![]() Now that the painting is dry I can start the modelling stage where I am working on individual zones in the painting, preparing it for more details to be added later on. When I am happy with my colours and values and the overall tonal dynamic I leave the painting to dry so that I can begin adding the details. I can layer finer details on top later on. I also keep my brush work loose and expressive at this stage as it adds an aliveness and energy to the painting. The blocking-in stage serves as a base to work from. ![]() ![]() I mix a small amount of quinacridone magenta as well in places to give the rocks a violet tint. I mix ultramarine blue, burnt sienna and titanium white for the areas of the rocks that are in the light. The rocks are wet as a wave has just crashed over them and the colour is a low chroma (saturation). I finish up the block-in stage of the painting by adding more highlights to the sea and painting the areas of the rocks that are in the sunlight. The shadow ares of the water are a darker value than the areas in the full sun however these shadows are lighter than the rock shadows. The rocks are casting shadows in the foreground water so I mix a shadow tone of ultramarine blue, titanium white and a little burnt sienna. I’m using the same colours again for the water in the foreground but with more yellow oxide and titanium white. I create a transition zone between the translucent area of the wave and the lower section. I paint the lower section of the braking wave with the same colour mix I used in the ocean. I mix cobalt teal and titanium white for the translucent area in the upper section of the breaking wave. I then start painting the main body of the ocean using a mix of ultramarine blue, yellow oxide, a little cobalt teal and titanium white. I use my cloud highlight mix to roughly mark in the main highlights in the sea, waves and foam patterns. The burnt sienna warms up the clouds and makes it recede and sit back in the distance.įor the sky I create a light tone of ultramarine blue, cobalt teal and titanium white. I mark in the cloud highlights with a mix of titanium white and burnt sienna. The rock shadows are the darkest values in the painting and I mix the colour with burnt sienna and ultramarine blue which creates a near black. I also mix in a little quinacridone magenta to give the clouds a violet tint. I mix the colour for the clouds with burnt sienna, ultramarine blue and a lot of titanium white as these shadows are light in value. The clouds and rocks are more neutral greys. There are also shadows in the waves but I’ll be using more saturated colour for this. There are two main areas of shadows in this painting which includes the clouds and the rocks. Whenever I begin a painting I always start with my dark values and shadows first, that way I can quickly establish a tonal dynamic that I can work to. I am using Liquin as a medium to thin the paint, it also has the advantage of speeding up the drying time. I sketch out the composition using a No.1 round brush with burnt sienna mixed with Liquin Original (Liquin). The burnt sienna adds vibrancy to the painting. I am painting on a 10” x 12” linen panel that I toned with a layer of burnt sienna. The smaller rock on the left provides some balance to the composition. ![]() This composition follows and ‘S’ composition where the foreground water and foam patterns leads the eye towards the braking wave. The breaking wave is the main focal area of this painting and the rocks are of secondary interest in the scene. Here is a list of the brushes I used in this painting: I painted this artwork using oil paint and the colours I used in this painting are as follows: ![]()
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