This article appeared in the April issue of Painter's Online, website of Leisure Painter and The Artist magazines
I paint in acrylics, the rapid drying time gives greater flexibility for my impatient nature and I can concentrate on creativity rather than adapting technique to fit the medium. My canvas of choice is a medium tooth stretched linen canvas, size and proportion are dictated by my subject.
STEP 1 - Composition outline
In all aspects of painting composition is crucial and a successful outcome hinges on the structure imposed at this stage. A careful observation of waves is important to produce a convincing illusion of a moving sea. A number of simple rules can help in this regard: no two waves should be the same shape, use perspective (larger waves in the foreground reducing in size as they get closer to the horizon). Create the wave structure on a diagonal if possible it suggests more movement than a horizontal layout.
Using a round hogshair brush (No12) I quickly sketch in the horizon line and the basic wave position using pure Phthalo Blue, this will determine where the blocks of colour will be applied. Although it is preferable to be as accurate as possible don’t be too precious about the precise outline of the waves there will be time to correct and fine tune later.
STEP 2 - Sky and reflections
Prior to blocking in colour decisions must be made regarding the direction of sunlight and sky conditions, it is crucial that the highlights and shadows remain consistent or the illusion fails. For this work the light is coming from the left of the horizon so the waves facing the viewer are in shadow.
At this point we need to mix the dominant sky (and reflection) colour. My default sky would be Cerulean Blue lightened with Titanium White and a touch of Naples Yellow to add warmth. I work this into the sky area and also the waves facing the sun. (I usually create a number of small sketches in advance showing the highlighted and shadow areas and refer to them as required).
STEP 3 - Blocking in the waves
It is now time to mix the main sea colour. (This gives the overall colour key to the painting and will depend on the sea and weather conditions I wish to show). My default colours for this are Phthalo Blue or Ultramarine and Viridian Green, which create a deep sea green, Burnt Sienna is used to add depth to the shadow.
Most of the canvas should now be covered. This becomes the under painting, over which we will build texture. Areas between highlight and shadow should be blended together in a graduation from highlight to shadow giving the appearance of a blue/green mountain range.
STEP 4 - Wavelets
We now begin to “texturise”. Minimum detail is required in the narrow band close to the horizon, the colours should be a combination of sun, sky and light shadow shapes. The middleground is a combination of chops and swells more sharply defined than the horizon. These smaller wavelets and swells must be emphasized to give movement. Using a long bristled “rigger” brush, add in individual wavelets in the darkest tone of the chosen sky colour over the darker area of shadow. Repeat with a lighter sky tone and flick in as the graduation of the wave changes tone. These tiny wavelets should be applied from the foreground through to the middle distance but reduced in intensity and size as they move into the middleground.
STEP 5 - Highlights and foam
At this point emphasis moves to finalizing the point of interest. In a marine painting is likely to be a vessel of some sort. In a seascape painting the sea itself provides the interest. In either case additional texture may be required in the shape of sunlight reflection on waves or foam from breakers or whitecaps. Highlights and foam must be applied with restraint. Carefully plot where the sun would catch the edge of a wave and vary the flicks and spots of highlight. Foam tends to follow the direction of surface flow and spills down the face of a wave, the holes in the foam elongate along the direction of flow. It is not uncommon to have several layers of foam overlaid. Indicate the bottom layer in a lighter tint of the sea colour then over paint with a stronger tint in the palest of the sky colours, use Titanium white very sparingly.
You should now have arrived at a reasonable illusion of the moving sea. Practice will make the next one better and the one after that better still. As I said at the beginning these techniques assist in the construction of a seascape but the key to virtuosity is observation and practice.
Completed work
Lively Sea, acrylic, (40x50cm)
