30 artistMay 2020 http://www.painters-online.co.uk
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t STAGE FOUR
Looking at a moving subject
means that you need to
think of shortcuts to create
an impression of what you
see. Adding intermediate
tones and colours into the
waves and water and smaller,
detailed strokes to the rocks
helped to do this. Shifting
the colour of the palette with
more ultramarine, viridian,
burnt sienna and titanium
white meant that I could
mix a close range of colours
without becoming too
discordantu STAGE THREE
Mixing into the existing puddles of paint, I added
cerulean blue to fill in the water and added some of the
colour back into the mid-tones on the rock. Keeping
the colour moving on the palette helps with continuity,
picking up reflected light and colour in the shadows.
For the lighter sand I added more titanium white to the
original rock mix. Using a more absorbent surface such
as this helps the paint stay where it is put and not slip
around the board too much
t STAGE TWO
Some of the key colours were quickly blocked in – how they
connected with each other was more obvious when I was there
but is less apparent in the photos. I was especially trying to
harmonise the colours of the rock and shallow water using
yellow ochre, burnt sienna and viridian green with varying
amounts of titanium white and ultramarine. Most of the time
was spent mixing the colour before applying it to the board. I
like to work with neat paint spread thinly rather than thinning
with too much solvent