Painting ripples is a case of repeating the lining motion, until the whole distant strip of ocean has been filled. Make the ripples look thicker in the middle compared to the outer edges and cluster them together. To make the lines look organic, vary the size and shape slightly and vary the pressure placed on the brush. Alternatively, you could use a round brush to achieve a similar effect. I used a red sable rigger brush for the ripples, as it has long, soft bristles that taper to a point, perfect for painting lines. Then I added some linseed oil medium to the teal paint to make it more fluid, so I could achieve the thin, fine details. To create the ripple effect, I used the alla prima technique, (painting on wet paint) so that the edges of the colours blend into one another. The ocean ripples are a darker teal colour, which I mixed with Phthalo Blue, Burnt Umber and lightened with the pastel yellow colour that was already on the palette. For instance, I mixed the cloud grey that I had already mixed in with the pastel orange tone to create the new darker ocean colour. To create harmonious mixes, you can use colours already on your palette to create new tones. The colours I used for the sky mix were Yellow Lake, Naphthol Red, Phthalo Blue, Titanium White and Burnt Umber. Cover the strip of bare canvas to around 2/3 from the bottom, to leave space for the wave and sand. The sea reflects the hues of the sky, however, it appears darker and more muted in tone. The next step in the process is to block in the base colour of the distant sea. I then blended the clouds out with a mop brush, so that the edges look soft against the sky. To create an organic appearance in the clouds, vary the pressure on the brush to create thicker and thinner sections. I used the edge of the filbert brush and medium grey colour to detail some smaller clouds at the top. I mapped out where I wanted the horizon line to sit before starting the painting, with a pencil and a ruler, drawing a straight line halfway down the panel. Or use the edge of the brush and carefully paint along the edge. To line the horizon, you could use a piece of masking tape to make a more accurate straight edge. I block in the shape with a filbert brush, which has a round edge that blends the edge of the cloud with the sky to create a soft appearance. To finish the sky section of the piece, I painted a stratus cloud on the horizon. Then I painted the bright yellow colour in the middle of the sky section and lightly blended the colours together with a soft, clean brush. Next, I mixed the orange with the pastel yellow colour to make a transitional shade, to create the appearance of a smoother gradient. To paint this, I lined the edge of the bottom cloud with the orange colour. The painting is a luminous yellow in the middle, which transitions to pastel orange around the edge of the cloud at the bottom of the sky. The next step is to paint the most colourful section of the piece. Use this colour to paint the sky on the left and mix the grey with the light yellow to make a transitional shade beneath the cloud on the right of the canvas. Mix some transitional shades by mixing the grey with a little orange to create a soft edge between the cloud and sky. Because the cloud is thin, it blends into the tones of the sky. The cloud appears as a thin strip at the top, so mix some grey and light yellow to make a light grey colour on your brush and paint it across the top section of the canvas. This muted cloud adds variation to the composition, contrasting with the vibrant pastel gradient of the sky. They partially block the light but are featureless in appearance. Paint the altostratus cloudĪltostratus clouds are thin, mid level clouds that allow part of the sun’s light to shine through. This will work to create a transitional shade between the cloud and sky. The warm tone of the Burnt Umber neutralises the cool tone of the blue, creating a grey colour.įinally, to create a muted yellow tone, I mixed some of the grey colour with some of the light yellow colour on the palette. This grey will form the cloud at the top of the composition. To make the light grey colour, I mixed Titanium White, with a smaller amount of Phthalo Blue and Burnt Umber. Next, the paler yellow tone is a mix of a larger proportion of titanium white compared to yellow lake. The next colour along, the pastel yellow colour, was a large proportion of Titanium White, with a small amount of Yellow Lake and a tiny hint of Naphthol Vermillion. For the pastel orange colour on the left of the palette, I added Yellow Lake to the Titanium White, along with a small amount of Naphthol Vermillion to create an orange tone. The sky appears as a pastel gradient, so I mixed five different colours, all containing a large amount of Titanium White.
0 Comments
Leave a Reply. |