![]() ![]() I start blocking in the shadows of the waves and white water using a combinations of ultramarine blue, cobalt blue, quinacridone magenta and titanium white. ![]() I manipulate the paint to give the appearance of turbulent water and at this stage of the painting I am not at all concerned about detail, I just want a base to work from. I paint the translucent area of the wave by mixing titanium white with cobalt teal and phthalo green and then as I move towards the trough of the wave I start introducing ultramarine blue and cobalt blue into the mix and using less titanium white. Using a No.6 flat bristle brush I focus on the main focal point of the painting, the wave itself. I outline the highlights of the waves and foreground white water with pure titanium white from the tube and liquin, I’m not concerned that I’m using white at this stage as it will soon mix with the painting outline and the colours I am about to add to the painting.įor this stage of the painting I am using a No.6 flat bristle brush ![]() I have opted for a high horizon so I can emphasise the drama of the foreground and when painting landscapes or seascapes you should never have your horizon in the middle of the canvas as this forms a distraction in the composition. Next, I paint the horizon line of the sea using ultramarine blue, a little phthalo green, titanium white and burnt umber to desaturate the mix. I mix the sky colours with a combination of ultramarine blue, burnt umber, quinacridone magenta and titanium white and apply broad gestural brush strokes with a No.6 flat bristle brush. I have deliberately opted for a dark, moody sky to indicate stormy weather conditions, but the dark sky will also contrast nicely against the wave highlights which will emphasise it and add more drama to the painting. I start the painting by blocking in the sky. ![]() I sketched the scene using quinacridone magenta mixed with titanium white and I mixed it with Liquin Original which thins the paint and speeds up the drying. I started this painting by applying a layer of burnt sienna and letting it dry as this warms up the canvas as it comes through the paint layers, it also helps with colour and tone. I used the following brushes in this painting: I used the following colours in this painting: Your sketches don’t have to be perfect works of art, just enough information that you can use it to refer to when you are painting. I would thoroughly recommend you do some sketches before you get in to a painting, it’ll make it so much easier. SketchingĪfter I get my photo reference I sit down with my sketch book and draw some small thumbnails sketches which results in a final sketch which I refer to when painting my seascape. The rocks add rhythm to the painting and subtly lead the eye towards the breaking wave. In this painting the breaking wave is the focal point which is to the left of centre and I have opted for a high horizon line. Don’t overcomplicate your composition, sometimes you can have too much going on in a painting.Try and avoid repeating forms, objects, lines or vectors as this forms a displeasing static in the painting.Never have centre lines in the painting so in the case of a seascape either have a low or a high horizon line.Never have your focal point in the middle of the painting.Some general rules to follow in creating a composition are as follows: Darks are not quite dark and lights are not quite light. In general paintings where there is a sharp contrast between dark and light values will invoke a dramatic and agitated feeling in the viewer, whereas a softer graduation in tonal values will produce a more restful feeling.Ī quick rule to remember with tonality is that as you come forward in a painting darks get darker and lights get lighter, however distant objects will have a much smaller graduation between tone as the scale is much narrower. This contrast between light and dark values falls into the subject of tonality which is the relationship between lights and darks in a painting. This is because you have a sharp contrast between the face of the breaking wave that is in shadow and then the crest that is in full sunlight. Whilst you can paint the sea from any angle, in general I have found seascapes easier to paint when the light is coming from the sides or behind the water. The ocean has a heavy swell and wild breaking waves which are also backlit by the sun. We have some great elements in these photos to create an atmospheric seascape painting. ![]()
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