![]() Whereas in the bottom part of the water-the darker and lighter tones are closer in value. ![]() The darkest area is near the top and middle. The top part and middle part of the water slants down to the left and the bottom section of the water slants down to the right. The ripples stretch across the panel, in broad peaks and troughs. These dark areas form the ripples in the water, the top of the ripples are catching the light, so leave these sections until you come to paint the highlights. This doesn’t matter though, as you can paint over these sections eventually. These are both transparent pigments that will appear more transparent when thinned with solvent. You can use these as reference points to determine where all the other elements will fit in around them.įor this step use the darkest mix of ultramarine and burnt umber. The first step of applying paint to the canvas is blocking in the darkest shapes of the painting. The colour is fairly similar in tone to the sky colour. Use the two colours to mix a new transitional shade, that will make blending the two colours easier when you come to apply it to the canvas.įor the cloud colour, take the lightest mid tone shade and mix with the lemon yellow colour. Then mix even more titanium white, with a tiny amount of phthalo blue and a dot of lemon yellow for the sky colour nearest the horizon, to give it a post-sunrise glow. The first shade, nearest the top of the canvas, is a mix of a large amount of titanium white, with a small amount of phthalo blue. You don’t have to be too precise about mixing, analyse the reference to inform your colour mixing. I created a new mix for my highlight tone which was roughly five parts titanium white and one part ultramarine blue, with a tiny dot of burnt umber. You’ll probably find you’ll want to mix new colours as you progress too. I mixed transitional shades between each tone with my brush as I worked my way through the painting. Then I mixed four mid tone colours, for each tone I increased the brightness and saturation with titanium white and ultramarine blue slightly. ![]() I use the darkest tone as a base to mix my mid tones. You can mix quite a bit of this colour as you can use parts of it to mix the other mid tones we’ll need for the painting. We’ll use this colour to block in the darkest shades of the painting in the first layer. The darkest shade on my palette is mixed with around 2 parts ultramarine compared to burnt umber. The sea colours are mixed with varying quantities of ultramarine blue, burnt umber and titanium white. You can get a palette sealer to extend the open working time of the paint on the palette, to keep colours wet for days at a time. I like doing this with oil paints, as oils dry slowly, so I know that within one, or two sessions, the paint won’t dry up on the palette. It can be beneficial to mix most of your colours first, as it saves time and interruptions when you are in the flow of painting. Painting the sky is really simple, you can choose to paint this first, or leave it until after you’ve painted the sea. First we block in the darkest areas, then we will paint in the mid tones, then adjust the values of the mid tones to create form, then we will add highlights. There are broadly four main steps to create this painting. Paint the ocean: Step by step Use this image as a reference-a print of my painting ‘Deep Blue’ can be purchased through my print shop. If you want to see the full supplies list, skip down to the section at the bottom. Selecting a region changes the language and/or content on see the ocean painting process in full, tune into the video! You can see me mix the colours and work through the painting step by step. “But the smaller ones are going to be superseded fairly quickly by the larger ripples.” “All of these forms as they interact with each other are going to flow into one another,” says Case. While you avoid straight lines and defined forms, remember the general shape and flow of your drawing. Wavy lines are more the norm, and if a single line continues unimpeded, add in something to interrupt it and make it more organic. Straight lines are products of architecture and engineering, but natural shapes tend to bend, develop, and branch into other things. Whether it’s water pouring onto something or water on the surface, you want to find ways of organizing small and large forms to make things look more organic.” Avoid uninterrupted lines. “One of the most important things is to use a variety of shapes,” says Case. They are complex, temporary, and always unique. Those waves and splashes are not singular geometric shapes. A calm, rippling surface, though, is often interrupted by waves and splashes.
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