How to paint a WAVE in OILS - Get that GLOWING EFFECT!

now lately in the studio i've been painting a bunch of different seascapes trying to share with you some of my techniques when it comes to painting crashing waves so in this video we're going to be painting this brightly colored wave and also some of the swirling white water above some bottle green ocean this is going to be a lot of fun as well roll that intro [Music] how's it going and welcome back to the studio my name's andrew if you're new here this is the place where i talk about all things to do with oil painting and share with you some of my realistic oil painting techniques now with this seascape painting my inspiration comes from a little area called yelling up which is based south of perth in western australia now i might have mentioned in a previous episode that the color of the ocean in western australia is quite unique it's just got this vibrancy to that color of the water and when the light conditions are just right and that wave picks up and the sun starts to shine through man the color just explodes and as an artist i'm really drawn to those little moments that we can catch in the surf so here with this painting i wanted to capture this moment of the wave just building and about to break and that light exploding through it and talk to you about how we achieve that glassy look to the wave and that transition of colors and tones all the way up into the lip so we're really going to focus on the wave itself here in this video so before we get stuck into it let's run through what's on my palette now starting off here i've got burnt umber burnt sienna yellow ochre titanium white and criminants white and sometimes i'll mix those two together to form a blend cadmium lemon cadmium red light quinacridone magenta ultramarine blue cobalt teal and phthalo turquoise and all of these colors are available from blueridgeoilpaint.com you can find those by clicking the link in the description down below now let me just tell you what i'm painting on here you might have caught this on the last video but this is a piece of pre-primed belgian linen and i've clearly marked out and taped off 30 centimeters by 60 centimeters when the painting's done i'll rip that masking tape off revealing a clean edge and it's really handy painting on loose linen if we have to take this off the board quickly roll it up and ship that painting these paintings are destined for perth in western australia so now without further ado let's get stuck into this demo painting this crashing wave with the bristle brush i'm going to begin to mix some quinacridone magenta with burnt umber and a little bit of liquin original and then we're going to sketch out our composition with this color starting with a horizon line which i couldn't draw a straight line to save myself but still i'm going to get that horizon nice and high to give precedent to the seascape below and drawing attention to that breaking wave i map out roughly where the rocks and the crests of the wave are going to go and then i start knocking in some of the darker tones of the rocks themselves now there's quite an assortment here and i'm following along with that photographic reference again here's a couple of images that i'm referring to and this is just helping guide me along with the shape of the wave and the arrangement of some of these foreground rocks using my trusty tisch bristle dagger i'm going to mix up some sky color with white ultramarine blue a touch of burnt umber and just a hint of quinacridone magenta i like that sky color to approach a near violet and some of these blues are a bit dirtier and grayed out closer to the horizon line this color has a bit more interest to it than just a straight white and blue combination incidentally i'm using similar colors here in the sky that will be used throughout the seascape so this is going to help every area of the painting tie together and coordinate i dropped the tone with more ultramarine blue just a hint of cobalt teal now and some more burnt umber to get a more saturated darker color for the ocean below and notice here how i'm not laboring over the surface at all we're not going for a detailed finish we're just knocking in these colors nice and fast starting with whatever's furthest away first and working our way forward towards the viewer we're going to begin to paint the wave starting with the trough first mixing up a nice dark saturated color predominantly ultramarine blue and turquoise phthalo with just a kiss of cobalt teal in there along with burnt umber and burnt sienna now i keep those earth colors very handy there just to knock down the saturation a touch and gray out some of these colors i like to start off very muted in the block in stage and then increase that saturation and intensity of color or chroma if you will as the painting progresses i have significantly more white and cobalt teal towards the top of the crest of the wave this gives the illusion of light shining through it now i start off with the shadow portion of the white water itself before getting into the highlight color and again it's important with seascapes in particular when it comes to painting white water and sea foam that we save our tonal best for last so anytime i make up a lighter tone i knock it back down again with ultramarine blue and burnt umber creating a light gray now the difference between this lighter tone and that shadow portion of white water is enough to indicate the direction of the light but we don't have any of the intensity of the sunlight just yet we can always add that later on in the process when we're first starting to paint sometimes we have the tendency to use too much white too quickly and this can really blow out our tonal dynamic the highest note that i can achieve on the palette is pure titanium white in terms of the amount of light that's going to be reflected so this is my brightest sprite it makes good sense to hold back with this and not use it right away while this paint's still wet i feather that edge of the top of the breaking wave into the background ocean to soften the zone the block in is one of my favorite parts of the painting process because it's so immediate we can get a result almost instantly then it becomes relatively easy to just layer over with our modeling and detail one of the things that helps me speed up is the brush itself and i just love these tisch daggers i'm not just saying that because i have my name on them if you want to check these brushes out in any of the other brushes i'm using in this demonstration have a look at rosemarineco.com there's a link in the description down below now there's a lot going on here in the foreground of this painting i'm going to start off by just trying to simplify it in its bigger blocky shapes so here i have some shadowed portions of white water and then some gaps between these strokes where i can come back and add some deeper ocean colors and then some brighter highlights over the top the block in is a matter of splitting the painting into zones and i'm bringing one zone to meet another working edge to edge and i'm blending slightly between these edges depending on what the material it is that i'm trying to communicate with water it helps having a bit of softness in there with some of those rocks we might have sharper edges and just another note about this brush that i'm using it is so versatile i can achieve those sharp edges or blend across strokes with the same brush in the same motion so it's great for working a straight line a broad stroke or even a fine pin point of detail okay i'm going to shut up about the brushes now now i'm going to admit something here in this little demonstration ordinarily i have a detailed plan for my composition for the painting but here what i wanted to do was actually shoot from the hip just using my photographic reference now that's not to say i was copying these photographs per se but i was using a couple of different images predominantly you'll remember this one here showing the wave and this one here of a similar angle featuring those rocks so i've essentially combined the two but whenever we do this and we don't plan ahead in meticulous detail we can tend to run into issues and i've spotted one here i'm thinking that something about these rocks just is not working and when we progress with this painting you'll notice that i shift some of these elements within the foreground the thing about the block-in and even the modeling stages is we always have a chance to revisit our composition and make sure we're on the right track we should never be afraid to make the necessary changes while the paint's still wet i begin to shape and mold the wave and make sure it's reading well in the space provided in the composition i deepen some of these colors here in the trough and then add more light to the top of the wave blending into the background now please excuse this short interruption i just want to take a quick minute and tell you about my full tutorials now this little video that you're watching right now here on youtube you can actually find in full on my website if you've learned anything from these little videos imagine what we could do together in a couple of hours i really go all in and break down my process from the very beginning and i don't hold anything back giving you some key techniques to really push the realism in your own oil paintings so these demonstrations are ideal for anybody at any stage of your process beginners are going to pick something up here it's going to really help the intermediate and it's going to push those advanced painters just a little bit further so again if you enjoy these free shorter videos that i put on youtube imagine what we could do together with more time where i can really break down that process for you so if that sounds interesting to you then make sure you click the link in the description box down below or simply go to andrew tischler.com thanks so much for allowing this interruption let's jump straight back into our demonstration now the white water itself can do so much to communicate the shape of the curling wave similarly the colors can also communicate that form as well and to get that intense glow showing through the top of the wave i have pretty much pure white cadmium lemon and cobalt teal now for some of these darker notes in the rocks themselves you'll notice that i don't have any black out on that palette i mix up my darkest tone using a combination of ultramarine blue and burnt umber i'm knocking in some of the shadows of these rocks using a synthetic filbert brush this is great for creating thin strokes of color and keeping nice clean edges it also minimizes ridge lines i don't want any texture here in the shadowed portions of these rocks or much texture at all in the block end for that matter because this can really limit our options when it comes to detailing our painting there's nothing worse than trying to apply fine details over rough texture while the paint's still wet i have an opportunity to make these changes that i was talking about before there's some rocks here that are just too equally spaced and similar in size and it's just not working within the composition so i decide to remove two of these that are in the immediate foreground now sometimes rocks and solid objects within a painting can form tripping hazards or stumbling blocks for the viewer to try to get past to get to the good part of the painting visually they weigh so much and sometimes it's better to just do away with them all together just because it's in my photographic reference does not mean i have to paint it moving ahead in the process here i'm mixing up that glow in the wave once again and notice this color sitting here in the top right of the palette shot this is transparent yellow oxide it is brilliant when mixed into white and that cobalt teal i will sometimes use this as a replacement for that cadmium white when it comes to introducing a hint of warm golden yellow to whatever colors i'm trying to achieve a little bit of transparent yellow oxide goes a long way it's brilliant for tinting other colors and as its name suggests it's very transparent which keeps my options open and it's nice and versatile even as a glazing color as i progress with the painting my brushes get so much smaller and it starts to really slow down one of my favorite brushes for detailing and just applying controlled strokes is this long evergreen filbert those synthetic bristles allow me to create some nice strokes that are very thin so there's not much texture here in these shadowed portions of the wave i'll use the same brush throughout this wave painting and i'll just wipe the brush off between strokes of color so i can use it for some of those deeper colors down in the trough as well as some of these highlights which i'm applying now and again even though this looks pretty bright it's far from pure white we're starting to establish a pretty good base to apply our final details over the top i'm beginning to consider each and every aspect of the curling wave and i even begin to add some pinpoints of bright highlight with a double zero synthetic pointed round notice how these strokes of color just pop against that diffused background and it provides so much sharpness here in this portion of the painting my tone has started to get much lighter and i'm using some liquid impasto mixed in with this highlight color to provide some texture to reflect more light back towards the viewer but still this is not pure white i've knocked it back ever so slightly with ultramarine blue and burnt umber i still want some room to go with those lighter tones which will be added right at the very end these brushes are great for adding individual droplets of white water to really break up the top of the crest of the wave and also the transparency afforded by criminals white a lead white is great for having that light shining through the sea spray so i'm using a combination of that glazed white over the background ocean in conjunction with some of these little fine pin points of spray the combination of these two provides some real interest here at the top of the wave in conjunction with that ivory pointed round i'm also using an ivory dagger this one here is a very small synthetic brush very similar to the tisch dagger but it holds its bristles brilliantly together in a compact formation perfect for some of these wave details just a touch of this lighter blue color a hint of quinacridone magenta applied with a pointed round works well to achieve the curl of the wave that scoop of the trough leading into the crest that then spills over and notice the thickness in some of those strokes there's a little bit of a shadow below that textured mark which indicates the form of the white water itself my paintings always start off so fast but then they end up really slowing down after the block in stage i think all up this painting on the easel was about 40 hours of work now sometimes it can't be difficult to maintain your enthusiasm with a project that takes that long i constantly take breaks and i'm also always getting up out of my stool to check the painting from a distance to make sure i'm on the right track if i feel my enthusiasm wayne all i do is refer to my old painting heroes one of my favorite seascape painters was william trost richards he created some incredible seascapes so full of life drama and detail i keep a file of my painting heroes on the desktop of my computer and i refer to them constantly it really inspires me what master artists from the past could achieve with paint to get my rocks to look wet i drop their tone significantly and then with a flat synthetic brush apply some of these sky highlights in a very sharp fashion to the top edge and back side of these rocks the parts of the rock that are facing the direct sunlight will get a brilliant little pinpoint of light applied with a double zero pointed round i use this bright highlight color in conjunction with transparent yellow oxide and transparent red oxide that allows more heat to come through in that sunlit portion of the rock and notice here how there's a difference in the size and shape of each of these spots it's not just one dot over and over again but i'm trying to form them in terms of the shape of the rock itself so this can even communicate that form of the rock underneath even further a few warmer highlights applied with an ivory dagger allows more heat to come through on that sunlit face does that make sense i hope so i detailed the painting pretty much the same way as i've blocked it in working those details into the background areas and moving forward towards the viewer here with this ivory dagger i begin to apply some lighter reflections from the sky above to the top of the foreground wave i use a maul stick to steady my hand when applying some of these finer details and a huge shout out to fred whitson who created the mall fork this is an essential when it comes to painting detail you can find this handy painting tool by clicking that link in the description down below i've been using alkyd resins liquid original liquid impasto and liquid fine detail throughout this process but never more than a ratio of one part medium to three parts paint or 25 percent so this is actually allowing these paint layers to dry pretty much overnight i've reduced the risk of yellowing by only using a little bit in each layer but there's enough liquid in there to allow adhesion but the convenience of having these layers dry almost overnight allows me to continue to layer detail upon detail upon detail and really create so much richness in the surface itself and with some final pinpoints of light applied with this synthetic pointed round of little droplets being illuminated by that afternoon sun this painting is finished [Music] i really hope that you've got something out of this little oil painting demonstration and if you did then make sure you share it with your friends either on social media or through email by finding that link in the description down below now of course if you like this video then click the like button and leave me a comment but most important make sure you're subscribed and click the notification bell so you're notified when i upload another video as always you can find me on social media those links are down below as well but most important make sure you subscribe through my website at andrew tischler.com it has been an absolute pleasure having your company here once again and i'll see you again very very soon back here in the studio so long

Channel: Andrew Tischler

Views: 255,802

Keywords: wave painting, how to paint a wave, how to paint a seascape, seascape, ocean painting, ocean scene, how to paint ocean scenes, crashing wave, oil painting tutorial, full painting tutorial, oil painting demonstration, painting demo, oil painting, painting tutorial, landscape painting, how to paint a landscape, painting techniques, colour theory, oil painting mediums, how to glaze an oil painting, oil glazing, glazing painting

Id: z3t9TFTtJ-U

Length: 19min 36sec (1176 seconds)

Published: Thu Sep 24 2020