Clip 6 is painting the shadows on the crashing wave foam AND also painting the “holes” of water showing through the flat foam area as it rushes forward over the beach sand. clip #6…
Clip 7 is a quick review and summary of techniques used to paint Clips 1 through 6. If you think a review would be helpful to you, be sure to watch this. I get a second chance to tell you all I want to on how to actually do these techniques, hands-on. Clip #7 review…
ALSO, see BELOW for a write up of my notes on each part of the above video clip review…
SUPPLEMENTARY NOTES FOR CLIP #7
Demo “Seagulls and Surf at Sunset Bay, Oregon”
1. Sky–wet-in-wet painting
Wet your paper and wait a minute or 2 or 3 until the paint sinks in a bit. Until the shine is ABOUT to leave. Don’t wait too long because the paper surface will start to dry and can cause likely ugly effects.
Get paint in your brush, a mix that is like whole milk or cream, and stroke on the color.
Key: The thicker the paint (the more paint to water ratio in your brush), the less the paint will spread on the wet paper. Also, the wetter your paper surface, the more the paint will spread and be rather uncontrollable.
Try not to fiddle, get the paint on your paper and leave it alone as much as you can. A maximum of 2 minutes is a good amount of time to limit it to, to do a sky, even a big one.
2. Cliffs–color variety and angle of brush strokes.
I aim for VARIETY in every possible way–variety is spacing of my painting strokes and their size.
Equally important, I vary the color BY: (1) painting on one color, (2) then rinsing my brush, touching a rag for a second to remove excess water, and then picking up another color, and (3) painting it a little into the edge of my still-wet previous color, so that they mix and mingle on the paper. This is a super-important color variety technique. It can eliminate boring, flat color areas.
Also, I “make my brush say the form” a popular saying in watercolor instruction, meaning form the shape you are painting and ALSO add in a little texture while doing so by aiming the brush stokes carefully. His is another super-key to watercolor painting, all painting really.
3. Sand, dry and wet–lifting out reflections with a damp brush
After I paint the sand.
Then I wait about a minute or so, and while it is still wet, I rinse out my brush and use it like a mop to lift out color from your STILL-WET wash. If you lift out the color too soon if will spread back into your mopped area too much, darkening too much that nice light mopped out area.
With light reflections, for a wet look on a surface, make them perfectly vertical. Again VARY the sizes and distances between each of them.
I start with light value color in the furthest back area of the water, then getting darker as you paint forward.
I leave some unpainted white-paper areas to indicate foam caps on waves. Again varying size, shape, and distance between them.
I form the top of the crashing wave foam by negative painting it. Negative means I show the white foam by outlining its top with medium to medium dark sea color. I work at a variety of edges that are also rough, using mainly the knife edge of my flat brush.
5. Shadows on the crashing wave foam AND
Holes where the sea color shows through on the flat foam area streaming over the beach sand.
I paint medium value sea color at the bottom edge of the crashing foam with thin strokes that form a line of wet color, not all at once, but in segments. Then take a brush with clean water in it, touch a rag or paper towel or damp sponge to get about 1/2 to 2/3rds of the water out of it, the scrub the tops of the still-wet shadow color UPWARD, seeking to gradate these strokes of now-diluted color to unpainted white at the top of the crashing foam.
Next, I dilute my sea color a bit with water and paint the foam “holes” in the flat foam area just under the crashing foam wave. I work at varying their size, shape and the spacing between them for a random look. I soft some edges, again with a brush with clean water in it, most of it blotted out, and I use a tissue to blot some small areas for value variety. While my holes are still wet, I get some darker color, same color, and touch it in some random areas of some of the holes. Note: perspective–these shapes should be elliptical, not circles like round pie tins, and angled from side to side (diagonally or sometimes horizontally, not vertically) in the foam area.