![]() Here I made a new mix of some of the horizon sea colour and a tiny bit of the lighter shade of the distant sea colour.ĭraw in the wave in quite a rough organic way, the shape of it doesn’t have to be perfect. The very top of the breaking wave is fairly dark in colour, as this is where the tip of the wave is curling over. The colours aren’t too different in value, but the slight shift in hue creates a realistic impression. In contrast to the sky which is blue-purple in tone, the sea leans towards green-blue. The distant sea gradient in this image is darker closer to the horizon. I’m using the egbert brush that has long bristles, so it’s great for tasks that require long, accurate unbroken lines.įrom the horizon line, paint your lighter shades beneath until you reach the top of the breaking wave. You can use the edge of a flat brush, or filbert brush, or you can mask it for more precision. The next to do is line the ocean horizon. Wipe away paint residue from the blending brush as you go, to keep the dark sky blue colours from mixing into the light sky blue colours. When the sky is completely filled with colour, get your soft clean brush and start blending. Line the horizon either with masking tape, or with the edge of a flat brush. If you prefer your paint on the runny side, add a medium like linseed oil, or add a small amount of solvent to make it dry more quickly. This helps with working the paint into the surface. Use a stiff large brush for the first layer of oil paint. ![]() Use the transitional shades, so that when you come to blend the gradient will look smooth and seamless. Finish with the lightest colour at the bottom. Start with the darkest colour at the top and paint sections of your sky colours. Next, I’ll paint a realistic sky gradient. I made sure my horizon line was straight by drawing it in with a ruler. On my panel, the top two thirds is taken up with the sky gradient and the bottom third is the ocean. Step 2: Compositionįor this piece, you could plan where you want the horizon line to sit, then optionally draw in the wave and the strip of sand at the bottom. You don’t have to be super accurate with colour mixing, as long as you have the right values and neutralise colours properly, you will be on your way to creating realistic mixes. Hardly any colours appear as pure white in real life settings, which is why they should be tinted with one of the other colours on your palette. ![]() The foam and highlight colours are a high proportion of titanium white and a tiny hint of either one of the green or blue mixes on the palette to tint it. Then the sand is burnt umber, lemon yellow, a touch of ultramarine and white. This mix is lemon yellow, a larger proportion of burnt umber, with a small amount of blue and a large proportion of white. The water is a light green-brown beneath the wave where the tones from the sand are showing through. I added in the tiniest amount of burnt umber to tone it down and desaturate it as the colour in its purest form was quite strong. This makes a really pure, high chroma mix. This colour is green in tone, so I’m going to mix roughly two parts cyan blue, one part lemon yellow and white. The top of the breaking wave lets lots of light through, this is the brightest and most saturated part of the painting. This way, you will have a gradient from the sea horizon to the top of the breaking wave. Create some lighter, separate shades of this colour by adding some more white. The mix will be roughly 3 parts blue, 1 part yellow, then a tiny amount of burnt umber and white. ![]() Use phthalocyanine blue, mixed with a small amount of burnt umber, lemon yellow and a touch of white. The colour of the sea on the horizon leans more towards green than the colour of the sky. There is quite a contrast between the value of the top of the sky colour and the horizon. Then I increased the proportion of white for each transitional shade. For the sky, I mixed ultramarine blue, with a tiny amount of burnt umber to neutralise it slightly. Then mix transitional shades between the darkest and the lightest colours. Skies are lighter towards the horizon, so mix a dark shade for the top of the painting and a light shade for the sky horizon. If you need some more practice colour mixing, we have a tutorial on how to mix colours realistically and match them to your reference. The colours in this painting are all shades of blue or green. Watch the ocean painting video tutorial! Ocean oil painting: step by step Step 1: Mix the colours
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |