Continuing the theme of painting seascapes from the last blog and YouTube video I thought I'd show you how you can paint a breaking wave that looks dramatic and is full of light and atmosphere. 

Painting seascapes is fun especially when you create stormy scenes so in the blog post I'll show you some tips and tricks to create light and drama in your seascape. Don't forget the accompanying YouTube video on how to paint this art work, you can view the video which is at the bottom of this page.

I love to paint the sea, in fact it's one of my favourite things to paint! In this blog post I will show you how to paint this dramatic seascape in five easy stages.

1. CREATING THE COMPOSITION

This painting began with me taking photos from a place called Port Soif on the island of Guernsey, UK. The sea was rough and there was lots of light and atmosphere.

Port Soif is a great place for getting photo reference for seascapes, especially in the evening as the light is behinf the waves which means you get contrast between the shadows of the breaking waves but sharp highlights in the wave crests and white water. These are all ingredients for epic seascape paintings!

I love painting small art works, they are great especially if you are a beginner. You can paint them more quickly, they are good for practicing your painting techniques, they make great little paintings, they are easier to sell and you can use them for colour studies for bigger paintings.

In this tutorial I am going to show you how I painted this small studio painting of Mt Talbot and Mt Crosscut in New Zealand in five easy stages which includes:

Have you ever tried painting outdoors on location? Let me tell you it's really good fun, it's challenging but it gets you outside and it really improves your painting skills especially if you're a studio painter. 

Recently I took my paints and easel on a little road trip to Fiordland National Park in the South Island of New Zealand. Fiordland is a very mountainous region of New Zealand and is perfect for painting outdoors on location which is also known as painting 'en plein air'.

Painting seascapes is one of the subjects I love to paint most. Every so often I visit the island of Guernsey which is the place I was born. Guernsey has amazing coastline, dramatic cliffs and the wild Atlantic Sea, the island is located in the English Channel and is very inspiring for coastal scenes.

In this step by step painting demonstration I will show you how to paint this seascape of a little place called Port Soif, located in the west of Guernsey.

I love painting mountains and one of the great things about living in New Zealand is there is plenty of them to paint! One of my favourite mountains to paint in New Zealand is Mt Talbot and Mt Crosscut which is located in the Fiordland region of the south island.

In this step by step painting demonstration I will show you how to paint this mountain landscape.

I love landscape art, especially traditional realism painting and I have been painting landscapes for many years. Whilst I paint a lot in my studio one of the things I love to do is paint outside on location in the great outdoors. This is called painting ‘en plein air’, which is a French phrase meaning to ‘paint outdoors’. Plein air painting is not only thoroughly enjoyable, and great for the mind, body and spirit, but it also helps immensely with improving your studio work.

Plein air painting teaches you to really look at the landscape, its forms, colours and tonality. It teaches you to loosen up your painting technique, improves your use of colour and understanding of composition. It also teaches you to paint quickly as the light and weather conditions are always changing.

In order to create an engaging seascape first of all we need to plan our picture so we can determine what the painting is about. Depth within a painting can be achieved by having strategically placed focal points and effective use of colour to create atmosphere and space within the painting. 

In order to create the story of this painting I decided what elements I wanted in the scene and where I wanted my main focal point to be. Before I even began painting this picture I compiled many pencil sketches in order to plan the composition so I could see what would work and what wasn't going to work in the picture. This is essential so I don't run into problems with composition issues later on when I am painting the picture.