Crashing Waves

The vine in the foreground, washed in during the previous session, is now dry. I carefully work around the large leaves as I paint the blue field of the sky. The upper portion of which is made of a mixture of White + Ultramarine Blue. The lowest part of the sky, near the horizon line, is White + Pthalo Blue + a tiny touch of Cadmium Orange. You may click on the picture to see it larger.

Hazy clouds, made of White + a bit of Cadmium Orange + a little Ultramarine Blue, are dragged over the wet sky. This allows me to paint the edges very soft, making the clouds recede into the distance.

The ocean at the horizon is painted with a mix of White + MUD (Ultramarine Blue + Alizarin Crimson) + more Ultramarine Blue. The junction between sea and sky is also made very soft so it will fall behind the bluffs on the right. The ridge farthest away is painted cooler, or bluer, to make it recede. The closest one is darker and warmer so it comes forward.

As we move closer to the front of the piece the water becomes brighter and more intense. This follows a simple rule that helps to give the impression of depth in a painting: “Dull Colors Go Back; Intense, Bright Colors Come Forward.”

VIDEO DEMONSTRATION: Painting the Crashing Waves WAAAAYYYYY down below!


We’ll begin working on the domed church in our next session. Hope you’ll come follow along. HUGS,


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