![]() The color at the base of the wave is more difficult to achieve. Adding more Emerald Green to the mixture gives me the second band of color across the center of the wave. I want the lightest tint at the crest, where the wave is thin and translucent. Using a flat sable brush, I lay on a thin band of color at the top of the wave. With my palette knife, I mix touches of Emerald Green and Lemon Yellow with a small amount of white. ![]() In this painting, I want to draw the eye to the transparency as the focal point of the painting, so I'll begin by brushing in the colors on the face of the wave. Establishing a strong "identity" here prevents other areas of the painting from becoming distractions. If the sketch is dry, I know that I can always return to it if I lose my original composition (something I seem to do all too often!) Mixing a small amount of thinner with the color will hasten the drying time.Īlthough there are many ways to begin a painting, I usually start with the center of interest. If time permits, I allow the sketch to dry before continuing with the next step. I've found that sketching my idea with as much accuracy as possible will insure the best results. Now that I have my composition in mind, I use a liner brush and any light blue color to sketch the outline of the painting. The completed wave - including the breakover, transparencies, foam patterns and foamburst - is shown below as a guide to the finished composition. While the images in this are part of a completed painting, this demonstration will center on the structure and contours of the basic breaking wave.
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