li><strong>Spring:<\/strong> Characterized by fresh, electric green life emerging from formerly dead-looking trees. While beautiful, this requires a judicious approach to avoid the &#8220;poison&#8221; look. Moderation is key; sometimes small bits of &#8220;poison&#8221; green can be used electrically to create excitement, but generally, naturalness must take precedence.<\/li>\n\n\n\n<li><strong>Cooling Agents:<\/strong> A base color like &#8220;Mike&#8217;s Green&#8221; (which is warm and earthy) often needs to be cooled down for specific atmospheric effects, a little Phthalo goes a long way. Alternatively, Perylene Black slash Green offers an interesting solution. Invented in the 20th century for typewriter ribbons, it acts as a greenish black that performs the darkening function of Phthalo without adding excessive chroma, solving the problem of unwanted intensity.<\/li>\n<\/ul>\n\n\n\n<h2 class=\"wp-block-heading\">Painting Grass: Breaking Up the Swath<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Grass is deceptively complex; it is not simply &#8220;green.&#8221; It comprises various stages of life and death:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Fresh and new grass (electric).<\/li>\n\n\n\n<li>Mature grass (darker, deeper).<\/li>\n\n\n\n<li>Dying or dead grass (tan or reddish).<\/li>\n\n\n\n<li>Weeds, often quite reddish, which group into specific areas.<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Strategy for Grass:<\/strong>&nbsp;If a reference depicts a big green lawn, do not paint it as one color. Inject areas of tan, brown, or red into the mix. Work other greens over the top, but avoid overworking the area. A practical method is to swipe in burnt sienna first in a few areas and then work greens over that foundation to create variety.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Differentiating Grass from Foliage:<\/strong>&nbsp;A crucial rule is to hold off on putting Permanent Green Light into tree foliage areas if there is actual grass present in the scene. Keep PGL in reserve for the ground plane.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Atmospheric Perspective and Distance<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Greens undergo a distinct transformation as they recede in space.<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li><strong>Cooling:<\/strong> Greens become cooler as distance increases. This is accomplished by adding &#8220;Mike&#8217;s Gray&#8221; to green mixtures for distant elements.<\/li>\n\n\n\n<li><strong>Saturation:<\/strong> As colors recede, saturation decreases. Frontal elements tend to have high color and saturation; distant elements should have reduced hue intensity.<\/li>\n\n\n\n<li><strong>Violet Interjection:<\/strong> One effective way to achieve this recession is to interject violet tones or taupe (brown with white) into green mixtures for distant areas. Violets are particularly handy for atmospheric perspective. However, caution is advised: too much violet can inadvertently create an impressionist feel if that style is not the goal.<\/li>\n\n\n\n<li><strong>Weather Effects:<\/strong> Overcast or rainy scenes render greens as cooler and more muted. Many greens painted for such conditions are essentially grays tinted greenish. Consider how weather affects perception; two-thirds of the colors seen in a stormy day might be interpreted as gray-green rather than vibrant hue.<\/li>\n<\/ul>\n\n\n\n<h2 class=\"wp-block-heading\">Dark to Light Progression<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">When painting trees and foliage, always work from dark to light. This approach is superior because it avoids the difficulty of putting dark paint over light white or light-colored paint.<\/p>\n\n\n\n<ol class=\"wp-block-list\">\n<li><strong>Dark Tones:<\/strong> Start with dark greens. These usually sit at the bottom of the tree where light hits from above, casting shadows. Modulate these darks with colors like rose Madder to add interest and variety, ensuring they do not read as black.<\/li>\n\n\n\n<li><strong>Middle Tones:<\/strong> Move into middle greens. These are often tints of the base green mixed with Burnt Sienna, or Cad Red Hue maintaining the earthy connection established earlier.<\/li>\n\n\n\n<li><strong>Highlights:<\/strong> Apply the lightest greens last. To avoid &#8220;Swiss cheese trees,&#8221; where holes are punched for sky. Paint in with the lightest green instead of have an excess of sky holes.<\/li>\n<\/ol>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Highlight Colors:<\/strong><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li><strong>Foreground\/Intense Highlights:<\/strong> Use Cadmium Orange (subdued) for most cases. For intense, striking differentiation, add a touch of Cadmium Yellow.<\/li>\n\n\n\n<li><strong>Background\/Middle Distance:<\/strong> Favor Yellow Ochre for highlights in these areas because it is more subdued and less saturated than the primary yellow mixes.<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Note:<\/strong> If a green challenging painting you\u2019ve done feels incorrect upon review, repaint it using these structural tips. Actually executing the process cements information into your brain far better than trying to remember abstract rules.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Regarding the use of pure white:<\/strong> remember that white is the ultimate color killer; everything tends to fade toward white as it recedes. Use white sparingly and only for distant tones where low saturation is desired.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Conclusion: Strategy Over Instinct<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">The mastery of greens in landscape painting requires a shift from instinct to strategy. One must constantly modulate, considering not just the greens themselves but all the colors around them. The world presents myriad greens ranging from saturated to dull, light to dark, and cool to warm. Any artist who becomes accomplished in landscape painting needs several robust strategies to portray these complexities.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>The Core Takeaways:<\/strong><\/p>\n\n\n\n<ol class=\"wp-block-list\">\n<li><strong>Avoid Tube Greens:<\/strong> Do not paint with greens directly from the tube. Always mix a custom base like &#8220;Mike&#8217;s Green.&#8221;<\/li>\n\n\n\n<li><strong>Embrace Red:<\/strong> Use red as your best friend to modify greens, create depth, and prevent monotony.<\/li>\n\n\n\n<li><strong>Differentiate Elements:<\/strong> Use Permanent Green Light specifically for grassy areas and other, earthier tones for tree foliage.<\/li>\n\n\n\n<li><strong>Respect Atmosphere:<\/strong> Cool down distant or overcast greens using grays, violets, or ochre to simulate atmospheric perspective.<\/li>\n\n\n\n<li><strong>Follow a Workflow:<\/strong> Work dark to light, bringing in other colors (like Rose Madder) to your darks for a natural feel.<\/li>\n<\/ol>\n\n\n\n<p class=\"wp-block-paragraph\">Greens constitute such a large portion of landscape painting that they demand significant attention. With the tools and techniques provided in this talk; custom mixing, complementary modification, structural underpainting, and atmospheric planning, you can gain a firm grip on this challenging aspect of painting. While there is certainly more to say given the sheer massiveness of green variations, these foundational strategies provide a strong framework for improvement.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Final Note on Light:<\/strong>&nbsp;Light possesses different qualities depending on geography. The Mediterranean light differs from California. However, claims regarding differences in light quality between the southern and northern hemispheres without direct visual verification are often overrated. The sun&#8217;s position and quality are universal enough that the core principles of green mixing remain applicable regardless of location.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">By adhering to these strategies, you will be well on your way to creating natural, vibrant landscape paintings that successfully avoid the amateur &#8220;poison green&#8221; trap.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Take good care of yourself. Stay out of trouble. And fight the power.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong><a href=\"http:\/\/mfrancismccarthy.art\/\" target=\"_blank\" rel=\"noreferrer noopener\">Mike&#8217;s New Site<\/a> | <a href=\"https:\/\/mfrancismccarthy.substack.com\/subscribe\" target=\"_blank\" rel=\"noreferrer noopener\">Substack<\/a> | <a href=\"https:\/\/www.landscapepainter.co.nz\/\" target=\"_blank\" rel=\"noreferrer noopener\">Painting Website<\/a> | <a href=\"https:\/\/www.landscapepainter.co.nz\/mailing-list\" target=\"_blank\" rel=\"noreferrer noopener\">Mailing List<\/a> | <a href=\"https:\/\/www.landscapepainter.co.nz\/products\" target=\"_blank\" rel=\"noreferrer noopener\">Store<\/a> | <a href=\"https:\/\/abyssm.bandcamp.com\/\" target=\"_blank\" rel=\"noreferrer noopener\">My Music<\/a> | <a href=\"https:\/\/www.landscapepainter.co.nz\/donate\" target=\"_blank\" rel=\"noreferrer noopener\">Support<\/a> | <a href=\"https:\/\/www.youtube.com\/channel\/UCS6NSbrJaICWu2Oztt_PXeA\/join\" target=\"_blank\" rel=\"noreferrer noopener\">Members Area<\/a><\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>M Francis McCarthy, Your Painter in Residence<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Transcript and Key Insights A primary challenge in creating an attractive landscape painting lies in the proper handling of the myriad greens present in the natural world. For many beginning painters, this represents a significant hurdle; nearly two-thirds of the colors perceived in&#46;&#46;&#46;<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[6],"tags":[],"class_list":["post-433","post","type-post","status-publish","format-standard","hentry","category-painting","rsfv-has-video"],"_links":{"self":[{"href":"https:\/\/mfrancismccarthy.art\/index.php?rest_route=\/wp\/v2\/posts\/433","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/mfrancismccarthy.art\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/mfrancismccarthy.art\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/mfrancismccarthy.art\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/mfrancismccarthy.art\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=433"}],"version-history":[{"count":3,"href":"https:\/\/mfrancismccarthy.art\/index.php?rest_route=\/wp\/v2\/posts\/433\/revisions"}],"predecessor-version":[{"id":444,"href":"https:\/\/mfrancismccarthy.art\/index.php?rest_route=\/wp\/v2\/posts\/433\/revisions\/444"}],"wp:attachment":[{"href":"https:\/\/mfrancismccarthy.art\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=433"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/mfrancismccarthy.art\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=433"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/mfrancismccarthy.art\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=433"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}