Paint a Perfect Seascape

After Tony’s formal training at the Bradford College of Art he spent the next 10 years working in creative advertising, brand images and print. Now a full time artist he shares his skills with Northern Life readers.

This is an easy to follow painting with a limited palette of the North Sea at Sandsend near Whitby, developed from a photograph taken whilst in the area tutoring an art holiday course. As a fairly monochromatic image with dramatic lighting it is perfect for a limited palette painting needing only six colours. The ones used being Indigo (Blue Black), Raw Sienna, Burnt Sienna, Cobalt Blue Hue, Titanium White and Permeant Brown Madder, from the Atelier Interactive Acrylic range.

STEP 1

Working on a 16” x 20” primed stretched canvas I use a diluted mix of Indigo and Titanium white and draw the basic composition.

STEP 2

Selecting Cobalt Blue Hue the top left of the sky area is blocked in. Following this, using Titanium White on the horizon and to the right of the sky area, the two colours are blended. Moving on add the slightest touch of Raw Sienna into Titanium White of the sky near to the horizon creating some warm and earth value to it.

STEP 3

Switching to Indigo for the darker areas of the sea and still using the Titanium White for the highlight area, the same technique of blending is used. It is important to keep the darker area as deep as possible, emphasising the dramatic effect of the bright light from the right.

STEP 4

Working with the Indigo and a long, flat, size 10 brush the location and shape of the two larger waves are created, along with a less defined smaller mark for the third distant forming wave. Developing the near wave a fan hog brush is loaded with Titanium White and pulled at an angle down and to the right to illustrate the way a wave curls upwards as it’s sucked up to the peak. The white foam and smaller waves breaking onto the beach are achieved by painting the indigo along with some of the Cobalt Blue Hue used in the sky and with the fan brush heavily loaded with Titanium White pushing these with the very tip of the fan brush into the wet paint. For the first time in this painting I mix Raw Sienna and Indigo on the palette and paint into areas of the wave as they are formed. The best effect on the shore break is achieved by ensuring a dark undercut against the white foam.

STEP 5

Beaches are always fascinating to paint and have far more colours than often first observed. For this beach Raw Sienna, Burnt Umber and Permanent Brown Madder are loosely painted without any pre mixing on the palette. Lay down the Raw Sienna and whilst wet paint in the Burn Umber and Permanent Brown Madder. A small touch of white can be added to the Raw Sienna for the more distant areas of the beach giving depth to the work. Dragging the white from the sea across the beach along with touched of Indigo brings the effect of the receding tide.

STEP 6

Sandsend is a wonderful panoramic sweep of a bay often covered with small pebbles as the tide recedes. To represent this, use the fan hog brush and load it by pushing just the very tip of the brush onto the selected colours, then again with just the tip of the brush and a dabbing stroke the pebble effect can be achieved.

STEP 7

Using a smaller size 4 brush the distant headland is now painted. Titanium White with a small amount of Indigo for the smallest most distant shapes gradually increasing the amount of Indigo into the mix as the hills appear larger. And eventually for the largest area nearest to the right side of the canvas add Raw Sienna achieving a brown green colour. Working with the same brush and turning it sideways onto the long thin edge the distant smaller wooden groynes are painted using Indigo.

STEP 8

Giving depth, perspective and a dramatic completion to the painting is achieved by the insertion of the nearer visually larger Groynes which are so important to the retention of sand on this beach. Over the years their shapes have been formed by the constant ebb and flow of the daily tides and really do require considered representing for maximum effect. Using Indigo in its purest form for the distant ones, then adding some Burnt Umber and Permeant Brown Madder in the nearer ones where more colour can be observed. Whilst wet the paint at the bottom of each is dragged with the finger to cast a shadow.

TOP TIPS…

• Limiting your palette produces a more dramatic effect.
• Keep cleaning your brush between different colours to achieve purer tones and avoid mudding.
• Be brave and loose with your handling of the sea. Only tightening with detailing at a larger stage

Recently, Tony took on the most nerve-wracking commission of his career which took over a month to complete. Visit ‘there paint nobody like granddad‘ to see the dress Tony painted for his granddaughter’s wedding!

Tony is a professional artist, tutor and demonstrator. Painting holidays with him are available in Scarborough, Cornwall and Devon. Visit www.hoganart.co.uk; E mail; admin@hoganart.co.uk Call 01208 895 088 or 0788 8852 503 for details.

NorthernLife Sept/Oct 22