White beach
oil on canvas
24x28inch /70x60cm/
$500

painting of the sea
painting of the sea

 

Painting of the sea in the living room

It was an April evening, the first warm days, admission to, requires a sketch, sketch of summer. Then came the mail entitled “Sea in Bemowo”. This is how my adventure with this painting began. I chose some photos as inspirations, first read the colors. Choosing the photos on the basis of which the image is formed, remind me of the times when to collect pits in primary school to plant fruit trees. The painting was to hang in the bedroom – it is a big responsibility to accompany someone every morning and evening.

painting of the sea
painting of the sea

How to paint a sea?

First of all, I asked myself – what is this sea supposed to be like? The effect I wanted to achieve was on the one hand to capture the power, depth and strength of the sea and on the other to ensure that the sea had a friendly summer face. I thought about the colors – blues, whites and dark blue near the horizon to emphasize the depth of the sea. I started with the blue sky (I was filming the process of painting this picture – soon the film will be on the website obraznamiare.pl).

To paint the sky as the leading color, I used royal blue with an almost invisible hint of Mediterranean blue. Immediately after sketching the sky (still without clouds) I went to what I think is crucial in this picture – the horizon. It was not an easy task. My goal was to create, on the one hand, a distinct, specific horizon line that would position the whole image, and on the other, to achieve the effect of distance from the horizon, which required a softening of this expressiveness and its breaking. First, I drew and sketched the horizon line. The symmetrical horizon was extremely important for this image. A picture was built, painted, well-guided – a study rather than an expressive experiment. With the help of soft brushes, I gently ran the border between the sea and the sky. It was not a sharp edge or line, but a slight penetration, understood by the recipient as a natural mist of sea water hovering above the sea surface.

Colour of the sea

I used the Prussian blue to paint the depth (the Prussian blue is the pigment based on iron (III) hexacyanoferrate (II), i.e. potassium iron ferrocyanide – FeK [Fe (CN) 6]) which I mixed with Payne’s gray. This color was named after the painter William Payne, who lived in the years 1760 – 1830. Currently, Payne’s gray is most often obtained by mixing ultramarine with black or ultramarine with roasted sienna. It is a color whose soul is only slightly softened by a blue shade – rather it is closer to gray and black. That’s why in the painting I broke the tone of this color, adding Prussian blue and a bit of ultramarine.

Painting of the sea

The method of painting the depth of the sea was different than the shallower fragments from the texture side. A flat water stain is far from us, so no details can be seen. Painting the sea, I started from this depth and I managed to achieve the effect of a powerful, extremely deep sea. Unfortunately, it was also a bit dark and gloomy, and the image was intended for the bedroom, which is why I wanted it to retain positive and friendly energy. For this purpose, I added waves in a mixture of blue and blue colors. Despite the great temptation, I avoided combining blues with yellows or greens – such a slightly green water is extremely interesting, but I wanted to maintain the power of blues. Lastly, the definition of beach and clouds. Here I also limited the colors, although some of me wanted to go in pinks and yellows. I endured this test and adhered to the color regime – blues and whites – that’s all. Possibly a drop of Neapolitan Yellow.

painting of the waves
painting of the waves

Finally, after drying the paints and waiting for the right time, I applied a bit of varnish. It was necessary to level the sky in places where I worked with turpentine, which causes tarnishing. Earlier I had to move one cloud a bit and there remained matte traces of turpentine. It is always worth to look closely at such traces, because sometimes such random effects can be interesting and it is worth leaving them. This time, however, the effect of turpentine was better to remove.

painting of the sea
painting of the sea

Painting of the sea in the living room

Working on this canvas was a real pleasure. I think I managed to achieve a balance and tension between the mysterious gravity of the depths of the sea and the carefree and cheerful atmosphere of the beach and sky. The painting worked perfectly in the bedroom, but it could be equally placed in the living room or office.