Painting translucent nails1/16/2024 ![]() ![]() The white water is reflecting the ocean and sky so it has a blue cast to it. ![]() The shadow colours of the white water and the blanket of foam that is formed as the wave breaks when it is barreling over, was mixed with a combination of ultramarine blue, a little burnt sienna and quinacridone crimson and titanium white to create a light colour. I’ve used titanium white with a little burnt sienna mixed in so the value is a little darker. Good colours to use for painting sea tones include the Following:Īt this stage of the painting I have marked where I want the wave highlights and white water is to go. Backlit waves often look more dramatic in seascapes and are generally easier to paint especially if you are a beginner. Keep the value of your breaking wave lighter in the upper section and add darker colour when you paint the lower section. I then blend the colours of the upper and lower section of the waves to form a nice transition between the two zones. I use this colour combination to form a transition zone between the upper section of the wave and the darkest tones in the lower section.įor the lower section of the wave I mix ultramarine blue, a little yellow oxide and phthalo green and if required I also mix in a small amount of titanium white to adjust the value. I use less titanium white in order to make the value of the mixture darker. Next I mix up a darker tone of the same colours but I also introduce more ultramarine blue and a little yellow oxide. 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.
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