![]() For this I start with a mix of ultramarine blue, a very small amount of phthalo green and titanium white. The barrelling wave is thinner in this section which allows more sunlight to pass through it. ![]() I start painting the translucent ocean wave by working on the upper section of the wave first. It will also make it easier for me to get the values and colour saturation right. Once I have all my dark values / shadows established, it will make it much easier for me to paint the areas that are in full sunlight. I also mixed in a small amount of quinacridone crimson to give the shadow tones a violet tint. I used the same colours for the clouds, rocks and cliffs which included a mix of ultramarine blue, burnt sienna and titanium white to get the value that I wanted. The darkest values are found in the rock shadows in the foreground. In this seascape I started by painting the cloud shadows first, then I painted the shadows in the cliffs which are a much darker value. It also then makes it much easier when you come to add the areas in light as well as getting the saturation of your colour correct. Whenever I begin blocking in a painting I normally start by establishing my dark values and shadows first, that way I can quickly establish the tonal range in the painting. I am using the medium Liquin Original for this painting, which thins out the paint and speeds up the drying time. ![]() I sketch out my composition with a No.1 round brush and burnt sienna. This really helps with overall colour and tone of the painting. I am painting on a 8” x 10” linen panel which I’ve toned it with a layer of burnt sienna. No.6 flat (these are the brushes I use the most).Here is a list of the brushes I generally use for plein air painting: Quinacridone crimson (you can use alizarin crimson instead).Yellow oxide (you can use yellow ochre instead). ![]() The colours I used for this seascape painting are as follows: I am painting in oils but you can also use acrylics. The positioning and form of the cliffs and the mid ground rocks help lead the eye towards the breaking wave. I have loosely incorporated an ‘S’ composition into the design where the channel in the foreground leads the eye towards the breaking wave. The main area of interest in this seascape is the translucent breaking wave. ![]()
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