{"id":603,"date":"2026-09-30T00:00:00","date_gmt":"2026-09-29T12:00:00","guid":{"rendered":"https:\/\/mfrancismccarthy.art\/?p=603"},"modified":"2026-09-26T13:49:40","modified_gmt":"2026-09-26T01:49:40","slug":"sunset-serenade-5x10-live-painting-session","status":"publish","type":"post","link":"https:\/\/mfrancismccarthy.art\/?p=603","title":{"rendered":"Sunset Serenade 5&#215;10 \u2013 Live Painting Session!"},"content":{"rendered":"\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<div class=\"video-container\"><iframe loading=\"lazy\" title=\"Sunset Serenade 5x10 - LIVE Painting Session!\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/kH3mzy6TNkA?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<h4 class=\"wp-block-heading\">Transcript and Key Insights<\/h4>\n\n\n\n<p class=\"wp-block-paragraph\">We are beginning our session on <em>Sunset Serenade<\/em>, a 5&#215;10 piece. Before diving into the brushwork, I want to establish the foundation of what we are working with. You obviously seen the completed painting in the thumbnail, but right now, you are looking at my underpainting color. It is essentially burnt umber and Mars Black, juiced up with a giant helping of Rose Madder. If you do not own Rose Madder, Alizarin Crimson is very similar, though I prefer the Rose Madder because it is slightly less purple and gives me that dark, cool red tone.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">A crucial aspect of this process is understanding warm and cool pairings across the entire palette. You will see these dynamics at play in every color family we use today. We have warm and cool yellows, warm and cool reds, and even two different orange-brown tones. Blue is a bit of an exception for me; I typically only need one blue, though you can argue that Prussian Blue is cool. As we proceed, keep in mind that these relationships are not arbitrary, they are the structural bones of color harmony.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"508\" src=\"https:\/\/mfrancismccarthy.art\/wp-content\/uploads\/2026\/09\/Sunset-Serenade-5x10-1-1024x508.jpg\" alt=\"\" class=\"wp-image-607\" srcset=\"https:\/\/mfrancismccarthy.art\/wp-content\/uploads\/2026\/09\/Sunset-Serenade-5x10-1-1024x508.jpg 1024w, https:\/\/mfrancismccarthy.art\/wp-content\/uploads\/2026\/09\/Sunset-Serenade-5x10-1-300x149.jpg 300w, https:\/\/mfrancismccarthy.art\/wp-content\/uploads\/2026\/09\/Sunset-Serenade-5x10-1-767x381.jpg 767w, https:\/\/mfrancismccarthy.art\/wp-content\/uploads\/2026\/09\/Sunset-Serenade-5x10-1-1536x763.jpg 1536w, https:\/\/mfrancismccarthy.art\/wp-content\/uploads\/2026\/09\/Sunset-Serenade-5x10-1-2048x1017.jpg 2048w, https:\/\/mfrancismccarthy.art\/wp-content\/uploads\/2026\/09\/Sunset-Serenade-5x10-1-598x297.jpg 598w, https:\/\/mfrancismccarthy.art\/wp-content\/uploads\/2026\/09\/Sunset-Serenade-5x10-1-298x148.jpg 298w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Sunset Serenade 5&#215;10<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">I also want to touch on my setup before we start painting. I am using a lint-free cloth rather than paper towels for wiping down the board with linseed oil prior to starting the painting. This cloth lasts for quite a few paintings until the oil inside oxidizes and it becomes stiff, but until then, it creates far fewer &#8220;bobbles&#8221; or lint particles on the board surface than a paper towel does. We are using linseed oil today, which is less expensive than quick-dry mediums and perfect for this stage. This initial step gives us the true color of the board and sets the tone for everything that follows.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">The Philosophy of Repainting and Reference<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">I have painted this specific scene before, roughly four years ago, but I flipped the reference this time. One powerful technique you can employ with your references is simply flipping them; it changes the entire dynamic of the composition without changing the subject matter. However, there is a firm policy I recommend to all artists: if you are going to repaint a specific reference, do not look at the previous painting until after the new one is complete.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">You cannot walk in the same river twice, and by extension, you cannot paint the same painting twice. Even if you use the exact same board, pigments, and the same reference photo, the result will be different because <em>you<\/em> are different. You have evolved as an artist since that previous attempt. Trying to replicate your past work is a mind game that can mess with your confidence. It is not the point; the point is to create something new in this moment.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I am also addressing the composition slightly differently. In my reference, the clouds bunch up a little higher in the middle, which I do not love for this particular format. So, while I will use the grid and the tape measure to establish the horizon accurately, I am compositing elements lightly. I am making the scene a little less wide than it is in the photo, as this often serves painting purposes better than strict photographic accuracy. The goal is not to be exact, but to get key elements in the right spots so that the viewer\u2019s eye flows naturally through the piece.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Mixing the Sky: Awakening Colors and Managing Value<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Now we move into the color mixing session, starting with the sky. It is a lovely blue, but it needs work. My first job is always to &#8220;wake up&#8221; a color on the palette because you are rarely going to use the full intensity of a tube directly. I am starting with Prussian Blue. Almost every Prussian Blue I have tried has strong green tendencies, so we need to be careful how we handle it.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">To create our base blues, I introduce complementary colors immediately. You cannot just use pure colors for a sky; you must dirty them up slightly to make them sing. By adding a little bit of red to the blue, we achieve a medium and light blue that feels alive rather than flat. We want the colors to be vibrant but controlled, not screaming or too purple.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Next, we tackle the grays, which are often the most challenging part of a sunset sky. A common mistake artists make is mixing neutral gray (black and white) and applying it flatly, resulting in &#8220;ugly.&#8221; To avoid this, I am mixing a range of grays that have their own distinct personalities by using complementary coloration.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For my darkest gray, I started with a purple tone. Instead of just killing the purple with yellow to make it neutral, I introduced just enough complementary warmth to neutralize the <em>intensity<\/em> without killing the <em>life<\/em>. This creates a cool violet-gray that reads as distant. For warmer grays, I used Mars Yellow mixed with Perylene Green. Because both are intense, they cancel each other out into a gray that retains an earthy, purple-leaning undertone. The goal is to create grays that &#8220;hold hands&#8221; with the surrounding colors rather than standing apart as neutral patches. By varying these undertones, some cooler, some warmer, you add depth and dimensionality to the clouds without relying solely on value contrast.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">We also need to address the orangey tones in the clouds. I start with a bright red-orange and knock it back with white. However, this can become too colorful or too red. This is where Raw Umber becomes your best friend. Because Raw Umber is transparent, it is excellent for killing color and modifying hues without adding opacity. I use it to bring that intense orange down to a more natural, atmospheric tone. Finally, we mix the lightest tones by combining yellows with white, aiming for a hue that is almost pure but retains just enough warmth to connect back to the rest of the sky palette.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Strategy: Avoiding Procrastination and Preparing for Paint<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">A significant part of my process, and something I emphasize in my &#8220;Easel Talk&#8221; series, is making a good start by avoiding procrastination. A simple but effective strategy is to leave your premixed paints on your painting table, rather than putting them away or in the fridge. If they are sitting there, visible and ready, you are psychologically more likely to come back and finish the painting that same day because you do not want to waste the effort you just expended in mixing those colors.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In my case, I am leaving the palette out on the table today. It is a small victory against laziness, even for someone as motivated as me who gets twitchy if they go too long without painting. This setup ensures that when I return after lunch, the momentum is preserved. The paints are an invitation to continue the work. We have established our sky colors, from the deep Prussian blues to the warm, umber-modified oranges and the complex range of grays. Now, we simply need to apply them with intention.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Application: Brush Selection, Pigment Properties, and Initial Layers<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Back from lunch, I am ready to start painting. I have chosen filbert brushes in size four, which feels right for the texture and scale of this 5&#215;10 piece. Jumping up to a six would be too significant a change, and smaller sizes would constrain our expression. I also ensure I am well hydrated, tea is essential in my studio, and also that my workspace is organized.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">When choosing between regular Titanium White and Buff White, it comes down to the &#8220;baggage&#8221; each brings. Buff White has a yellow undertone, which can be useful when you want warmth without adding pure yellow paint. However, for the darker blues in the sky, I rely more on my mixed colors rather than diluting them with buff white too early. The reference shows these areas are quite dark, so I am careful not to lighten them prematurely.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As we begin applying the underpainting and initial color layers, it is important to understand how different pigments behave regarding opacity. For instance, Burnt Sienna in my semi-minimal palette often has very little &#8220;power&#8221; or body; it can feel weak when you try to lay down a solid shape against a lighter background. This is where mixing technique becomes vital for control.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I demonstrated earlier how Mars Yellow can work in conjunction with Black to create a version of an opaque Raw Umber or Burnt Sienna. By adding the black, you deepen the value and increase the body of the color, allowing it to hold its color better on the board. If you use only transparent colors for your darks, they can sometimes look muddy or &#8220;washed out&#8221; if not layered correctly. By understanding which pigments are naturally opaque (like Mars Yellow) and which are transparent (like Raw Umber), you can engineer mixes that give you the exact texture and coverage you need. This allows for sharper definitions in cloud forms while still maintaining the atmospheric softness of the sky<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This is where the &#8220;modulating&#8221; begins. It is not in my nature to leave any area a single, flat color. Even in the darkest shadows of the clouds, there is a shift in value and hue. I am constantly adjusting, adding a touch of this or that to ensure the transitions feel natural. By modulating these colors, shifting from transparent to opaque as needed, I ensure that the painting feels dynamic rather than static.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Finalizing the Sky and Reviewing the Work<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">As we move toward the end of this session, we are lightening the sky significantly. We often use burnt sienna for oranges, but as mentioned, it has very little opacity in its raw state. By combining Mars Yellow with some black with the base transparent colors, we create versions that behave differently on the board, allowing for more control over how the paint sits and blends.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The time to put color into the mid-tones is now. I am adding subtle shifts of warmth and coolness to ensure the sky feels vast and atmospheric. There is a lot of oil in these mixtures, which helps with blending but also means we have to be mindful of how much we add at one time. I check my work against the camera (or rather, look through it) and notice a few things that bother me initially, such as certain areas being slightly too dark or not having enough texture.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">However, after working on those spots, I realize they are actually fine. The blue in certain areas is exactly where I want it to be. I do not need the strokes to be too defined; the softness of the sunset requires a certain looseness. In the end, I look at the piece and think, &#8220;That is a nice painting.&#8221; It captures the essence of the sunset without needing to be a photographic copy. The colors are holding hands, the values are balanced, and the overall effect is serene yet exciting.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Conclusion: Consistency and Growth<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">This session reinforces a few key takeaways for any artist looking to improve their landscape or sky paintings. First, understand your palette\u2019s warm\/cool dynamics; they are not just decorative choices but structural elements. Second, do not be afraid to repaint references, but never compare yourself to your past work, grow into the new version of the painting that you can only create today. Third, use strategies like leaving your palette out to maintain momentum and avoid procrastination.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Finally, remember that modulating color is more important than applying flat blocks of hue. Whether you are mixing grays with complementary tints or using transparent colors like raw umber to kill down intense reds, the goal is always a harmonious interaction between all parts of the painting. The <em>Sunset Serenade<\/em> is not just about capturing light; it is about understanding how color behaves, how value shifts create depth, and how your personal artistic evolution influences every mark you make. Keep painting, keep mixing, and keep letting your work evolve as you do.<\/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=\"https:\/\/mfrancismccarthy.art\/\" target=\"_blank\" rel=\"noopener\">Mike&#8217;s New Site<\/a> | <a href=\"https:\/\/mfrancismccarthy.substack.com\/subscribe\" target=\"_blank\" rel=\"noopener\">Substack<\/a> | <a href=\"https:\/\/www.landscapepainter.co.nz\/\" target=\"_blank\" rel=\"noopener\">Painting Website<\/a> | <a href=\"https:\/\/www.landscapepainter.co.nz\/mailing-list\" target=\"_blank\" rel=\"noopener\">Mailing List<\/a> | <a href=\"https:\/\/www.landscapepainter.co.nz\/products\" target=\"_blank\" rel=\"noopener\">Store<\/a> | <a href=\"https:\/\/abyssm.bandcamp.com\/\" target=\"_blank\" rel=\"noopener\">My Music<\/a> | <a href=\"https:\/\/www.landscapepainter.co.nz\/donate\" target=\"_blank\" rel=\"noopener\">Support<\/a> | <a href=\"https:\/\/www.youtube.com\/channel\/UCS6NSbrJaICWu2Oztt_PXeA\/join\" target=\"_blank\" rel=\"noopener\">Members Area<\/a><\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong><em>M Francis McCarthy, Your Painter in Residence<\/em><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Transcript and Key Insights We are beginning our session on Sunset Serenade, a 5&#215;10 piece. Before diving into the brushwork, I want to establish the foundation of what we are working with. You obviously seen the completed painting in the thumbnail, but right&#46;&#46;&#46;<\/p>\n","protected":false},"author":1,"featured_media":604,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[6],"tags":[],"class_list":["post-603","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-painting"],"_links":{"self":[{"href":"https:\/\/mfrancismccarthy.art\/index.php?rest_route=\/wp\/v2\/posts\/603","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=603"}],"version-history":[{"count":2,"href":"https:\/\/mfrancismccarthy.art\/index.php?rest_route=\/wp\/v2\/posts\/603\/revisions"}],"predecessor-version":[{"id":608,"href":"https:\/\/mfrancismccarthy.art\/index.php?rest_route=\/wp\/v2\/posts\/603\/revisions\/608"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/mfrancismccarthy.art\/index.php?rest_route=\/wp\/v2\/media\/604"}],"wp:attachment":[{"href":"https:\/\/mfrancismccarthy.art\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=603"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/mfrancismccarthy.art\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=603"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/mfrancismccarthy.art\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=603"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}