{"id":615,"date":"2026-10-04T00:00:00","date_gmt":"2026-10-03T12:00:00","guid":{"rendered":"https:\/\/mfrancismccarthy.art\/?p=615"},"modified":"2026-10-03T11:36:55","modified_gmt":"2026-10-02T23:36:55","slug":"hole-in-the-rock-7x14-live-painting-session","status":"publish","type":"post","link":"https:\/\/mfrancismccarthy.art\/?p=615","title":{"rendered":"Hole in the Rock 7\u00d714 \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=\"The Making of Hole in the Rock 7x14 - Live!\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/qJwqTSERgts?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<h2 class=\"wp-block-heading\">Transcript and Key Insights<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Good morning, evening, or afternoon. It is your painter in residence, Michael Francis McCarthy, and we are going to make a painting today, actually, over the next few days. This is a commission for a good friend of mine, an early supporter who bought some of my first paintings ever before I changed my approach to Tonalist. She often says she knows I will never paint like that again, but I have discovered since then that you can never paint exactly like you painted before. While we can tell it is the same person\u2019s work, the evolution in style and technique means every piece carries a new quality.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"509\" src=\"https:\/\/mfrancismccarthy.art\/wp-content\/uploads\/2026\/10\/Hole-in-the-Rock-7x14-1-1024x509.jpg\" alt=\"\" class=\"wp-image-621\" srcset=\"https:\/\/mfrancismccarthy.art\/wp-content\/uploads\/2026\/10\/Hole-in-the-Rock-7x14-1-1024x509.jpg 1024w, https:\/\/mfrancismccarthy.art\/wp-content\/uploads\/2026\/10\/Hole-in-the-Rock-7x14-1-300x149-1.jpg 300w, https:\/\/mfrancismccarthy.art\/wp-content\/uploads\/2026\/10\/Hole-in-the-Rock-7x14-1-766x381.jpg 766w, https:\/\/mfrancismccarthy.art\/wp-content\/uploads\/2026\/10\/Hole-in-the-Rock-7x14-1-1536x764.jpg 1536w, https:\/\/mfrancismccarthy.art\/wp-content\/uploads\/2026\/10\/Hole-in-the-Rock-7x14-1-2048x1018.jpg 2048w, https:\/\/mfrancismccarthy.art\/wp-content\/uploads\/2026\/10\/Hole-in-the-Rock-7x14-1-599x298.jpg 599w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Hole in the Rock 7\u00d714<\/figcaption><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\">Preparing the Reference and Grid<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">To start, we need to prepare our workspace and reference material. I am using a small stubby brush for today\u2019s initial work, though we will likely just be getting the drawing done. A key teaching moment here is the importance of optimizing your reference before you begin painting. In my case, I make adjustments at home before moving to the studio, but for many artists working in a single space, it is crucial to ensure the reference image is ready to go.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I spent time adjusting the digital reference photo to decrease the shadows and blacks. Initially, I tried global adjustments, but they did not yield the dramatic effect I wanted. Instead, I used the dodge tool set to &#8220;shadows&#8221; on a duplicate layer to selectively lighten specific areas. This allows for much more control than trying to shift the entire image\u2019s tone globally. If you are working digitally or with printed references, take the time to tweak these elements so that your eyes can pick out the necessary depth without straining during the painting process. It is better to spend ten minutes optimizing now than to struggle with a flat reference later.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">The M. Francis Grid: No Math Required<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Now we move to the grid setup. This piece is 7 by 14 inches, which presents unique challenges in video formatting compared to a vertical painting like a 6 by 8, where comprehensive teaching might be easier due to the proportions. However, we will make the best of it. I am using what I call the &#8220;M. Francis Grid,&#8221; essentially a no-math grid system often utilized in programs like Photopea or Photoshop.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The process is simple: use the Shape tool (not guidelines, not grids, but paths) and set your ruler to percentages. You mark 25%, 50%, and 75%. This eliminates the need for complex calculations on the canvas. For this specific painting, I am using an &#8220;extended&#8221; version of this grid because I need a little more guidance and information. The horizon line falls nicely near one of these grid lines, which is always a good omen.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I have learned that spending too much time in &#8220;excessive detail mode&#8221; during the drawing phase can be detrimental. In previous paintings of this subject, I clicked into a hyper-detailed mindset that slowed me down unnecessarily. For this piece, I want to avoid that. The goal is to get the basic masses down quickly so we can preserve that initial impulse of painting.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Masses vs. Lines: The Silhouette Approach<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">When drawing, I am not thinking in lines; I am thinking in silhouettes and masses. A lot of people assume I am a &#8220;line guy&#8221; because of my background, but in practice, those intitial marks are really just defining the edges of large shapes. For example, looking at the big rock in the scene, one side has sporadic greenery while the other is more defined. We use these distinct masses to establish the form without getting bogged down in every single crack or crevasse.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">It does not need to be 100% accurate. Artists are not machines or photo devices; we are people interpreting a scene. The drawing serves as a foundation for my idea of the scene rather than a literal copy. By keeping the drawing loose but structurally sound, I ensure that when I start applying paint, I am capturing the energy of the first strokes rather than correcting errors from an overly precise sketch.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Color Mixing: The Sky Palette<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">With the drawing established, it is time for color mixing. I am debating whether to mix and paint the sky first or the land colors first, but given that this is a commission and I want to maintain momentum, I will focus on the sky. The great truth of painting is that those initial first strokes are often the best ones. They carry a freshness and spontaneity that can be lost if you overthink or wait too long.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">We need a lot of blue for this scene. I have to mix two primary blues: a very dark ocean blue and a lighter sky blue. When mixing, it is essential to be aware of the undertones. For instance, when lightening a blue with white, you might find yourself drifting into purple territory if there is too much red in the mix. To counteract unwanted greenness or excessive purpleness, I use specific mixing reds and yellows strategically.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I prefer using Titanium White for the top of the sky to avoid a yellow cast, which can sometimes creep in with other whites like Titanium Buff. However, when mixing lower sky tones that require a bit more warmth, I will introduce Yellow Ochre. You will notice a subtle green quality appears, which is fine in many contexts, but one of our big jobs as painters is to neutralize things that are too green. By adding small amounts of our mixing red other warm earths, we can balance these tones to create a sky that feels airy and inviting rather than harsh.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Painting the Sky: Brush Selection and Technique<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Back from lunch, I am ready to start painting the sky. Brush selection is critical here. I initially considered a smaller brush, but for large areas of sky, I need something looser. A filbert or flat brush with a beveled edge works well because it allows for broad, sweeping strokes that maintain texture without becoming too rigid.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I am making sure my reference is on screen but kept small so that I do not get lost in details. The goal is to capture the general mass of color and light. As I apply the dark blue at the top, I am watching how it interacts with the lighter tones below. It feels warm on the palette, but once it hits the board, the color perception shifts.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">A tip for those considering taking commissions: do not paint something unless you genuinely want to create it. If you are starting out, you may not be 100% sure of your preferences yet, so take a crack at it, but be cautious. Do not take any money until the painting is done. This protects both the artist and the client from potential misunderstandings or dissatisfaction with the final result. It keeps the focus on the creative process rather than financial pressure.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Refining the Sky Tones<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">As I work through the sky, I am adjusting the grays and neutrals near the horizon. I prefer a more neutral tone here rather than having bright white coming all the way down. This creates a sense of atmospheric depth. The transition from the vibrant top to the softer bottom requires careful layering.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">There is always a struggle area where you might run out of paint or feel that an opacity level is lacking. In this case, I realized that one section needed to be lighter and brighter to match the reference. By mixing in a touch more white and adjusting the temperature, I was able to fix the issue without repainting the entire section. This iterative process is part of the joy of painting; it allows for refinement while keeping the overall composition intact.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Landforms: Darks and Grays<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">The next morning begins with a fresh perspective on the sky, which looks good in the morning light. Today\u2019s focus shifts to the landforms. I am starting with the darks, building up the structure of the rock formations. I have picked out some new brushes, but I find that older, well-worn brushes often provide better control than brand-new ones, which can be too floppy.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">One key lesson here is brush maintenance and dedication. It is important to keep your &#8220;dark&#8221; brushes dedicated to darks. If you contaminate a dark brush with lighter colors, it becomes difficult to achieve the rich, deep tones required for shadows later in the process. I am using a specific mix of dark greens, black and browns, ensuring that there is enough warmth coming through the shadows so they do not look dead or flat.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I am working from the darks outward, establishing the core shapes before moving into the grays and mid-tones. This approach allows me to maintain contrast and definition. The reference shows a lot of creamy highlights in the light areas, which I will address later, but for now, it is about anchoring the scene with weight and substance.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Greens and Texture: An Impressionist Approach<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Now we move into the greens. My approach here is impressionistic; I am not working on every little detail individually. Instead, I am daubing to create an overall texture that suggests foliage and mass without depicting each shrub. This method saves time and keeps the painting from becoming cluttered or overly realistic in a way that loses its artistic appeal.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I use a mix of Perylene Green and other greens, adjusting them with yellow ochre or mars yellow to get the right hue. The goal is to create a spread of tones that reads as &#8220;green&#8221; from a distance while allowing for variation up close. I am also careful not to make the greens too bright; this scene requires more muted, naturalistic tones to match the rocky environment.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This stage involves balancing precision with looseness. By stepping back frequently and looking at the painting in its entirety rather than zooming in on tiny sections, I can ensure that the masses of color work together harmoniously. The texture created by the daubing technique adds a tactile quality to the piece, enhancing the visual interest without demanding excessive detail from the viewer\u2019s eye.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Final Day: Mixing for the Water<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">We are on the final day of this session. Everything else is done, and we are focusing on the water. I have reviewed the painting footage last night at home and am quite happy with its progress, so today is about finishing touches. This is a second color mixing session, specifically tailored to the needs of the ocean and waves.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">We need lots of blue again, but this time the mix is different. Prussian Blue dries quickly on the palette, so we must be mindful of how much we lay out. I am mixing several variations: a dark blue for shadows, a medium blue for the main body of water, and lighter blues for reflections. I also include some gray in the mix. While you might only see white, dark blue, medium blue, and light blue in the reference, adding gray helps unify the whole composition and prevents the colors from getting too samey.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The wave color is particularly important. It must not be lighter than the sky, as that would break the atmospheric illusion. I aim for a neutral tone that sits comfortably between the deep blues of the water and the whites of the foam. This requires careful balancing of black, white and ochre to achieve the right value without introducing unwanted warm or cool shifts.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Painting the Ocean: Waves and Reflections<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">With the colors mixed, I begin painting the ocean. I start with the horizon, using a middly blue to establish the base line where the water meets the sky. From there, I move into the darks, ensuring that the deep shadows in the waves are placed correctly before adding lighter elements.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I use a Filbert brush for the waves, as it can create nice rounded shapes that mimic the movement of water. One challenge is avoiding &#8220;busy&#8221; details. It is easy to overdo the waves, making them look chaotic rather than dynamic. By keeping the strokes loose and stepping back often, I can quiet down any areas that feel too noisy.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The white foam in the waves needs quite a lot of oil in the medium to maintain its brightness and opacity over the wet paint below. If it is not light enough or opaque enough, it will lose its impact against the darker blues. I am careful not to repaint large chunks unnecessarily; instead, I make targeted adjustments to brighten specific areas. This preserves the initial energy of the painting while refining the details.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Conclusion: The Final Touches<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">As we wrap up this live painting session, I am stepping back to assess the final piece. The &#8220;Hole in the Rock&#8221; scene has taken shape through a combination of careful planning, strategic grid usage, and intuitive color mixing. From the initial drawing phase where we focused on masses rather than lines, to the sky\u2019s atmospheric gradients and the textured greens of the landforms, each step built upon the last.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The final day brought the water to life, completing the narrative of the landscape. This painting serves as a reminder that technical skill is important, but so is maintaining the spirit of the initial impulse.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Whether you are working on a commission or a personal piece, keeping your reference optimized, your brushes clean and responsive, and your mind open to impressionistic techniques can lead to a result that feels both authentic and alive.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Thank you for joining me in this process. I hope these insights into my workflow, from the no-math grid to the specific color mixes, provide some value as you continue on your own artistic journey. See you in the next session.<\/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\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Transcript and Key Insights Good morning, evening, or afternoon. It is your painter in residence, Michael Francis McCarthy, and we are going to make a painting today, actually, over the next few days. This is a commission for a good friend of mine,&#46;&#46;&#46;<\/p>\n","protected":false},"author":1,"featured_media":616,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[6],"tags":[],"class_list":["post-615","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-painting","rsfv-has-video"],"_links":{"self":[{"href":"https:\/\/mfrancismccarthy.art\/index.php?rest_route=\/wp\/v2\/posts\/615","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=615"}],"version-history":[{"count":2,"href":"https:\/\/mfrancismccarthy.art\/index.php?rest_route=\/wp\/v2\/posts\/615\/revisions"}],"predecessor-version":[{"id":622,"href":"https:\/\/mfrancismccarthy.art\/index.php?rest_route=\/wp\/v2\/posts\/615\/revisions\/622"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/mfrancismccarthy.art\/index.php?rest_route=\/wp\/v2\/media\/616"}],"wp:attachment":[{"href":"https:\/\/mfrancismccarthy.art\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=615"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/mfrancismccarthy.art\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=615"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/mfrancismccarthy.art\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=615"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}